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This essay explores the way in which Schiller problematizes power legitimation in his dramatic fragment Demetrius, and demonstrates how relevant this unfinished text was to early twentieth-century political thinking on legitimacy in Germany. This is not a matter of mere speculation: there is evidence, both direct and indirect, of the influence of Schiller, and in particular of his Demetrius, on three important intellectuals: Ferdinand Tönnies, Max Weber, and Carl Schmitt. Rather than discuss the reception of Schiller's text by legal philosophers, this essay shows, via a close reading of the play, how Schiller's theater around 1800 reveals the problematic nature of various aspects of power legitimation and how these emerged with particular force during the early twentieth century, when they intersected with the legal and political reflections of the time. [ABSTRACT FROM AUTHOR]

The question of how to devise and justify political order for a secular age is still at the heart of political discourse today. Social contracts provided an early political and philosophical answer to these issues, but they also manifested themselves in eighteenth-century German literature: This article will examine how Johann Wolfgang von Goethe and Friedrich Schiller engaged with the specific propositions of contractarianism (in particular Thomas Hobbes's Leviathan) in selected scenes in Götz von Berlichingen (1773) and Fiesco's Conspiracy at Genoa (1783), respectively. In their interpretation of contractarian scenarios, Goethe and Schiller isolate the notion of utility which, they argue, reduces complex social cooperation and interaction to game-like scenarios, exclusively driven by calculation and rational decision making. Goethe's and Schiller's morally inflected deconstruction of Hobbes's thought experiment affords an insight into alternative models of social togetherness which place an emphasis on Bildung, evolution, mutuality, and recognition. [ABSTRACT FROM AUTHOR]

Features of the interpretation of events related to the life and death of the Queen of Scotland, Mary Stuart (1542-1587), in the works of the outstanding German playwright F. Schiller (1759-1805) and his contemporary, the famous writer Christian Heinrich Spiess (Spiess, 1755-1799) is considered. The originality in the image of the last days of Mary by C. H. Spiess and F. Schiller is emphasized. The question is raised about the various literary and aesthetic positions of both German writers. Attention is paid to the review of works in various genres and genres of art dedicated to Mary Stuart by Spiess and Schiller. First, an analysis of the work of the author, which is secondary in the framework of German and European literature, is presented, since Spiess wrote his tragedy many years before the great German playwright. It is shown that Schiller’s tragedy was written with a characteristic thirst for epic coverage of reality, while the stage play of Spiess is more focused on the events of the last days of Mary Stuart’s life and turns into a chamber work. The results of the study can be used when giving lecture courses on foreign literature of the XVIII-XXI centuries, special courses on the literature of Western European countries, on the problems of classical literature in Germany, as well as literature of the Western European Enlightenment and pre-romanticism.

Ao analisar o drama Os bandoleiros (1781), de Friedrich Schiller, este artigo defende a tese segundo a qual o pensamento antropológico desenvolvido à época do iluminismo tardio alemão serve de fundamento não apenas para os discursos médico e historiográfico, mas também para uma parcela significativa da produção literária do período. Para tanto, na primeira seção deste artigo, investigam-se as bases de formação da cultura letrada e, particularmente, da cultura médica alemã na segunda metade do século XVIII, bem como as discussões à época vigentes em torno do conceito de antropologia. Na segunda e na terceira seções, discutem-se as tendências da pesquisa contemporânea que exploram os pontos de contato entre o conhecimento histórico, o pensamento antropológico e a produção literária no século das Luzes. Esses passos fundamentam a tese aqui defendida e segundo a qual o modo de representação literária operado por Schiller em Os bandoleiros é expressão direta do projeto de compreensão – em termos antropológicos – das totalidades integradas do homem e da história da humanidade.

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O artigo retraça algumas etapas da recepção de Schiller na Inglaterra e Portugal, especialmente no que se refere ao impacto causado pela peça Os bandoleiros e a narrativa O visionário. Schiller não apenas foi lido e traduzido, mas suas obras efetivamente produziram ecos na literatura fora da Alemanha. Seu estímulo, idéias e criações sem dúvida deram um impulso fundamental para o Romantismo de muitos países – inclusive do Brasil. Aqui suas reverberações chegaram via França ou Portugal, mas, pelo menos no caso de Gonçalves Dias, Schiller foi lido diretamente em alemão. A importância de Schiller para a obra de Gonçalves Dias pode ser percebida com maior clareza na peça Patkull, que se ampara em Wallenstein, e também na tradução A noiva de Messina, em que o romântico brasileiro trabalhava na época de sua morte tão precoce.

The steady stream of adaptations of foreign plays for the British stage in recent decades has grown to include those of Germany's greatest classical dramatist, Friedrich Schiller, whose plays have been adapted by the British stage writer Mike Poulton. This article considers Poulton's adaptation of Schiller's "Wallenstein," his largest-scale and arguably greatest work for the theatre, against the background of earlier attempts to create a one-part version for the stage. It undertakes a close comparison of the original with the modern English version, showing that Poulton has skilfully simplified, compressed, or transposed elements and sharpened aspects of the play to compensate for the British audience's lack of familiarity with the Thirty Years War. It analyses structure and characterization, language, gesture, and the staging of the Chichester Festival production of the adaptation (2009). [ABSTRACT FROM AUTHOR]