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The paper presents the opera as a musical and literary genre that is closely linked to principles of intertextuality. In a twofold analysis various examples of the Hamburg Opera – including Reinhard Keiser’s Der Angenehme Betrug/ oder: Der Carneval von Venedig (1707) and Georg Philipp Telemann’s Die wunderbare Beständigkeit der Liebe, oder Orpheus (1726) – are re-evaluated in the context of French opera as well as protestant German Passiontide literature. [ABSTRACT FROM AUTHOR]

In her pastoral work Faunus, Sibylla Schwarz reproduces the male discourse exactly, but with a female voice, which is, therefore, different and new. The author knows how to stylize different kinds of texts and tailor them to different speech acts. In the search for self-assurance and the suitable literary style, she stages a difficult dialogue of perspectives and voices. This paper investigates the extent to which her own and another's voice interpenetrate, and the way in which meaning positions of speaker, addressee, and of what is discussed are expressed. [ABSTRACT FROM AUTHOR]