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Academic literature on the topic 'Goethe, Johann Wolfgang von 1749-1832 Poems'

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Published: 10 December 2022
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Journal articles on the topic "Goethe, Johann Wolfgang von 1749-1832 Poems"

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Firoze 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.

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This study aims to establish a link between the concept of “Weltliteratur” or World Literature, in terms of the free movement of literary themes and ideas between nations in original form or translation, and the Bengali poets of the thirties and forties who actively translated French and German poets. It identifies Johann Wolfgang von Goethe's (1749-1832) concept of World Literature as a vehicle for the Kallol Jug poets. Johann Wolfgang von Goethe introduced the concept of “Weltliteratur” in a few of his essays in the first half of the nineteenth century to describe the international circulation and reception of literary works in Europe, including works of non-Western origin. My emphasis will be on Jibanananda Das (1899-1954) arguably the most celebrated poet in Bengali literature who was well versed in the contemporary Western Canons of Poetry. Jibanananda’s defamiliarization of the rural Bengal Landscape, his use of exotic foreign images owe a debt to contemporary European poets. Interestingly, Jibanananda had reviewed an English translation of German author Thomas Mann’s novel “Dr Faustus’ for a Bengali magazine “Chaturanga”. In the Bengali review he states that despite prevalent misconceptions (some critics considering the novel to be superior to the original Faust epic by Goethe) Goethe’s Faust was the first text to capture the hope, despair and crisis in the modern world and articulate it in such a manner that “true” literature of the age was created in its new light. In Jibanananda’s estimation, Thomas Mann deserves credit for treating the Faust legend in a unique and creative way.
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Tidjani, Ridwan Adewale. "Al muqaranah Al Adabiyah Baina Imru Al Qais wa Lord Alfred Tennysson." (الطموحات ) EL-THUMUHAT 2, no. 1 (April 22, 2020): 1–13. http://dx.doi.org/10.25299/elthumuhat.2019.vol2(1).2340.

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Abstract Imru-l-qais remains an idol in the ancient Arabic poem. He had transformed it by introducing some new metaphor and rhetoric, which Arabian poets stayed on for decades after. Also, Imru-l-qais poem has been able to move outside Arabian peninsula into other international literature. This paper focused on one of his greatest poem (Almuhalaqoh) and how influencial this work was received by poets in their different literature - English, French, Dutch, and Russian. Alfred Lord Tennyson's _Locksley_ _Hall_ (1892) was was inspired by Imru-l-qais' poem. He read it, diggest it, and reproduce it in English form. However, this paper uses the comparative method to review the influential aspect between the two works. Therefore, the paper sought to reveal the confluences of the two poems substantively, which the result of the comparision showed that they dealt almost with the same subject within the poem; as well as meeting up on the structure and rhythm level. Historically, the connection between the two poems emerged through the translation of some Arabic Poems and its explanation by William Jones (1794), Johann Wolfgang von Goethe (1832) and others.
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Haas, L. F. "Johann Wolfgang von Goethe (1749-1832)." Journal of Neurology, Neurosurgery & Psychiatry 56, no. 11 (November 1, 1993): 1148. http://dx.doi.org/10.1136/jnnp.56.11.1148.

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Mannetstätter, Antje, and Christoph Friedrich. "Die Zürcher Arzt-Apotheker-Familie Lavater und Johann Wolfgang von Goethe." Gesnerus 55, no. 1-2 (November 27, 1998): 5–16. http://dx.doi.org/10.1163/22977953-0550102002.

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The aim of this paper is to demonstrate the connections between Johann Wolfgang von Goethe (1749-1832) and the physician and pharmacist family Lavater in Zurich. The analysis of the correspondence between Johann Bartholomäus Trommsdorff (1770-1837) and the Lavater family and between the Lavater family and the government of the duchy of Weimar shows an interesting story about a picture "Goethe in Italy".
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Todd, Malcolm. "Goethe and prehistory." Antiquity 59, no. 227 (November 1985): 197–201. http://dx.doi.org/10.1017/s0003598x00057264.

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In this fascinating article, the Professor of Archaeology in the University of Exeter shows us that Johann Wolfgang von Goethe (1749–1832) was not only the author of Faust, The Sorrows of Young Werther, and of beautiful lyrics, ballads and love-songs, but was keenly interested in prehistory and was well abreast of the subject as it was developing in Germany in the early nineteenth century.
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Kestler, Izabela Maria Furtado. "Johann Wolfgang von Goethe: arte e natureza, poesia e ciência." História, Ciências, Saúde-Manguinhos 13, suppl (October 2006): 39–54. http://dx.doi.org/10.1590/s0104-59702006000500003.

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Este artigo apresenta a obra científica do poeta alemão Johann Wolfgang von Goethe (1749-1832), a qual engloba os campos da anatomia humana e animal, ótica, geologia, mineralogia, química, botânica, morfologia e meteorologia. Goethe considerava que na natureza e na arte vigiam as mesmas leis, conceituadas por ele como leis da polaridade e da intensificação. Sua obra poética só pode ser avaliada e interpretada à luz de sua visão da harmonia entre homem e natureza, assim como da complementaridade entre espírito e matéria.
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Fein, I. Alan, and Gregg Y. Lipschik. "“We only see what we know”—Johann Wolfgang von Goethe [1749–1832]*." Critical Care Medicine 37, no. 1 (January 2009): 352–53. http://dx.doi.org/10.1097/ccm.0b013e31819305f3.

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Tocha, Veronika. "Dichtung und Wahrheit. Gesichtsmasken in der Berliner Gipsformerei." Zeitschrift für Ideengeschichte 14, no. 1 (2020): 27–38. http://dx.doi.org/10.17104/1863-8937-2020-1-27.

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Johann Wolfgang von Goethe (1749-1832) sah etwas "Fremdartiges, ja völlig Unwahres" im Medium der Totenmaske. Überhaupt schien ihm der Tod "ein sehr mittelmäßiger Porträtmaler", weshalb er sich nicht nur gegen die Abnahme seiner eigenen Totenmaske aussprach, sondern es auch ablehnte die Totenmasken seiner Freunde zu betrachten. Mit dieser Haltung nimmt Goethe im Kontext seiner Zeit eine Ausnahmestellung ein, waren Totenmasken von öffentlichen Persönlichkeiten und Geistesgrößen aller Art ab dem frühen 19. Jahrhundert doch höchst populär und wurde die Abformung des Totengesichts gerade deshalb praktiziert, weil sie - so der damalige Konsens - wie kein anderes bildgebendes Verfahren Realitätsnähe und Wahrheit verbürgte.
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BARRENTO, JOÃO. "Poesia. A glorificação do sensível." Estudos Avançados 33, no. 96 (August 2019): 317–38. http://dx.doi.org/10.1590/s0103-4014.2019.3396.0017.

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resumo Este ensaio busca ressaltar algumas características da extensa obra lírica de Johann Wolfgang von Goethe, desde os versos de “ocasião” com que saúda os avós maternos no Ano Novo de 1757, até pouco antes de sua morte em março de 1832. Distinguindo-se por profícua interpenetração de estilos, formas, motivos e também de várias tradições da lírica europeia, a obra poética de Goethe - dotada de extraordinária força onomatúrgica e inclinada a consumar na palavra uma epifania da ideia a partir do fenômeno - apresenta-nos, em alguns momentos mais “prosaicos”, uma faceta surpreendentemente moderna. Essa “modernidade” pode ser apontada também no ciclo, inspirado no poeta persa Hafiz e publicado pela primeira vez em 1819, Divã Ocidental-Oriental, que promove a integração num todo uno e coeso da expressão lírica (os gazéis e demais poemas) e do discurso ensaístico (nas “Notas e estudos para melhor compreensão do Divã Ocidental-Oriental”). Nesse ciclo manifesta-se ainda um jogo ficcional de despersonalização e mascaramento que reverbera mais tarde em grandes poetas da impessoalidade e das personae, como Robert Browning, W. B. Yeats ou F. Pessoa.
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Nawata, Yūji. "Phantasmagoric Literatures from 1827 : Johann Wolfgang von Goethe, Sin Chaha, and Kyokutei Bakin1." Jahrbuch für Internationale Germanistik 54, no. 1 (January 1, 2022): 145–66. http://dx.doi.org/10.3726/jig541_145.

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The magic lantern as a projection technique, which has existed in Europe since the 17th century (at the latest), and phantasmagoria as a large-scale magic lantern occupy a prominent place in the world history of visual culture. As they spread across the world, these technologies encountered written cultures and produced fantastic literature—phantasmagorical literature, so to speak. This article analyzes phantasmagorical literature written or published circa 1827 by Johann Wolfgang von Goethe (1749–1832) of Germany, (SIN Chaha, also called [SIN Wi], 1769–18452 of Korea, and (KYOKUTEI Bakin, 1767–1848) of Japan. This is a demonstration of a novel approach to comparative literature, which compares literary works in the light of global technological history, and this is an attempt to give an insight into the world history of visual culture from the perspective of 1827.
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Dissertations / Theses on the topic "Goethe, Johann Wolfgang von 1749-1832 Poems"

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Domingues, Melissa Sofner 1990. "Gretchen am Spinnrade : um estudo analítico-interpretativo de quatro Lieder compostos sobre o mesmo poema de J. W. von Goethe." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284624.

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Orientador: Adriana Giarola Kayama
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-25T18:27:46Z (GMT). No. of bitstreams: 1 Domingues_MelissaSofner_M.pdf: 9593128 bytes, checksum: 711d2f83f4953c663a8135590bbcf06b (MD5) Previous issue date: 2014
Resumo: Música e poesia. Como as duas artes interagem, que significados são criados, reiterados, modificados e como a performance se constrói e se enriquece a partir desta interação é a reflexão que impulsiona o presente trabalho. Propomos uma análise músico-textual visando a interpretação e performance de quatro Lieder do período Romântico construídos sobre o poema Gretchen am Spinnrade de J. W. Goethe. Serão contempladas as canções dos compositores Louis Spohr (Gretchen), Franz Schubert (Gretchen am Spinnrade), Carl Loewe (Meine Ruh ist hin), e Richard Wagner (Meine Ruh ist hin). Para isso, é feita uma introdução sobre o gênero Lied e sobre o poeta. Em seguida, é proposta uma análise literária do poema, que servirá de base para a interpretação das canções. São abordados aspectos conteudísticos e formais do texto, assim como sua contextualização dentro da peça Fausto I, de que foi extraído. Em seguida, é feita uma análise musical das obras, com foco nas relações texto-música presentes e contemplando aspectos tanto da linha vocal quanto do acompanhamento. Ao longo da análise são feitas sugestões interpretativas baseadas nas relações texto-música
Abstract: Music and Poetry. How the two art forms interact, what meanings are created, emphasized, modified and how the performance is built and enriched from this interaction is the reflection that impels the present work. A text-music analysis aiming towards the interpretation and performance of four Lieder - settings from the Romantic period of the poem Gretchen am Spinnrade from J. W. Goethe is presented here. The settings of Louis Spohr (Gretchen), Franz Schubert (Gretchen am Spinnrade), Carl Loewe (Meine Ruh ist hin), e Richard Wagner (Meine Ruh ist hin) will be approached. After introductory considerations about the genre Lied and about the poet are made, an analysis of the poem is presented, which will ground the interpretation of the songs. Content and formal aspects of the text are considered, as well as its contextualization in the play Faust I, from where it was extracted. Afterwards, a musical analysis of the songs is presented, focusing on the existing text-music relations and taking aspects from the vocal line as well as the accompaniment into consideration. During the analysis interpretative suggestions are made, based on the text-music relations
Mestrado
Praticas Interpretativas
Mestra em Música
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Lacoste, Jean. ""Goethe : art, science, poésie"." Paris, EPHE, 2006. http://www.theses.fr/2006EPHE4060.

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Les études qui composent cette thèse, hétérogènes sans doute par leur objet, leurs méthodes et leurs ambitions, ont toutes en commun de chercher à éclairer l'oeuvre littéraire de Goethe à partir des notions élaborées dans les "écrits scientifiques". Si ces études sont fragmentaires, à dessein, et par nécessité, elles renvoient toutes à une certaine unité de la pensée de Goethe, elles la postulent même. C'est dans les écrits consacrés à la géologie, à la "théorie des couleurs", à la biologie et à la botanique, etc - écrits auxquels Goethe lui-même accordait une importance qui surprenait ses interlocuteurs -, que l'on trouve exprimée dans la prose la plus ample, ou sous une forme fragmentaire, mais au plus près de son origine, "la pensée la plus profonde" de Goethe, celle qui trouve, ailleurs, dans la poésie, sa forme la plus condensée. Non que la poésie soit la traduction versifiée d'une pensée "scientifique", dogmatique, qui chercherait à se vulgariser post festum par un poème didactique; elle est au contraire la condensation la plus authentique - la quintessence, au gré des circonstances biographiques - d'une approche du monde, d'une vision de l'homme, d'une philosophie de la nature, qui trouve dans les écrits scientifiques (surtout dans la Farbenlehre) sa manifestation la plus explicite. Comme la feuille du gingko biloba dans le Divan, on pourrait dire que la pensée de Goethe, simultanément poétique et rationnelle, est à la fois "une et double", eins und doppelt. Il s'agit de mieux comprendre les relations entre Dichtung et Science
Even if they are heteregeneous in their scope, their methods and their object, these studies on Goethe have a common purpose: they intent to elucidate Goethe's literary work thanks to the notions that the German poet has elaborated in his scientific works. If, therefore, these studies are, of necessity, fragmentary, all, of them put in evidence a certain unity in Goethe's thought, and even postulate it. Goethe's writing on geology, on theory of colours, on biology and botany - writings which, for Goethe himself, were of paramount importance, to the great surprise of his admirers - give expression, either by the medium of an ample prosa or in aphorisms, to Goethe's deepest thought, the world-view that finds in Goethe's poetry its condensed translation. Of course, poetry in this case, is not the translation in verse of a "scientific" and dogmatic thought that would be explained to a larger audience by way of a didactic poem. It is, on the contrary, the most genuine condensation, the quintessence, hidden in the biographical data - of a Weltaanschauung, that is to say of a conception of man and a vision of Nature which find in the scientific writings (in particular the Theory of colours) its clearest expression. It could be said that Goethe's thought, at the same time rational and poetic, is simultaneously one and double, eins and doppelt, like the celebrated ginko biloba at the West-östlicher Divan
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Hurson, Didier. "L'idée de totalité chez Johann Wolfgang von Goethe." Nancy 2, 1995. http://www.theses.fr/1995NAN21006.

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La notion de totalité postule l'existence d'une sphère de réalité inaccessible aux sens comme à la pensée discursive, mais sentie comme légitimation transcendantale du continuum phénoménal, donc du consentement au monde. Le corpus scientifique et littéraire de Goethe est examiné à l'aide de larges extraits situés dans la diachronie de l'histoire des idées (pensée présocratique, stoïcisme, Renaissance européenne, philosophie critique de Kant). L'idée de totalité apparaît alors tel un principe structurant, une base heuristique qui oriente la quête ontologique de Goethe lors de son questionnement de la natura naturata et son admiration productive devant la natura naturans. La critique esthétique de Goethe (Mantegna, Laocoon) révèle la présence d'un temps mixte garant de complétude et de plénitude. L'exquise rareté de "l'aperçu" convoque devant la conscience la totalité qui a dépassé l'état d'énigme
The notion of totality postulates the existence of a sphere of reality inaccessible to the senses as well as to the discursive approach; totality is much more felt as the transcendental legitimacy of the phenomenal continuum and thus of the consent of existence. The scientific and literary works of Goethe are examined by way of large extracts which are placed into the diachronical context of the history of ideas (Presocrates, Stoa, European Renaissance, critical philosophy of Kant). The idea of totality appears to be a structure-creating principle, an heuristic base which directs the ontological request of Goethe during his investigations of the natura naturata and when being inspired by the natura naturans. Goethe's reflexion on art (Mantegna, Laocoon) reveals the existence of a mixed time contributing to a sense of completeness and serenity. The rare and unique appeatance called "apercu" makes us aware of a totality no longer being an enigma
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Manteau, Roger Avanzini Guy. "Les Idées pédagogiques de Goethe." [S.l.] : [s.n.], 1985. http://theses.univ-lyon2.fr/sdx/theses/lyon2/1985/manteau_r.

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Richter, Alexandra. "La pensée en archipel : Goethe face à la philosophie." Paris 4, 2003. http://www.theses.fr/2003PA040216.

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Entre l'image d'un Goethe aphilosophique et celle d'un Goethe pataugeant dans toutes les eaux de la pensée, "La pensée en archipel" aborde la question du rapport littérature-philosophie dans la constellation d'un "face à face". Réfractaire à la pensée hiérarchique, entassée dans les systèmes architecturaux et régie par le principe de contradiction, la pensée littéraire apparaît chez Goethe sous la forme plus effilochée de l'archipel. Au lieu d'extraire de son oeuvre un "suc philosophique" et sans vouloir transformer ses écrits en une métaphysique concurrençant celle des grands penseurs occidentaux, "La pensée en archipel" propose d'analyser la vie et l'oeuvre de Goethe en tant que forme de pensée autonome et de jeter une nouvelle lumière sur le lien particulier qui, depuis des temps immémoriaux, tient en haleine les écrivains et les philosophes
At the crossover between an absolutely un-philosophical Goethe and a writer wading about every fields of thought, " Archipelago thinking " approaches the question of the relation between literature and philosophy in the constellation of a " line-up ". Intuitively rejecting any hierarchical thinking, fixed up in architectonic structures and defined by the principle of contradiction, literary thinking takes in Goethe's work the less well-ordered from of an archipelago. Instead of trying ti squeeze out any kind of "philosophical essence" from his work and not wishing to deform his writing into a metaphysics completing with the great Western thinkers, " Archipelago thinking" try to investigate Goethe's live and work as an original form of thinking and to shed a new light on the special relationship that, since the beginning of the Western culture, has kept both writers and philosophers in suspense
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Jouanneau-Hedinger, Christine. "Du journal au voyage d'italie de j. W. Goethe." Université Marc Bloch (Strasbourg) (1971-2008), 1997. http://www.theses.fr/1997STR20075.

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Ce travail decrit l'evolution entre les documents nes au cours du voyage d'italie de goethe, particulierement le journal, et l'oeuvre qui fut redigee trente annees plus tard a partir de ceux-ci: le voyage d'italie. La premiere partie est ainsi consacree au journal d'italie, dont nous nous proposons de mettre l'originalite en lumiere, tant sur le plan du fond que de la forme. Replacant le recit dans l'histoire litteraire et dans la tradition du voyage d'italie, nous montrons que goethe transcende ici les differentes sources d'influence, mises au service d'une philosophie bien personnelle du voyage. Par ailleurs, nous degageons les elements permettant de conclure a une evolution de l'auteur vers la pensee et l'esthetique classiques. Nous nous interrogeons egalement sur l'image transmise par goethe de l'italie, dont l'idealisation et l'esthetisation constituent une caracteristique du journal. C'est ensuite le voyage d'italie qui est au centre de nos considerations, plus precisement la premiere partie de l'oeuvre. A l'appui des corrections ulterieures, nous mettons a jour les nouvelles intentions de l'auteur dans le role d'autobiographe, ainsi que les principes qui ont dicte la redaction de l'oeuvre. Ceci nous amene a poser le probleme de la fidelite de l'auteur envers son passe et de l'authenticite du recit. Le but de l'analyse est de montrer qu'a la difference des documents originaux, le voyage d'italie est l'expression consequente de l'ideal qu'il vehicule et peut donc etre considere comme une oeuvre typique du classicisme weimarien
This thesis describes the development between the documents originating in goethe's italian journey, especially the "journal", on the one hand, and, on the other hand, the work that was published thirty years later on the basis of these documents: the "italian journey". Thus the first part of this thesis will be concerned with the "italian journal", the originality of which shall be revealed hereby, with regards to its form and contents. By placing this journal into literary history and the tradition of travelling to italy i would like to show that goethe transcends here the different sources of influence serving a very personal philosophy of travelling. In addition to this i will describe the elements revealing the process of the author's gradual development towards the philosophy and aesthetics of classicism. I will also deal with the question of goethe's image of italy, whose idealisation and aestheticization constitutes a characteristic feature of the "journal". In the second part of this thesis i will focus on the "italian journey", particularly on its first part. On the basis of goethe's later alterations of his "journal" i would like to point out the writer's new intentions as autobiographer, as well as the principles whitch determined the composition of his work. Hence i will discuss the problem of goethe's fidelity to his past and the authenticity of his work. This analysis aims at showing that the "italian journey" - in contrast to the original documents - expresses precisely the ideal conveyed by it and that it can therefore be regarded as a work typical of the classicism of weimar
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Dumiche, Béatrice. "Épanouissement féminin et sociabilité naturelle dans l'œuvre de jeunesse de Goethe : étude sur les personnages féminins des Souffrances du jeune Werther et de Stella." Paris 4, 1993. http://www.theses.fr/1993PA040172.

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Notre travail s'inscrit dans le contexte très large du débat lancé par Katharina Mommsen quant au rapport de Goethe à l'émancipation féminine. Il étudie le rôle structurel des personnages féminins dans son œuvre de jeunesse et l'importance que le degré de leur sociabilité a pour leurs partenaires masculins dans la résolution de leurs conflits qui reflètent, à cette époque, les déchirements de leur auteur à la recherche de sa souveraineté artistique et humaine. Il montre, dès lors, que l'apparition d'un idéal de féminité salvatrice est liée, pour Goethe, au dépassement d'une conception piétiste de l'amour fondée sur l'alchimie, qui éveille la femme à la sensibilité sans lui permettre de la réaliser dans un épanouissement sensuel, en faveur d'un amor dei spinoziste sécularisé où l'expérience de l'altérité devient révélation, pour la femme, de la transcendance proprement humaine que lui procure l'assomption individuelle de sa détermination physique. La représentation d'une féminité souveraine est ainsi explicitation rédemptrice de l'anima au travers d'une écriture conçue comme adhésion suprême à la vie
Our work has to be situated in the larger context of the debate initiated by Katharina Mommsen who sees Goethe as a precursor of women's emancipation. It examines the structural role of female characters in his early work and the importance that their degree of sociability has to their male partners trying to resolve personal conflicts, which reflect their author's quest for his own human and artistic mastership. It shows thus that the ideal of feminine salvation is linked, for Goethe, with the convertion to a secularised understanding of Spinozas's amor dei, which means that he abandoned a pietistic conception of love awakening women to sensibility without giving them the opportunity to live it out in true sensuality : hence women get the revelation of their own human transcendence through the loving experience of otherness in the assumption of their physical determination. Therefore self-conscious feminity is the expression of the writer's anima in the act of writing considered as his highest devotion to life
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Birus, Hendrik. "Vergleichung, Goethes Einführung in die Schreibweise Jean Pauls /." Stuttgart : Metzler, 1986. http://catalogue.bnf.fr/ark:/12148/cb349197552.

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Hachet, Pascal. "Les psychanalystes et Goethe." Paris 7, 1994. http://www.theses.fr/1994PA070163.

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Vale, Teresa Margarida Guerra de Almeida Rino e. do. "Reflexos do Fausto de Goethe nas Viagens na minha terra." Master's thesis, Universidade de Aveiro, 1999. http://hdl.handle.net/10773/23535.

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Books on the topic "Goethe, Johann Wolfgang von 1749-1832 Poems"

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Goethe, Johann Wolfgang von. Fairy tales, short stories, and poems by Johann von Goethe. Edited by Thomas J. W. 1916-. New York: P. Lang, 1998.

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Goethes Gedichttitel. Berlin: W. de Gruyter, 2000.

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Goethe, Johann Wolfgang von. The West-East Divan: Poems, with "notes and essays" : Goethe's intercultural dialogues. Binghamton, N.Y: Global Academic Pub., 2010.

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Jessing, Benedikt. Johann Wolfgang Goethe. Stuttgart: J.B. Metzler, 1995.

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Johann Wolfgang von Goethe: Ein Porträt. Köln: Böhlau, 2009.

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The silence of Goethe. South Bend, Ind: St. Augustine's Press, 2009.

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Goethe, his life and times. New Brunswick: Transaction Publishers, 2010.

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Goethe, the sorrows of young Werther. Cambridge [Cambridgeshire]: Cambridge University Press, 1987.

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Vincent, Deirdre. Werther's Goethe and the game of literary creativity. Toronto: University of Toronto Press, 1992.

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Goethe und die Rhetorik. Berlin: De Gruyter, 2010.

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Book chapters on the topic "Goethe, Johann Wolfgang von 1749-1832 Poems"

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Shamey, Renzo, and Rolf G. Kuehni. "Goethe, Johann Wolfgang von 1749–1832." In Pioneers of Color Science, 135–38. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-319-30811-1_29.

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Barclay, Katie, and François Soyer. "Johann Wolfgang von Goethe (1749–1832), the Sorrows of Werter: a German Story." In Emotions in Europe 1517–1914, 324–30. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003175513-50.

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"Johann Wolfgang von Goethe (1749–1832; German)." In Romanticism: 100 Poems, 9–11. Cambridge University Press, 2021. http://dx.doi.org/10.1017/9781108867337.003.

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"Johann Wolfgang von Goethe (1749 Frankfurt am Main – 1832 Weimar)." In Brahms and His Poets, 138–46. Boydell and Brewer Limited, 2017. http://dx.doi.org/10.1017/9781787441552.020.

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"Johann Wolfgang von Goethe (1749–1832)." In The Longman Anthology of Gothic Verse, 56–65. Routledge, 2014. http://dx.doi.org/10.4324/9781315834023-16.

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Sautter, Udo. "Johann Wolfgang von Goethe (1749–1832)." In Die 101 wichtigsten Personen der Weltgeschichte, 79. C.H.Beck, 2015. http://dx.doi.org/10.17104/9783406679483-79.

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Riordan, Colin. "Johann Wolfgang von Goethe 1749–1832." In Key Thinkers on The Environment, 70–75. Routledge, 2017. http://dx.doi.org/10.4324/9781315543659-14.

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Swales, Martin. "Johann Wolfgang von Goethe (1749–1832): The German Bildungsroman." In The Cambridge Companion to European Novelists, 124–39. Cambridge University Press, 2012. http://dx.doi.org/10.1017/ccol9780521515047.009.

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Conference papers on the topic "Goethe, Johann Wolfgang von 1749-1832 Poems"

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PONSOLLE, Géraldine. "Goethe et l’interdisciplinarité active : l’os intermaxillaire." In Les journées de l'interdisciplinarité 2022. Limoges: Université de Limoges, 2022. http://dx.doi.org/10.25965/lji.454.

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Abstract:
Johann Wolfgang von Goethe, poète, scientifique et homme politique allemand (1749-1832) traversa le tournant des siècles avec un soucis constant d’harmonie et d’action. La nature profondément interdisciplinaire de son écriture dramatique comme de ses études scientifiques peut aider les chercheurs d’aujourd’hui à acquérir une vision différente de leurs pratiques interdisciplinaires. Quel est ce Goethe qui se passionne d’anatomie et recherche l’os intermaxillaire chez l’homme ? Quelles œuvres dramatiques reflètent ses analyses scientifiques ? Quelle méthode de recherche le mène à renverser un mythe des sciences du XVIIIème siècle et préfigure les avancées cruciales du XIXème siècle ? Entre personnages hybrides, morphogénèse et unité du vivant, Goethe semble bien proche des préoccupations de notre temps.
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