Academic literature on the topic 'Criticism, textualgoethe, johann wolfgang von , 1749-1832'

Thesis (MMus (Music))-- Stellenbosch University, 2010.
ENGLISH 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.

This Master's thesis analyses the connection between the Illuminati ideology and the sociopolitical ideals contained in pre-classical works---contemporary to the existence of the order---of Johann Wolfgang Goethe and Friedrich Schiller. The first chapter examines the creation, the development and the eventual collapse of the Illuminati Secret Society (Geheimbund der Illuminaten) founded in 1776 by Adam Weishaupt in the context of the Enlightenment. The second chapter explores the ideological similarities between the young Goethe and this secret society through the analysis of his works Gotz von Berlichingen (1771--1773), Egmont (1775--1784) and Der Gross Cophta (1791). The third chapter expounds Schiller's ideological opinion of the Illuminati through Don Carlos (1787), and discusses their republican visions of freedom and human rights. The conclusion integrates the findings made in each chapter and demonstrates, through both authors' discussed works, the similar ideals of both authors and Illuminism.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
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

Orientador: Marcio Orlando Seligmann-Silva
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Doutorado
Historia e Historiografia Literaria
Doutor em Teoria e História Literária

This thesis is divided into two main parts. The first, comprising the three initial chapters, looks, in chapter one, at the specifically German origins of the Bildungsroman, its distinctive features, and the difficulties surrounding its transplantation into the literary contexts of other countries. Particular attention is paid to the ethical dimension of the genre, i.e. to the relation between the individual self and the exterior world, and how it affects individual formation. The focus then shifts to American literature, and the term 'narrative of initiation' is recommended as a credible alternative to 'Bildungsroman'. Allowing for similarities between them, it is none the less strongly suggested that the Bildungsroman of German origin and the American narrative of initiation should be seen as being intrinsically different, principally because of the different cultural backgrounds that shaped them. Several features of the theme of initiation are postulated as decisive factors in the discrepancies between the initiatory narrative and the Bildungsroman. Analysis of six texts - three of each literary tradition - follows, to provide support for the theoretical discussion of the terms introduced in chapter one. Three Bildungsromane are considered in the second chapter, namely Goethe's Wilhelm Meisters Lehrjahre, Stifter's Der Nachsommer and Keller's Der grune Heinrich, and three narratives of initiation in chapter three: Twain's The Adventures of Huckleberry Finn, Crane's The Red Badge of Courage and Anderson's Winesburg, Ohio. Their relevance to the tradition of German and American fiction as a whole and as precursors of Mann's Der Zauberberg and Hemingway's The Nick Adams Stories is considered. A direct comparison between Mann's and Hemingway's texts constitutes the second part of this thesis, wholly contained in chapter four. In addition to a comprehensive critical reading of both narratives, the contemporaneity of Der Zauberberg and The Nick Adams Stories is taken into account, and consequently special consideration is given to the texts' close relation with the cultural and historical realities of the early twentieth century, particularly the impact of the First World War. With the assistance of Jung's theories, an increased awareness of death and of the dark side of the psyche - though dealt with differently in both texts - is put forward as a significant factor in the deviation of Der Zauberberg and The Nick Adams Stories from the traditions of the Bildungsroman and of the narrative of initiation. This departure leads to a re-appraisal of the relation between the protagonists and their society, and to a new ethical attitude that presupposes different, more modem conceptions of what Bildung and initiation represent in the context of the early twentieth century. How and why they changed and if they survived as literary notions are questions this thesis attempts to answer.

This thesis examines the morphology of Johann Wolfgang von Goethe (1749-1832) through several lenses. The first explores Goethe's morphology as he applied it in his botanical work and supplies an explanation of what Goethe referred to as archetypal phenomena and the archetypal plant. The scope of exploration then broadens to include how Goethe's morphology related to contemporary intellectual trends, in particular Linnaean taxonomy and Kantian Idealism. These contexts serve to situate the development of Goethe's own thinking from his initial formulations of morphology to later variations. The second half of the thesis focuses on contemporary applications of Goethe's ideas in morphology. Natural aesthetics serves as a natural extension. Modern theories of natural aesthetics seek out different justifications for aesthetic experiences arising from engagement with the natural world and this thesis offers Goethe's morphology as an additional possibility. The final chapter looks at The Nature Institute and how it has adopted Goethe's methods and applied them to modern genetics while expanding its scope to include cultural and ethical contexts. Through its presentation, this thesis intends that Goethe's morphology can be applied beyond it usual biological subject matter, including itself.
Graduation date: 2012

Although numerous English literary translations of Johann Wolfgang von Goethe’s ‘nobility in suicide’ - themed, epistolary, psychological and therefore “untheatrical” (Atkins 1949) novel Die Leiden des jungen Werthers (1774) have been published – none of the resultant English stage translations have ever been described as faithful to the original. The various obstacles to the creation of a faithful translation for the English language stage were analysed. The first obstacle is caution by Christian playwrights regarding the proscribed theme of nobility in suicide. Related to this is the second obstacle; the fear of producing ‘imitative’ suicides, which have been labelled ‘The Werther Effect’ by sociologists (Phillips 1974). Other obstacles are form-related rather than theme-related and include the absence of an authoritative English literary translation and the difficulties in translating to the stage the psychological and epistolary novel. With reference to Goethe’s three–tiered model of translation (translated by Lefevere 1977) and cinema academic Geoffrey Wagner’s ‘Three modes of adaptation’ (Wagner 1975) this writer has attempted to write a ‘prosaic’, ‘transpositional’ and unaugmented stage translation by identifying and addressing each of the obstacles, the hypothesis being that if these obstacles were systematically addressed and overcome, then an English language stageplay closely equivalent in meaning to the prominent ideas, themes and form of the novel – that is, a work arguably faithful to the novel – could be created. The research lead to the resultant creation The Sorrows and Sufferings of Young Werther; a Stageplay which is submitted as the creative work component (30%) of the writer’s Master of Creative Arts thesis at the University of Melbourne, Australia, in September 2003.

Die vorliegende Untersuchung arbeitet die wesentlichen gesellschaftspolitischen und ökonomischen Entwicklungslinien heraus, die sich während der geschichtlichen Umbruchphase um 1830 im deutschen Raum aus dem letzten Akt von Goethes Faust II ableiten lassen. Tiefgreifende politische, wirtschaftlich-technische und kulturelle Umwälzungen zu Beginn des 19. Jahrhunderts wirkten auf Goethe als Zeitgenossen ein und wurden von ihm in seinem literarischen Spätwerk verarbeitet. Aus Goethes Alterswerk Faust II heraus lassen sich Konstanten und Entwicklungen seiner Zeit sichtbar machen und, immer eingebettet in den zeitgeschichtlichen Kontext, konkret nachweisen. Diese Ausarbeitung will aufzeigen, dass Goethe im letzten Akt von Faust II einen sich zu Beginn des 19. Jahrhunderts vollziehenden – und teils bereits vollzogenen - Wandel der menschlichen Geisteshaltung attestiert. Säkularisierung und zweckorientierte Rationalität, Beschleunigung, Enthumanisierung und Unterwerfung von Mensch und Natur stehen hierbei im Mittelpunkt. Fausts aus seinem Pakt mit dem Teufel entstandene Welt nimmt die uns heute umgebende vorweg, die geprägt ist von Datenflut, elektronischen Medien, einer von Alltagshektik geprägten Realität und systemimmanenten Expansionsstreben. Allein dies verleiht dem Drama ein unübersehbar hohes Gegenwartspotential.
This thesis explores the trends of socio-political developments during the period of historical changes in Germany around 1830 that can be deduced from Act V of Goethe´s Faust II. Profound political, technical, economic and cultural changes at the beginning of the nineteenth century had an impact on Goethe as a contemporary and appear in his late literary work. Thus specific constants and developments of his time are also presented in and can be deduced from one of the great literary works of the aged poet, Faust II. This paper shows that the final act of Faust II Goethe reveals profound changes in human mentality that took place at the beginning of the nineteenth century and partly even before: Secularization and ruthless rationality with a tendency to acceleration, de-humanization and unscrupulous submission of human beings and nature. The world that originated from Faust´s pact with the devil in Faust II anticipates the reality surrounding us nowadays, a reality characterized by a flood of data, electronic media and the hectic pace of everyday life, - a fact vouching for the play´s striking modernity.
Classics & World Languages
M.A. (German)