sturm und

Felix Sturm promised Randy Griffin a rematch after the duo settled for an entertaining draw in their WBA middleweight title fight.

One judge ruled the high-paced encounter 115-114 in favour of the champion, while Griffin was ahead 117-114 on another card.

The 114-114 verdict from the third judge eventually allowed Sturm (28-2, 12 KOs) to keep the belt he had won from Javier Castillejo earlier this year.

Yet the champion was quick to grant his brave opponent another shot.

"I approached him in the ring and said we'll do a rematch," Sturm said.

"I don't need it for my ego. It was a great fight and we should do it again early next year. That will be important to keep the sport of boxing authentic.

"I need a rest now but it's crucial to make those fights. That's what the fans want to see."

Griffin proved to be the aggressor throughout the full 12 rounds but failed to significantly hurt the 28-year-old German with his quick combinations, while at the same time conceding several left jabs.

"I hit him with a few good shots. I should have knocked him down at least once but I didn't," said Griffin (24-1, 12 KOs).

"I just tried to keep scoring points to get the win but it didn't happen. I feel like I have won the fight. I feel robbed but this is his home town."

Sturm took the last two rounds on some cards - a decision that Griffin bitterly disputed.

"That is rubbish. There is no way he won the 11th. I am disappointed I did not win the fight but I will come back and take the title home."

Sturm's manager Klaus-Peter Kohl publicly gave Griffin his word that a rematch will happen.

"We want the rematch and we will do it," he stated.

"I can live with the draw. However, if you had to pick a winner then it would be Felix.

"He showed what he is capable of doing towards the end. Those were the best last two rounds of his career.

"He can box much better than he did, though."


Civil union celebrant Sue Neal dies

An Auckland restaurateur jailed in 2003 for drugging and raping younger men is now out of prison and on home detention after admitting full responsibility for his actions.

Philip Sturm got a nine year jail sentence after being convicted of six charges of sexual violation and stupefaction against four men aged in their 20's.

The former bar owner started home detention at a friend's house last week, after a Parole Board found he had taken responsibility for his actions, despite previously not pleading guilty to - and unsuccessfully appealing against - the charges against him.

The Sunday Star-Times reported the board's decision: "It was felt [previously] that Sturm did not appear to have any insight into his offending. However, he did admit to the fact that on previous occasions he had not accepted full responsibility for what happened.

"On reflection, since the opportunity he has had in prison to reflect, he now accepts that he misread the signals given to him by the victims under the influence of drugs."

During his time in prison, Sturm had been an exemplary inmate and had used his skills to assume a leadership role in kitchen duties.

He did not pose an "undue risk" to the public, the decision stated.

Sturm must not consume alcohol or other drugs while on home detention and must undertake counselling, the board said. He was also warned against making contact with his victims and told to reappear before the board in three months
Sturm und Drang
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"Storm and Stress" redirects here. For other uses, see Storm and Stress (disambiguation).
This article is about the literary and musical movement. For the band, see Sturm und Drang (band).
Sturm und Drang (the conventional translation is "Storm and Stress"; a more literal translation, however, might be storm and urge, storm and longing, or storm and impulse) is the name of a movement in German literature and music taking place from the late 1760s through the early 1780s in which individual subjectivity and, in particular, extremes of emotion were given free expression in response to the confines of rationalism imposed by the Enlightenment and associated aesthetic movements. The philosopher Johann Georg Hamann is considered to be the ideologue of Sturm und Drang, and Johann Wolfgang von Goethe was a notable proponent of the movement, though he and Friedrich Schiller ended their period of association with it, initiating what would become Weimar Classicism.

Contents
1 Historical Background
1.1 The Counter-Enlightenment
1.2 Origin of the Term Sturm und Drang
1.3 Related Aesthetic and Philosophical Movements
2 Sturm und Drang in Literature
2.1 Characteristics
2.2 Notable literary works
3 Sturm und Drang in Music
3.1 History
3.2 Characteristics
3.3 Joseph Haydn's Sturm und Drang Period
3.4 Wolfgang Amadeus Mozart and Sturm und Drang
3.5 Notable Composers and Works
4 Sturm und Drang in Visual Art
4.1 Characteristics
4.2 Notable Artists
5 See also
6 External links
7 Footnotes
8 Bibliography



[edit] Historical Background

[edit] The Counter-Enlightenment
Main article: Counter-Enlightenment
French Neoclassicism, a movement beginning in the early baroque, and its preoccupation with rational congruity, was the principle target of rebellion for authors who would be known as adherents to the Sturm und Drang movement. The overt sentimentalism and need to project an objective, anti-personal characterization or image was at odds with the latent desire to express troubling personal emotions and an individual subjective perspective on reality.

The ideals of rationalism, empiricism, and universalism traditionally associated with the Enlightenment were combated by an emerging notion that the reality constructed in the wake of this monumental change in values was not an adequate reflection of the human experience and that a revolutionary restatement was necessary to fully convey the extremes of inner pain and torment, and the reality that personal motivations consist of a balance between the pure and impure.


[edit] Origin of the Term Sturm und Drang
The term Sturm und Drang first appeared as the title to a play about the American Revolution by German author Friedrich Maximilian Klinger, published in 1776, in which the author gives violent expression to difficult emotions and heralds individual expression and subjectivity over the natural order of rationalism. Though it is argued that literature and music associated with Sturm und Drang predate this seminal work, it is this point at which historical analysis begins to outline a distinct aesthetic movement occurring between the late 1760s through the early 1780s of which German artists of the period were distinctly self-conscious. Contrary to the dominant post-enlightenment literary movements of the time, this reaction, seemingly spontaneous in its appearance, came to be associated with a wide breadth of German authors and composers of the mid to late classical period.[1]

Sturm und Drang came to be associated with literature or music aiming to frighten the audience or imbue them with extremes of emotion until the dispersement of the movement into Weimar Classicism and the eventual transition into early Romanticism where socio-political aims were incorporated (these aims asserting unified values contrary to despotism and limitations on human freedom) along with a religious treatment of all things natural.[2] There is much debate regarding whose work should and should not be included in the canon of Sturm und Drang; there being an argument for limiting the movement to Goethe, Herder, Lenz and their direct German associates writing works of fiction and philosophy between 1770 and the early 1780s.[3]

The alternative perspective is that of a literary movement inextricably linked to simultaneous developments in prose, poetry, and drama extending its direct influence throughout the German-speaking lands until the end of the 18th century. Nevertheless, it should be noted that the originators of the movement viewed it as a time of premature exuberance which was then abandoned in later years for often conflicting artistic pursuits.[4]


[edit] Related Aesthetic and Philosophical Movements
Kraftmensch existed as a precursor to Sturm und Drang among dramatists beginning with F.M. Klinger, the expression of which is seen in the radical degree to which individuality need appeal to no outside force outside the self nor be tempered by rationalism.[5] These ideals are identical to those of Sturm und Drang, and it can be argued that the later name exists to catalog a number of parallel, co-influential movements in German literature rather than express anything substantially different than what German dramatists were achieving in the violent plays attributed to the Kraftmensch movement.


Major philosophical/theoretical influences on the literary Sturm und Drang movement were Johann Georg Hamann (especially the 1762 text Aesthetica in nuce. Eine Rhapsodie in kabbalistischer Prose) and Johann Gottfried Herder, both from K?nigsberg, and both formerly in contact with Immanuel Kant. Significant theoretical statements of Sturm und Drang aesthetics by the movement's central dramatists themselves include Lenz' Anmerkungen übers Theater and Goethe's Von deutscher Baukunst and Zum Sch?kespears Tag (sic). The most important contemporary document was the 1773 volume Von deutscher Art und Kunst. Einige fliegende Bl?tter, a collection of essays which included commentaries by Herder on Ossian and Shakespeare, along with contributions by Goethe, Paolo Frisi (in translation from the Italian), and Justus M?ser.

See also: Empfindsamkeit, Primitivism, Ossianism


[edit] Sturm und Drang in Literature

[edit] Characteristics
The protagonist in a typical Sturm und Drang stage work, poem, or novel is driven to action not by pursuit of noble means nor by true motives, but by revenge and greed. Further, this action to which the primary character is drawn is often one of violence. Goethe's unfinished Prometheus exemplifies this along with the common ambiguity provided by the interspersion of humanistic platitudes next to outbursts of irrationality.[6] The literature with Sturm und Drang has an anti-aristocratic slant and places value on those things humble, natural, or intensely real (i.e. painful, tormenting, or frightening).

The story of hopeless love and eventual suicide presented in Goethe's sentimental novel The Sorrows of Young Werther (1774) is an example of the author's tempered introspection regarding his love and torment.

Friedrich Schiller's drama, Die R?uber (1781), provided the groundwork for melodrama to become a recognized dramatic form through a plot portraying the conflict between two aristocratic brothers, Franz and Karl Moor. Franz is portrayed as a villain attempting to cheat Karl out of his inheritance, though the motives for his action are complex and initiate a thourough investigation of good and evil.

Both of these works are seminal examples of Sturm und Drang in German literature.