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Hrad Wartburg v Durynsku je jedním z nejvýznamnějších památníků německé kultury. Jeho jméno je spojeno s dějinami minnesangu stejně jako s historií německé reformace. Ve Wagnerově opeře 'Tannhäuser' se však tento hrad stává především symbolem, metaforou, za níţ se skrývá tradiční německá "Kultura" (tak jak ji definoval např. Thomas Mann ve svých 'Betrachtungen eines Unpolitischen'). Novější německé dějiny znají hned několik epoch, v nichţ hrály hodnoty reprezentované wagnerovským Wartburgem významnou roli – wilhelmovská "Druhá" stejně jako – ještě radikálněji – Hitlerova "Třetí říše". Cílem tohoto příspěvku je objasnit na příkladu německé literatury, jak "wartburské" tyto doby byly a jak reálné je zrcadlo, které Wagner se svým 'Tannhäuserem' nastavil (německému) světu.
The theme of Wagner's opera 'Tannhäuser' is the conflict between the artist and society, between nonconformism and servility to the dictates of a regime, with all its dogmas and taboos. This theme remains real and 'modern' to this day, and it has been acted out several times in German history. 'Truth fanatics' – artists, academics and intellectuals – have repeatedly been ostracized, boycotted or mocked. One such figure was Alfred Döblin, nowadays a half-forgotten novelist who returned to post-war Germany after several years of exile to participate in the country's spiritual regeneration. Döblin's novel 'Hamlet oder Die lange Nacht nimmt ein Ende' – begun during the writer's Hollywood exile – can be viewed as a work of 'Trauerarbeit' – a way of dealing with the Nazi past. This paper examines the questions asked by Döblin and the problems he faced in the nascent Federal Republic of Germany, using his 'Hamlet' as a source of illustrative examples. Wagner's 'Tannhäuser' – a work to which Döblin was strongly drawn – serves as a framework.
Wartburg castle is associated not only with Luther's German translation of the Bible, but also with the legendary singing contest that is said to have taken place there in the early 13th century. Although today it is impossible to tell whether this was a real event or merely a legend, the contest became a popular basis for literary treatments. The "classic" version of the story was presented in the 19th century by Richard Wagner in his opera "Tannhäuser und der Sängerkrieg auf Wartburg", while the most recent version of the story dates from 2012: Robert Löhr's novel "Krieg der Sänger". Because Löhr's version was almost immediately compared with Wagner's, the aim of this study is to analyze the two works and draw conclusions from such a comparison. Which sources did both authors work with, and how? Were they primarily concerned with a historically accurate depiction of events, entertaining the reader or audience, or communicating some deeper thoughts? In what light are the main hero and his competitors presented? What do Wagner and Löhr have in common, and how do they differ?