Coppelius

(redirected from Der Sandmann)
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Coppelius

destroys Olympia because of bad check. [Fr. Opera: Offenbach, Tales of Hoffmann, Westerman, 275]
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Walchli gives a compelling new reading of Die Automate (1814), according this relatively neglected story a place alongside Der Sandmann (1816) as a model for Romantic self-scrutiny and a treatise on the aesthetics of reception.
Douglas seems perpetually fascinated by the often anonymous faces caught up in sweeping events, from the character portraits accompanying his western-murder mystery Klatsassin, 2006, to young Nathanael, the reader who dominates the screen in Der Sandmann, 1995.
First performed in 1870, Coppelia was originally based on two stories by E T A Hoffmann entitled Der Sandmann (The Sandman) and Die Puppe (The Doll).
In fact, Hoffmann appears not only to have written dances into these texts, but to have written the texts to 'dance' themselves: in Der Sandmann the text constantly reperforms links between Nathanael's childhood trauma and his adult psychoses by 'choreographing' imagery associate with fire.
Sometimes, as I will develop further in connection with Der Sandmann (1816), Fate's fictional status is suggested through raise en abime: the already self-reflective primary narrator delivers an account of Nathanael's impassioned efforts to "confront" his horrible fate by writing it.
Huyssen does not hesitate to claim that this discourse must lead to the Freudian concept of the uncanny and to the reading of the threat to eyesight as fear of castration, as laid out in Freud's analysis of Hoffmann's Der Sandmann (34).
292) and North Africa in the less successfully received novel Der Sandmann (1991; see WLT 67:2, p.
Hoffmann and German agrarian reform (in the split-screen film Der Sandmann, 1995) to Herman Melville and noir (in the film Journey into Fear, 2001).
In the chapter on Der Sandmann he examines clues confirming the existence of the Sandman and concludes firstly that, although 'in the material world' we would consider Nathanael mad because of his inability to distinguish between imagination and reality, in Hoffmann's fictional world Nathanael's imagination is capable of producing real monsters and so he is the author of his own fate; secondly, that, due to the conflicting but equally valid interpretations, our activity as readers corroborates Nathanael's persecutory delusion.
Hoffmann's Der Sandmann, a disturbing story whose ending, one soon understands, will not be happy.
Hoffmann's Der Sandmann, the figure of the Doppelganger is linked to anxieties about patriarchal authority, which represents "a remnant of 'natural' signification in an established symbolic order" and hence a threat to individual autonomy (184).