Searching Rudolf Steiner Lectures by Location (Dornach) Matches
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- Title: Lecture: Search for the New Isis, the Divine Sophia: The Quest for the Isis-Sophia
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- portrayed Isis holding the child Horus. The motif of that earlier picture
- Title: Four Seasons/Archangels: Lecture III: The Easter Imagination
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- Title: Four Seasons/Archangels: Lecture IV: The St. John Imagination
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- be given life by the musical tones that embody the poetic motif which
- fixed form, but in living movement. That would be one motif, a
- heavenly motif through which a man can feel himself united, on one
- motifs on their wings and make them part of human experience. For
- these motifs are there. They do not have to be sought out; they can
- Title: Lecture: Pythic, Prophetic and Spiritual-Scientific Clairvoyance
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- this motif further here today because it would us lead too far, but
- through your own meditation on the motif here touched upon you will
- Title: Architectural Forms
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- without that permeating impulse of a world-vision. Old motifs,
- Title: Spiritual Relations in the Configuration of the Human Organism: Lecture II
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- von der Aue, Gottfried von Strassburg, and so on. There the motifs emerge.
- In the Parsifal epic, in the true Parsifal epic one motif especially
- civilization of the 13th and 14th century. All poetic motifs, but in
- particular the Parsifal motif, are permeated by it and everything strives
- illumination, Sälde; this was what became the motif of
- who have fashioned the Parsifal-motif, they were pioneers, the first
- Title: The Building at Dornach (Bn/GA 289): Lecture II: Bau Lecture II
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- how the architrave motif progresses, each form building itself up out,
- a capital nor an architrave motif can be understood by itself. They
- motif is really very complicated in relation to the one that has gone
- before and especially the architrave motif is becoming more and more
- pillar by itself. As I have said before this pillar and this motif must
- moss complicated motif will be found in the capital of the 5th pillar
- and how the architrave motif becomes extremely complicated as it develops
- notice how certain lines which wind themselves about this Mercury motifs
- branch out from one another, how the Mercury motif with its small top
- underneath it and is united with the Mercury motif. Then you will understand
- Title: Problem of Faust: Lecture V: Faust and the Problem of Evil
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- wonderful how the motifs are intertwined. We see how Goethe
- Title: Inner Impulses: Lecture V
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- epoch. If you recognize this leitmotif you will be able to
- Title: Rosicrucianism/Initiation: Lecture II: Hidden Centres of the Mysteries in the Middle Ages
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- 6. Four Mystery Plays.] It is the “motif” alone you must
- Title: Spiritual Science and Medicine -- Lecture III
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- external skeleton. This resemblance is at least a sort of leit-motif
- Title: Lecture I: The Balance in the World and Man, Lucifer and Ahriman
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- deeply hidden, either the motif of the riddle, the motif of the
- else the motif of bewitchment, of being under a spell. This is the
- Ahriman motif. When Ahriman is beside us, we are perpetually in danger
- Title: Art/Mystery Wisdom: Lecture Eight
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- all we have the interpenetration of the two dome motifs,
- is contained in this interpenetration of the two dome motifs;
- of the double dome motifs. So we have this interpenetration
- interpenetration and separate the dome motifs, we move
- side motif (south portal of the main building) has shrunk to
- transformation motif for an annexe of our main building which
- Title: Art of Lecturing: Lecture V
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- in there, too, but as a sound-motif, thus:
- Title: Boundaries of Natural Science: Lecture IV
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- him, he heard in the distance a musical motif. Hearing this musical
- motif in the moment reminded him of the music he had heard as a young
- there lived in his subconscious not only this musical motif but also
- Title: The Building at Dornach: Lecture I
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- the concord of the columns with their motifs and, with
- Title: The Building at Dornach: Lecture II
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- indicate it in a few strokes, we can choose this motif (one
- a dividing motif [ Figure 4c ]above the
- Title: The Building at Dornach: Lecture III
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- motif above (a). The justification for this design can be
- from above is indicated in this upper, twofold motif; it must
- is at the side of the motif and the other (b) arches above
- the motif. The latter (b) represents what expresses itself in
- two motifs, although what they really indicate was but little
- nations. Not a single motif is accidental. When you look at a
- motif, when you see how it passes over from the third pillar
- towards the East, this next motif links on to the last (see
- the serpent-motif spreads horjzonally into the world, here
- the main motif points upwards and forks downwards, receiving
- is the Jupiter motif as the former was the Mercury motif, the
- this motif suggests folded hands stretching upwards to what
- all easy for the European to understand this motif and what
- characterise what lies behind this motif. For once spoken,
- — in every curve, in every motif.
- Title: The Building at Dornach: Lecture IV
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- motifs of the capitals, artistic expression has been given to
- design, a single motif. The design and the cultural community
- everything is contained in these motifs of the capitals. Now
- obliged to think of the forms of painting motifs produced at
- to say can be explained by taking a particular motif of four
- such motif as completely self-contained would be to take too
- human being. Neither, then, is a motif such as this, for part
- the whole. What belongs to the motif in addition is a set of
- feel this motif, we do not feel the geometrical
- This motif,
- say: On the body of the earth there is a motif which
- thing is to have an artistic feeling for such a motif. If we
- try to feel this motif in the right way — it is of
- motif, which rises upwards from the earth and in its upper
- for such a motif and what it expresses? This can be done in
- comes to expression in this architectural motif is contained
- dome-motif is transformed into a motif that has only one axis
- forwards. The motif of will is a motif that leads
- this through contemplating what is expressed in the motifs of
- this motif I have so far spoken of the supporting force, with
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- Title: The Building at Dornach: Lecture V
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- to East; we have motifs which grow, as it were, from the
- the Building from West to East? in the successive motifs of
- motifs from below upwards, we can look upwards.
- Title: Ways/Architecture: Lecture I: The Acanthus Leaf
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- particular forms and motifs is greatly misunderstood by
- to-day by considering a well-known motif in art — that
- a decorative motif. Now because our endeavours are separated
- appearance of this acanthus motif, they must naturally take a
- these two figures in alternation, you have the earth-motif
- and the sun-motif that were always carried by the people who
- circling procession of Sun-motif — Earth-motif,
- Sun-Motif — Earth-motif. That is what man experienced
- in the decorative motif. This decorative motif was already a
- alternation of Sun-motif, Earth-motif, presented itself to
- the artistic feeling of mankind as a decorative motif in the
- see in this decorative motif a reproduction that had passed
- into the subconscious realm, of a very ancient dance motif, a
- ceremonial dance. This was preserved in the palmette motif.
- certain Doric columns one often finds a very interesting motif
- introduced as a painting around the pillar, the Earth-motif
- somewhat modified, and the Sun-motif. Up above we have the
- Doric torus and the decorative motif below as an ornament. We
- actually find the palmette motif on certain Doric columns,
- therefore this motif could find expression in Greek culture.
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- Title: Ways/Architecture: Lecture II: The House of Speech
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- show you that the motif on the capitals has its origin in a
- dance motif — a dance that was performed as homage to
- of it. What is the characteristic of this motif?
- difference. The Greek motif is complete in itself. This other
- motif, when it is a wall — for instance the separate
- Title: Ways/Architecture: Lecture IV: True Aesthetic Laws of Form
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- copied from the cosmos and expressed in some motif — we
- Title: Ways/Architecture: Lecture V: The Creative World of Colour
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- motifs of that age! In the greatest epochs the content of art
- Title: Art of Lecturing: Lecture V
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- in there, too, but as a sound-motif, thus:
- Title: Awakening to Community: Lecture V
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- pillars and in the architrave motifs that crowned them. None of this
- Title: Eurythmy as Visible Singing: Lecture 2: Experience and Gesture; the Intervals
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- element of the words, in their melodic motifs, rhythm and beat, and
- the melodic motifs, or that which is pictorial in the formation of the
- Title: Eurythmy as Visible Singing: Lecture 4: The Progression of Musical Phrases; Swinging Over; the Bar Line
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- from the melodic element, or we could also say, from the motif or phrase.
- [25] It is the progression of the motif, the musical motif in time,
- sense in the progression of the motifs — that is, the musical element
- progressing within the motif itself You all know that a motif frequently
- case. The bar, the change of bar that is, interrupts the motif And when
- passing from one completed motif to the following formation you often
- of a bar line in a motif, and the transition from one motif to the next.
- whilst in the form. Conversely, in the transition from one motif-metamorphosis
- one metamorphosed motif to the other. We swing in a spirited manner
- from one metamorphosed motif to the next; in the actual bodily movement
- within a motif we aim for a rigidly upright posture.
- motif, then the second, third, fourth, fifth and sixth, and the question
- is: How should this progression of motifs be carried out in eurythmy?
- In the first motif we hold ourselves back, in the second we boldly swing
- onwards to the next motif: the curve is first up, then down, and between
- fifth and sixth motifs, two bar lines each. The progression is one,
- and boldly swinging onwards at the transition from one motif to its
- Title: Eurthmy as Visible Singing: Lecture 5: Choral Eurythmy
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- of the motif, or phrase. We might express this metamorphosis of motifs
- us say. We will let the first person present the first motif in eurythmy
- take over the second metamorphosis of the motif. The first person remains
- of the motif over to the third person, who now continues the form to
- the corresponding motifs while standing. In this simple way (where one
- person develops the motifs by moving, while the others retain their
- original motifs in standing), we have introduced a new variation into
- the motifs by means of eurythmy. By means of the motif which is in motion
- and the motif which is formed, in eurythmy we are able to introduee
- or motif can no longer be retained after the new one has begun to sound.
- In this development of the motifs through the chorus, the past remains
- bearer of the motif in question carries out the movements while standing.
- variation appears when we have chords in the progressions of the motif.
- out by several people, and the motif is carried over to another group
- and totally different in its effect. When the progression of the motif
- person, and the progression of the motif can also be expressed in movement
- motif from one group to the next), the element of visibility ceases
- to be [paramount], for when the motif is passed from one group to the
- of a motif everything will naturally depend upon the movement, but when
- The motif, when brought into movement, is carried over to the next group
- Title: Eurythmy as Visible Singing: Lecture 6: The Sustained Note; the Rest; Discords
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- movement in yourself; that the transition from one motif to another
- Title: Eurythmy as Visible Singing: Lecture 7: Musical Physiology; the Point of Departure; Intervals; Cadences
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- into all motifs in the major mood. All phrases in the minor mood are
- Title: Eurythmy as Visible Singing: Lecture 8: Pitch (ethos and pathos), Note Values, Dynamics, Changes of Tempo
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- idea may frequently recur in a train of thought, just as a musical motif
- Title: Chance/Necessity/Providence: Lecture 6: Imaginative Cognition Leaves Insights of Natural Science Behind
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- to be the leitmotif of the deeper spiritual-scientific expositions with
- Title: How Can Mankind Find Christ Again?: Lecture 3: Brotherliness and Freedom ...
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- developmental motif changes in the course of life. You will also find
- Title: Migrations ...: Lecture 1: The Social Homunculus
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- unable to think; the leading motifs for real thought are lacking.
- Title: History of Art: Lecture 10: Disputa and The School of Athens of Raphael
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- Should this similar work be similar in motif and form, to this picture,
- Title: History of Art: Lecture 12: Greek and Early Christian Art, Symbolic Signs, the Mystery of Gold
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- I have combined two motifs
- lines two plant-motifs and two figures who stream towards the middle
- ones, in other such motifs, so for instance in the third sarcophagus:
- something else. Here, of course, you also have the plant-motif, filled
- beings. There is a middle-motif, but it is symbolic. The middle-motif is a
- of composition, this Sarcophagus-Motif is the same as the previous one.
- At the sides, are the plant-motifs.
- and right — etheric; the animal-motif - astral; and the monogram
- in the motif here we can see them stream together. That is the meaningful
- next motif, the "Presenting of the Offerings to the King”,
- next Sarcophagus motif:
- The next motif is from a
- and again closing on the outside with the plant-motif. The art of the
- The next motif:
- sides. But then you see the plant-motif as though especially formed,
- 10. The next motif is the “Wonder of the Increasing
- Now, the next motif is not
- The next motif is again
- (13), from where I can show you how again, the motifs were completely
- of Christ, a simple motif, have below left and right again geometric
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- Title: History of Art: Lecture 13: The Changes in the Conception of Christ During a Certain Period of Time
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- Title: Karmic Relationships, Volume I: Lecture VII
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- very interesting fact is that the most beautiful motifs in Schubert's
- beautiful motifs to paper. At such times Spaun was often with him,
- his beautiful motifs, as though they came straight out of sleep.
- Title: Things Past and Present: Lecture VIII: Thomas More and His Utopia
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- because what I am giving you now is the fundamental motifs of
- Title: Memory and Habit: Lecture I
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- motifs in Faust is that man is overcome by Ahriman, to
- Title: Lecture: Riddle of Humanity: Lecture Three: The Duality of Human Nature -- The Heavenly and the Earthly Aspects of Man. Uranus and Gaia. Influences of One Incarnation on the Next: Metamorphoses of the Body.
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- will provide the leitmotif of the next two lectures. These will
- Title: Fundamental Social: Lecture 4: The New Revelation of the Spirit
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- make is that the old and antiquated motif of secrecy must be
- Title: History of Art: Lecture XII: Greek and Early Christian Art, Symbolic Signs, the Mystery of Gold
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- have put together two motifs from the ancient Christian art of
- are produced, and behind them the plant motifs on both
- Dornach, in which I tried to show the motifs of the acanthus
- us then add two plant motifs and two figures — ostensibly
- shall see that quite other, quite different motifs will come to
- also plant motifs; you have the same lines — now not with human
- beings — but filled in with animals. You have the central motif
- but this motif itself is symbolic; this motif is a sign, a
- in reverence, we have animals; and on the sides, plant motifs.
- the plant motifs left and right — etheric; the animal motif -
- see in the motif (666) as coming together. This is most
- Look at the next motif, the “Presentation of the
- us look at the next sarcophagus motif:
- following motif is from the sarcophagus of the grave of Galla
- next motif:
- sides. However, the plant motifs are designed in multiples.
- next motif is the Miracle of the multiplication of Bread:
- following is not a sarcophagus motif but is an ivory
- following motif is likewise an ivory carving:
- in which I can show how completely the motifs are converted by
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- Title: History of Art: Lecture XIII: The Changes in the Conception of Christ During a Certain Period of Time
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- Goetheanum, Dornach, detail with the central motif, with part
- Goetheanum, Dornach, Central Motif: The Representative of Man
- Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
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- motif of the picture but does not penetrate it fully. Perugino
- Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
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- of the motif of this picture appear at a very early stage, even in Perugia,
- representing this idea, this scene, or, rather, the motif of it.
- We must conceive the motif
- Title: History of Art: Lecture III: Dürer and Holbein
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- Again and again you will find these motifs of conquered demons or
- rejected. The motif lay in the whole spirit of the time; it existed
- especially great in his treatment of the motif of Death:
- Title: History of Art: Lecture VI: Dutch and Flemish Painting
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- of the Lamb” is one of the fundamental motifs of this and the
- motif of God the Father with Mary and St. John.
- — a motif which was
- Title: History of Art: Lecture VII: Representations of the Nativity
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- And now we will take the same motif as it appears in the work of Niccola
- Title: History of Art: Lecture VIII: Raphael and the Northern Artists
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- Then the motif that occurs
- Title: History of Art: Lecture IX:
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- its motifs so perfectly as it did in
- details we can recognise certain motifs in Michelangelo's paintings,
- Title: Poetry/Speech: Lecture I: The Art of Recitation and Declamation
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- the same motif is presented in both versions, and to a coarse
- Title: Old/New Methods: Lecture Nine: The Threefold Human, Reincarnation, Heathens, Jews, Christians, Calderon
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- how various motifs which recur in Faust are to be found in
- Title: New Spirituality: Lecture 3: The New Spirituality and the Christ Experiance of the Twentieth Century - 2
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- A presentation of the individual motifs of the small cupola can be found in
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