Academic literature on the topic '1749-1832 Faust'
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Journal articles on the topic "1749-1832 Faust"
Todd, Malcolm. "Goethe and prehistory." Antiquity 59, no. 227 (November 1985): 197–201. http://dx.doi.org/10.1017/s0003598x00057264.
Full textFiroze Basu. "Goethe’s “Welt” poet in Bengal: The Influence of World Literature on Jibanananda Das and other Bengali Poets of the 1930s-40s." Creative Launcher 6, no. 3 (August 30, 2021): 1–8. http://dx.doi.org/10.53032/tcl.2021.6.3.01.
Full textMakhmudova, Muattar Makhsatilloevna. "FUNDAMENTALS AND IDEOLOGICAL CONTENT OF THE CREATION OF Y.V. GOETHE'S "WEST-EAST COLLECTION OF POEMS"." Scientific Reports of Bukhara State University 5, no. 5 (December 30, 2021): 119–30. http://dx.doi.org/10.52297/2181-1466/2021/5/5/11.
Full textSenkāne, Olga. "Šillers, Gēte un Rainis par spēli: kultūrfilozofiski NAIVĀ un SENTIMENTĀLĀ izpratnes krustpunkti." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 25 (March 4, 2020): 336–61. http://dx.doi.org/10.37384/aplkp.2020.25.336.
Full textDissertations / Theses on the topic "1749-1832 Faust"
Roos, Dorette Maria. "The Faust legend and its musical manifestations : a historical overview." Thesis, Stellenbosch : Stellenbosch University, 2010. http://hdl.handle.net/10019.1/5156.
Full textENGLISH ABSTRACT: This thesis explores the Faust legend and its musical manifestations since the 19th century. The objective is to provide a thorough background to the legend, before drawing up an account of compositions inspired by the Faust legend. Firstly, the origin of the legend is investigated, followed by a brief summary of the most important literary works on the subject of Faust. This is followed by a comprehensive outline of the story as told by Johann Wolfgang von Goethe, and then the most significant compositions inspired by the legend are discussed. A short section containing comparisons of the compositions and the conclusions of the study appears at the end. The legend tells the story of Faust, a scholar, philosopher and alchemist in search of divine knowledge, power and pleasure. Faust encounters the devil and makes a pact with him in which he agrees to surrender his immortal soul, if the devil can satisfy Faust’s thirst for knowledge and grant him the experience of true happiness. The Faust legend is a very popular theme among composers and artists. One of the reasons for the success of the Faust legend is its universal appeal. This has led to various composers using the material as the basis for their works. Goethe’s version of the legend has proven to be the most popular source for composers. To produce a composition that attempts to capture the drama in its entirety, including its psychological and spiritual elements, is not feasible. Works centred on a smaller section, scene or character from Goethe’s Faust were often more successful than the larger operatic compositions. Like all great universal ideas, the Faust legend lends itself to an abundance of interpretations. Similarities between works are rare. Each composer who made use of the Faust legend interpreted it subjectively, which has produced many unique and varied compositions.
AFRIKAANSE OPSOMMING: In hierdie studie word die Faust legende, soos wat dit in verskeie musikale komposisies van die 19de eeu uitgebeeld is, ondersoek. Die doel van die studie is om ‘n lys van werke wat deur die Faustlegende geïnspireer is, saam te stel. Die tesis ondersoek die oorsprong van die legende en gee ‘n kort opsomming van die mees prominente litirêre werke met die Faustlegende as onderwerp. Daarna volg ‘n uiteensetting van die storielyn soos vertel deur Johann Wolfgang von Goethe. ‘n Lys, bestaande uit gesaghebbende Faust komposisies, word ingesluit en laastens volg vergelykings en gevolgtrekkings uit die studie. Die legende vertel die verhaal van Faust, die professor, filosoof en alchemis op soek na kennis, mag en plesier. Faust tree in gesprek met die duiwel en gaan met hom ‘n ooreenkoms aan om sy siel prys te gee in ruil vir kennis en ware geluk. Die Faust legende is sekerlik een van die mees gewilde literêre onderwerpe vir gebruik deur komponiste en kunstenaars. Die universaliteit van die legende dra by tot die gewildheid daarvan en om gebruik te word as onderwerp in toonsettings. Goethe se weergawe word meestal ingespan as bron van inspirasie. Om die volle omvang van die drama, met al sy sielkundige en geestelike elemente in ‘n komposisie vas te vang, is feitlik onmoontlik. Soos die meeste groot universele werke, word Faust op verskillende maniere geïnterpreteer. Gevolglik is daar min ooreenkomste tussen die verskillende toonsettings. Elke komponis se interpretasie van die legende is uniek.
Tanzi, Roberta. "L'Europe de Faust : mythographie de la crise dans "Mon Faust" de Paul Valéry." Paris 4, 2009. http://www.theses.fr/2009PA040083.
Full textMy research examines Paul Valéry’s rewriting of Faust in one of its lesser-known aspects: the relationship between the mythic-symbolic imaginary and the interwar crisis of European civilization. My analysis is divided in two sections: the first section adopts a philological approach; the second a thematic one. Both the unpublished manuscripts of Mon Faust in order to demonstrate the consistent décalage between Valéry’s starting point and the finished version. My approach involves a reconstruction of the historical and bibliographical phases of Valéry’s editing, in which he made changes to its formal structure and to his choice of archetypes. Next I aim to elaborate on the main metaphorical functions born of the interaction between Faustian mythology and some key themes in Valéry’s theory. The first, related to the sphere of the economy, investigates the historical basis of the lexical and semantic exchange between language and market lying behind the mythological repertoire. The second, related to the sphere of history, analyzes the effect of the dialectic between mythological plot and historical discourse, in light of Valéry’s anti-historical attitude. Finally, I consider the Faust rewriting project through some theoretical considerations about Europe and the author’s official public role in institutions dedicated to European intellectual cooperation
Paul, Claude. "Le Faust de Goethe : étude de réception intermédiale comparée du personnage diabolique (Méphistophélès) dans les aires culturelles germanophone et francophone (1775-1870)." Thesis, Metz, 2011. http://www.theses.fr/2011METZ006L.
Full textGoethe’s Faust had a significant impact on German and French cultural life in the nineteenth century. But the German drama, and even more his devilish character, were not perceived similarly on right hand side and the left hand side of the Rhine. Whereas the German artists and the literary critics associated Goethe’s Mephistopheles with the devilish character of the popular Faust’s legend, the French counterparts take Mephistopheles as the mythical character of Satan and a revision of the heroes of Byron and Milton. After a description of the state of the art about Goethe’s Mephistopheles, a depiction of the evolution of his interpretation in the press and of his re-utilisation by the artists through an analysis of articles and visual (Seibertz, Ramberg, Retzsch, Johannot), dramatic (Holtei, B. v. Braunthal, Lesguillon) and musical works (Gounod). Last but not least, the detailed intermedial comparative analysis of the devilish heroes of Lenau’s Faust, of Delacroix’s lithographs and of Berlioz’ The Damnation of Faust enable us to recreate the evolution of the myths of Faust and of the devil within the considered period. So we could point out that when devil is getting human features, man becomes a devil. Finally, a consideration about the french terms of “réécriture” and “illustration”, that the author propose, in some case, to replace with “reformulation”, conclude this work that crosses reception theory, mythocriticism and intermediality
Tavares, Pedro Heliodoro de Moraes Branco. "Noms de Faust : traits du sinthome dans le Mythe de Faust." Paris 7, 2007. http://www.theses.fr/2007PA070065.
Full textThe present thesis is the result of a study on the interface between Psychoanalysis and Literature concerning literary works pertaining to the myth of Faust, written by Johann W. Goethe, Thomas Mann and Fernando Pessoa. It specifically addresses psychoanalytical theoretical innovations proposed in the last Seminars by Jacques Lacan, in particular the 23rd, Le Sinthome. Through an investigation of questions such as the "fictional-biographical” constructions, repetition and nominations concerning Faust, we intend to demonstrate, from the process of the pact, the transformation of the psychoanalytical concept of symptom into the category of the sinthome, which may be understood as a type of savoir-faire - a new and "heretical" way of articulating the registers of the Real, the Symbolic and the Imaginary (RSI). The essence of this new vision lies in a reconceptualization of the origin of the suffering, turning the symptom, comprehended as a legacy of lack and interdiction, into something of one's own and singular invention
Zacharewicz, Fernanda. "O fim escrito no início: contribuições de Fausto de Goethe à Psicanalise." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21249.
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The aim of this thesis was to research the contributions of Faust by Goethe to the Psychoanalysis. For that we left from the hypotesis of which the repetition is a psychoanalytic concept marking the end of analysis. To comprove that, after a brief incursion by Goethe’s biography and the location of the book in the german’s literature history, it was necessary to get deep into our comprehension on the entry of the subject in the language, on the lack from there and differentiate of the lack relative to the castration. Next we lean over on the wish perspective from Aristotle in De Anima and Nicomachean Ethics from there to understand the construction of this concept in the Psychoanalysis. Beginnig with the text Project for a scientific psychology by Freud we follow up to arriving in Lacan and his comprehension of das Ding. That said, it was possible to base the structure of the subject of langage while lacking and to understand the paradox exposed in the pact between Faust and Mephistopheles. The phantasy was the next point to be study. Therefore, we came back to the firsts Freud’s clinical reports and we follow the construction of this notion. We returned to the concept of unheimlich to understand the anguish that wraps the bascule inherent to the fantasmatic veil. We follow with Lacan in his seminar about anguish untill his seminar about the logic of phantasy. Than, we analysed two moments of Goethe’s text – the relationship of Faust with Gretchen and, in a second moment, his relationship with Helen. We realized how in the litterary text the bias through wich the phantasy can be seen leaves space to the real appears. From the advent of the real in the relationship with Helena comes up to Faust the possibility of a new know-how different from what had been done so far. This contingency opens the possibility to think the repetition as the advento f the new, as Lacan works since 1964. With that in our horizon, we follow the constrution of this concept from Freud in two moments: in 1914 and in 1920. Next, we turno to the lacanian text and divide then in two parts: before and after 1964. We realized then that the written texts or seminars given up to 1964 were directed to the freudian notion of compulsion to repetition. Even so, it is possible to observe in this period some seeds of his future position. The considerations explained here led us to consider the end of faust as the relaization of repetition as a contingency, a bon heur to wich teh subject under analysis can choose by the of his course
O objetivo dessa tese foi pesquisar as contribuições de Fausto de Goethe à Psicanálise. Para isso, partimos da hipótese de que a repetição é o conceito psicanalítico que marca o fim análise. Para comprová-la, após uma breve incursão sobre a biografia de Goethe e a localização da obra na história da literatura alemã, foi necessário aprofundar nosso entendimento sobre a entrada do sujeito na linguagem, sobre a falta daí advinda e diferenciá-la da falta relativa à castração. A seguir nos debruçamos sobre a perspectiva de desejo desde Aristóteles em De Anima e Ética a Nicômaco para desse aí compreender a construção desse conceito na Psicanálise. Iniciando com o texto Projeto para uma psicologia científica, de Freud e seguimos até Lacan e sua exposição sobre das Ding. Dito isso, foi possível alicerçar a estrutura do sujeito de linguagem enquanto faltante e compreender o paradoxo exposto no pacto entre Fausto e Mefistófeles. A fantasia foi o ponto seguinte a ser estudado. Assim, retornamos aos primeiros relatos clínicos freudianos e acompanhamos a construção dessa noção. Revisitamos o conceito de unheimlich para compreender a angústia que envolve a báscula inerente ao véu fantasmático. Seguimos com Lacan em seu seminário sobre a angústia e o acompanhamos até seu seminário sobre a lógica da fantasia. Com isso, analisamos dois momentos do texto goethiano – a relação de Fausto com Margarida e, em um segundo tempo, sua relação com Helena. Percebemos como no texto literário o viés pelo qual a fantasia pode ser vista abre espaço para que o real apareça. Do advento do real na relação com Helena surge a Fausto a possibilidade de um fazer novo distinto do que havia feito até então. Essa contingência possibilita pensar a repetição como o advento do novo, conforme Lacan trabalha a partir de 1964. Com isso em vista, retomamos a construção desse conceito desde Freud em dois momentos: em 1914 e em 1920. Em seguida, nos dirigimos aos textos lacanianos e os dividimos em duas partes: antes e após 1964. Percebemos então que os textos escritos ou seminários proferidos até 1964 estavam voltados à noção freudiana de compulsão à repetição. Mesmo assim, é possível observar nesse período algumas sementes de sua futura posição. As considerações aqui explicitadas nos levaram a considerar o final de Fausto como a realização da repetição enquanto contingência, bon-heur ao qual o sujeito em análise pode optar ao final de seu percurso
Peslier, Julia. "La pensée à l’œuvre : chantiers de Faust ouverts par Goethe : Pessoa, Valéry, Boulgakov, Mann." Paris 8, 2007. http://www.theses.fr/2007PA082781.
Full textEnlightening the labouring thought within European literature of the 20th century was the goal of this Faustian cartography centred on Pessoa, Valéry, Mann, Boulgakov and the Faust they created after Goethe. It appeared necessary to start from the Gothean architecture of Faust I and II as well as that of the Weltliteratur in order to reveal the force of the Phoenix-Faust figure being born again as a disappointing heir of its preceding incarnations. Faust III is a book and inutrition fiction, and as such heralds a discouraging defection work in which the rewriting process is hosted within an unstable and moving book marked by the seal of urge, as if it were already beyond the mass of knowledge from which it took life. Writing the big urge of time, body and world chaosmogony, this Faust is punching a promise-work onto us that demands our reading being a philology. It is through the light cast by this aesthetics that we secured to disentangle Pessoa and Valéry’s Faustian work
Duarte, Carina Marques. "Do criador de civilização ao eu-abismo : uma leitura palimpsestuosa do Fausto de Fernando Pessoa." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2010. http://hdl.handle.net/10183/26739.
Full textDespite the large number of studies concerning the work of Fernando Pessoa, a small percentage of them focuses on Faust, a dramatic poem in which Pessoa worked between the years of 1908 and 1933, leaving it, incomplete and fragmentary, deposited in his famous ark along with all his estate. This study aims to, based on the edition organized by Teresa Sobral Cunha, examine how the Portuguese poet text processes the resumption of Goethe's Faust. To do so, were used as theoretical concepts dialogism, intertextuality, and especially hypertextuality. Fernando Pessoa appropriates the text of the German poet to transform it, that is, even if some scenes of Faust: subjective tragedy are goetheans reminiscences’, there is a reworking of the extraneous elements and the text is relaunched in a new circuit of meaning. There are, of course, analogies between the texts, however, the differences - which are emphasized here - are striking. Goethe's Faust is a drama of action while Fernando Pessoa’s fits in the category of static theater, ideal for the representation of a tragedy pertaining to the soul. Pessoa’s character, like his predecessor, would exceed limits, it intends to do so, however, through thought. Here, since the pact does not exist, there is no threat of eternal damnation. Moreover, the protagonist is apathetic and does not act, love and transform. While Goethe's Faust, in the figure of his hero, expressed optimism and belief in progress, Pessoa’s, in turn, is the representation of the sense of crisis, of disbelief in action and lack of hope, characteristics of Decadence.
Jubault, Geoffrey. "Les éléments autobiographiques dans "La Damnation de Faust" d'Hector Berlioz." Thesis, Nancy 2, 2011. http://www.theses.fr/2011NAN21032.
Full textHector Berlioz's Damnation of Faust cannot be classified among the usual musical genres. Halfway between the piece of concert and the opera, it is not only inspired by Goethe's Faust (translated by Nerval), but apparently also, by the composer's life. This thesis describes the composition process and highlights the autobiographical elements. These were divided into two categories. The first category investigates the supposedly autobiographical elements, namely the anecdotes of Berlioz's memoirs and correspondence consistent with the synopsis of the Damnation, the analogy of some genuine persons with those of the libretto and finally, the musical and literary influences the composer may have received. The second category regroups the proven autobiographical elements, including the reuse of some of his early compositions, the application of the precepts of the treaty and their integration into La Damnation
Céron, Emmeline. "Goethe, Musil, Svevo, de l'universalisme heureux à l'indétermination malheureuse." Thesis, Tours, 2012. http://www.theses.fr/2012TOUR2010.
Full textOn the one hand, the comparison of the Goethean utopias and Weltanschauung with the various modes of expression, in the works of fictions of Robert Musil and Italo Svevo, of the crisis of the European consciousness of the beginning of the XXth century and the meeting, in particular, between the golden age of the "happy" novel of formation that the work of Goethe embodies and the indetermination which characterizes the works of Svevo or Musil, allow to measure the evolution of both the conception of the individual and the process of individuation as well as to sound the nature of the new stakes which accompany the permanence of concerns such as the questions of the Me, the fate and the chance, the morality or the aesthetics. On the other hand, it is a question of observing how the ideals and the mythical fantasies (Faustian temptations, desire for absolute knowledge, ideal community, myth of the primitive androgyne) which already live in the Goethean spirituality find a place in the crepuscular context of the European crisis of the individuality or in the literary representation of a world in decline, without escaping however the lucid and ironic character of the respective styles of Musil and Svevo
Banach, Clemara. "Mediale formen des Faust : von der mündlich tradierten legende zum film." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2009. http://hdl.handle.net/10183/17217.
Full textBooks on the topic "1749-1832 Faust"
Seeking meaning in Goethe's Faust. London: Continuum, 2007.
Find full textGoethe's Faust: Theatre of Modernity. Cambridge: Cambridge University Press, 2011.
Find full text1943-, Brown Jane K., Lee Meredith 1945-, and Saine Thomas P, eds. Interpreting Goethe's "Faust" today. Columbia, SC: Camden House, 1994.
Find full textGearey, John. Goethe's other Faust: The drama, part II. Toronto: University of Toronto Press, 1992.
Find full textDenkende Dichtung: Hermeneutik und Mantik zu Goethes Faust I. Frankfurt am Main: P. Lang, 1997.
Find full textOntologie und Geschichte in Goethes Faust: Der Doppelcharakter des Bösen. Frankfurt am Main: P. Lang, 1998.
Find full textGoethe, Faust. Cambridge: Cambridge University Press, 1987.
Find full textR, Williams John. Goethe's Faust. London: Allen & Unwin, 1987.
Find full textSignifikationsprozesse in Goethes "Faust," zweiter Teil: Mythologische Figur und poetisches Verfahren. Frankfurt am Main: P. Lang, 1992.
Find full textWelttheater und Geschichtsprozess: Zu Goethes Faust. Frankfurt am Main: P. Lang, 2003.
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