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1
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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Previous issue date: 2014<br>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<br>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<br>Mestrado<br>Praticas Interpretativas<br>Mestra em Música
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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<br>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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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<br>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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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<br>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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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<br>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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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<br>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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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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Blondeau, Denise. "Mort et création : essai sur le rôle de la mort dans l'oeuvre poétique de Goethe." Paris 4, 1990. http://www.theses.fr/1990PA040108.
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Ce travail recherche dans l'œuvre poétique de Goethe les signes d'une hantise létale qui serait à l'origine des démarches créatrices. Une lecture ainsi orientée repère dans le texte trois thèmes fondamentaux: le suicide, la connivence de la femme et de la mort, la mort de l'enfant, dont l'analyse révèle l'existence en poésie goethéenne d'un personnage fondamental, le "pharmakos", qui, transgressant le tabou majeur, a commerce avec la mort. Ce personnage, meurtrier ou suicidaire, est une figure possible, un repoussoir en l'occurrence, du poète, et son acte violateur est une figuration de l'acte créateur, transgressif en son origine. A ce "maudit" est appose le "héros civilisateur", autre figure possible du poète, et a la transgression originelle, mythique, est opposée la reconnaissance de la loi, qui relègue la transgression "in illo tempore" et fonde l'œuvre. La création goethéenne est réponse a une hantise létale première, une fascination des origines, le "démonisme". La médiation d'hermès, éternel féminin ou enfant éternel, permet que l'affrontement du poète a la mort (qui peut s'interpréter comme conflit œdipien) soit relègue "au commencement" et se résolve dans la soumission à l'éthique (l'interdit de tuer étant lie à la loi de prohibition de l'inceste, donc a la liquidation conflit cedi pied), comme condition d'accès au symbolique. Le "symbole" goethéen est la médiation qui dit la mort. A l'acte de tuer est substitue l'acte de parole.
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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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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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Moraes, Neto José Dias de. "Transposições metafóricas." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284357.
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Previous issue date: 2011<br>Resumo: Este projeto explora possibilidades e processos de metaforização em imagens de estruturas poético- musicais. O objetivo foi construir metáforas visuais sobre três Lieder de Franz Schubert compostos sobre poemas de Johann Wolfgang von Goethe, "Ganymed", "Wandrers Nachtlied", e "Meeres Stille". O método usado foi o da análise literária e formal dos poemas para o estabelecimento das relações metafóricas entre eles e os Lieder, e sobre elas produzir ensaios fotográficos que as traduzissem visualmente. Os ensaios resultantes, expostos no corpo deste trabalho, confirmam a hipótese lançada, de que trabalhos artístico-visuais sobre tais análises mostram-se solidamente relacionados aos poemas e Lieder em que se fundamentaram<br>Abstract: This project explores the possibilities and processes of metaphorization in images of poetic-musical structures. The aim was to build visual metaphors for three Lieder by Franz Schubert which were composed about poems by Johann Wolfgang von Goethe: "Ganymed", "Wandrers Nachtlied", and "Meeres Stille". The method used was the formal and literary analysis of the poems for the establishment of metaphorical relationships between them and the Lieder, and with them to produce photographic essays that translate them visually. The resulting essays, displayed in the body of this study, confirm the considered hypothesis, that visual artwork built on such analysis is solidly linked to the poems and Lieder on which they were based<br>Mestrado<br>Artes Visuais<br>Mestre em Artes
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Pouget, Jean-Michel. "La science goethéenne des vivants et les paradigmes d'étude des êtres de la fin de l'âge classique jusqu'au début de la biologie évolutionniste." Paris 4, 1999. http://www.theses.fr/1999PA040078.
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L'outil des paradigmes révèle la face cachée de la science, il permet d'accéder à cet univers mental situe en amont des théories scientifiques où se forge cette vision de l'objet d'étude qui a un poids déterminant dans l'orientation prise par l'activité scientifique des individus et de leurs époques. Appliqué aux écrits botaniques et zoologiques goethéens, cet outil permet une mise en perspective par rapport à trois univers intellectuels distincts d'étude des êtres de Linné à Darwin. La contribution goethéenne s'appréhende alors ainsi : libérer la pensée scientifique de ses attaches au socle épistémologique de l’âge classique en s'attaquant à l'hégémonie de la pratique classificatoire, au préformationnisme, au mécanisme, au mythe de la chaine des êtres ; ouvrir ensuite un nouvel espace de recherches fondé sur une philosophie rénovée des vivants. Centrée sur une vision epigénétique, cette nouvelle science appelée biologie restitue aux êtres leurs racines terrestres. S'appuyant sur ses réflexions botaniques qui l'amènent à faire des lois d'organisation une priorité, Goethe élabore un projet d'anatomie comparée fonde sur le type ostéologique qui constitue une étape importante dans l'histoire de cette discipline. Mais il ne tire pas toutes les conséquences de la pensée nouvelle qu'il a contribué à amorcer et ne peut franchir l'ultime pas qui consiste à reconnaitre, comme Lamarck et Darwin, que l'origine des êtres répond également à des processus exclusivement naturels.
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Zummo, Raphaël. "MÉTAMORPHOSE DU REGARD L'intuition intellectuelle du type dans la morphologie goethéenne." Thesis, Université Laval, 2011. http://www.theses.ulaval.ca/2011/28341/28341.pdf.
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Trépanier, Michèle. "Food, flesh and death : anorexic discourse in Goethe's Die Wahlverwandtschaften." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21273.
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This thesis examines the development of an anorexic discourse in Goethe's Die Wahlverwandtschaften. Chapter 1 investigates anorexia as a cultural signifier and its relationship to non-clinical and non-medical disciplines. I then submit that female self-starvation serves a structural and a thematic function in WV. In Chapter 2, I argue that Ottilie's arrested female development illustrates the central, concept (elective affinities) of the novel. Chapter 3 examines food as a non-verbal system of communication in the narrative. Here, I demonstrate that Ottilie's eating disorder denies her subjectivity while it signifies and affirms the dominant social institutions depicted in the novel. Chapter 4 examines Ottilie's oscillation between corporeality and bodilessness. Her physicality is always associated with instability. The disappearance of her flesh allows for the passive reflection of masculine identity. In Chapter 5, I analyze the representation of Otttilie's death and demonstrate that her corpse allegorizes the construction of subjectivity in the narrative. In closing, I argue that Ottilie is an empty signifier in the novel, onto which the plot is imposed. Her anorexia functions as a sign for the process of narration and is a condition of the novel itself.
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Steele, Melodie Joy. "Ottilie: Expression of the Ideal of Romantic Childlikeness in Goethe's Wahlverwandtschaften." PDXScholar, 1996. https://pdxscholar.library.pdx.edu/open_access_etds/5201.
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The interpretation of Ottilie in Goethe's Wahlverwandtschaften stems from an understanding of romantic motifs, which find their most systematic expression in her childlike character. Ottilie embodies the romantic idealization of childhood as a means of withdrawal from the enlightened world, echoing the Romantics' rejection of the disenchanted Age of Enlightenment. Through her portrayal of innocent childlikeness, her adolescent conflict with the rational world, and her final rejection of enlightenment, Ottilie maintains her childlike purity, expressing the romantic ideal of childhood. Ottilie's childlike emotional disposition puts her in conflict with the enlightened world of adults and academia. In an attempt to maintain her childlike innocence, she separates herself from the present world and establishes ties to the medieval past through monastic duties and catholic sympathies. However, Ottilie's attempt to remain separate is futile due to her enlightened surroundings. Her journey toward self-awareness begins as a result of her love for Eduard, whose sexual thoughts of Ottilie launch her into a state of adolescence, against which she unconsciously struggles. Continual contact with the enlightened world weakens Ottilie's efforts to maintain ties to her childlike state. In her weakened condition she is unable to resist Eduard's continual amorous pursuits and openly displays her affection for him with a kiss. Her inner turmoil, resulting from her deliberate indiscretion causes the accidental drowning of Charlotte's and Eduard's baby Otto, which illuminates the iniquitous nature of her love for Eduard. She makes the decision to reject full enlightenment and transcends her human frailty by becoming saint-like. Through renunciation, which results in her sacrificial death, she spurns enlightenment and returns to a state of everlasting purity. As the portrayal of the romantic ideal of a maintained childhood innocence, Ottilie seems to be a vehicle to express either Goethe's commendation of condemnation of Romanticism. For the romantic, Ottilie's life and death are a triumph, for she succeeds in passing from this world, having proceeded from innocent child to saint into everlasting life. For the non-romantic, Ottilie's death is a tragedy, for she never reaches true enlightenment and never develops to her full potential.
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Hachet, Pascal. "Les psychanalystes et Goethe." Paris 7, 1994. http://www.theses.fr/1994PA070163.
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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.
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Le Faust de Goethe a provoqué une réelle onde de choc dans la vie culturelle des pays germaniques et des territoires francophones. Mais le drame allemand, et plus encore son personnage diabolique, n’ont pas fait l’objet d’une réception identique des deux côtés du Rhin, comme le révèle un examen détaillé du discours de la presse : tandis que les artistes et hommes de lettres germaniques rapportent le personnage aux incarnations infernales de la légende populaire faustienne, leurs homologues français y voient une réactualisation originale la figure mythique de Satan, dans la lignée des œuvres de Byron ou Milton. Après un état de la recherche portant sur le Méphistophélès de Goethe, nous avons dessiné l’évolution de son interprétation par la presse et de sa réutilisation par les artistes au-travers de l’analyse d’articles de presse, d’œuvres visuelles (Seibertz, Ramberg, Retzsch, Johannot), dramatiques (Holtei, B. v. Braunthal, Lesguillon) ou opératiques (Gounod). Enfin, l’analyse intermédiale comparée et détaillée des personnages diaboliques du Faust de Lenau, de la série lithographique de Delacroix et de La Damnation de Faust de Berlioz permet de reconstituer l’évolution des mythes de Faust et du diable au cours de la période étudiée, et de constater que, lorsque le diable s’humanise, l’homme se diabolise. Une réflexion sur le bienfondé des termes de « réécriture » et d’ « illustration », auxquels l’auteur préfère, selon l’opportunité, celui de « reformulation », clôt ce travail au carrefour des théories de la réception, de la mythocritique et de l’intermédialité<br>Goethe’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
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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.
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Thesis (MMus (Music))-- Stellenbosch University, 2010.<br>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.<br>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.
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Fontanella, Marco Antonio Rassolin. "A montanha magica como Bildungsroman." [s.n.], 2000. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269356.
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Previous issue date: 2000<br>Resumo: A presente dissertação de mestrado dedica-se a verificar como o romance de Thomas Mann A montanha mágica poderia filiar-se ao gênero literário do Bildungsroman. Sua introdução é um breve comentário sobre o estabelecimento do gênero literário do Bildungsroman enquanto tal, seguido de um excurso, igualmente breve, aos temas que ocupavam Thomas Mann aquando da redação deste seu romance, mediante a identificação de temas centrais das Betrachtungen eines Unpolitischen (Considerações de um apolítico). Feito isto, parte-se ao trabalho propriamente dito de pôr A montanha mágica ao lado do romance de Goethe Anos de aprendizado de Wilhelm Meister, paradigma do gênero em causa, para investigar o proveito em lê-Io como Bildungsroman. A própria questão sobre o que seria efetivamente um Bildungsroman desperta
polêmica até os dias atuais. Discutir A montanha mágica na qualidade de Bildungsromanimplica,pois - sempretacitamente-, em voltar à pergunta sobre o que teria feito dos Anos de aprendizado de Wilhelm Meister o primeiro romance de uma série que constituiu tradição dentro da literatura de língua alemã. Mas esta pergunta não é apresentada como tal no corpo do texto,
pois o que se pretendeu foi cingir-se a aproximar ambos os romances e esclarecer como este expediente é eficaz para compreendê-Ios. Seja como for, espera-se que mesmo a investigação do gênero tomada em si mesma sempre possa aproveitar-se das diversas incursões que se têm feito ao longo do tempo àquelas obras a ele imputadas<br>Zusammenfassung: In der vorliegenden Arbeit wird der Frage nachgegangen, inwieweit Thomas Manns Roman Der Zauberberg der literarischen Gattung des Bildungsromans zugeordnet werden kann. Die Einleitung der Arbeit besteht aus einem Kurzkommentar über die Entstehung der literarischen Gattung des Bildungsromans; dem folgt, indem die zentralen Themen aus Betrachtungen eines Unpolitischen bestimmt werden, ein Exkurs über die Themen, die Thomas Mann zur Zeit der Niederschrift des Romans beschãftigten. Im Hauptteil der Arbeit wird Der Zauberberg dem Roman von Goethe Wilhelm
Meisters Lehrjahre - dem Paradigma der Gattung - zur Seite gestellt, und es wird untersucht, ob Thomas Manns Buch in produktiver Weise aIs Bildungsroman gelesen werden kann. Die Frage, was eigentlich ein Bildungsroman sei, ist auch in heutiger Zeit noch umstritten. Eine Betrachtung Des Zauberbergs aIs Bildungsroman impliziert aIso immer auch - wenngleich unausgesprochen - eine Rückbetrachtung der Gründe, die Wilhelm Meisters Lehrjahre zum ersten Roman einer Gattung werden lieBen, die sich dann - aus heutiger Sicht - aIs Tradition in der deutschsprachigen Literatur etabliert hat. Dieser Fragestellung wird jedoch im HauptteiI der Arbeit nicht nachgegangen, da dieser sich darauf beschrãnkt, beide Romane gegenüberzustellen, um dadurch aufzuklãren, ob dieser Weg geeignet ist, sie zu verstehen. Es wird jedoch gehofft, dass eine
Untersuchung der Gattung aIs solche aus den verschiedenen Annãherungen, die im Lauf der Zeit an ihr unterstellte Werke gemacht wurden, Nutzen ziehen kann<br>Mestrado<br>Teoria Literaria<br>Mestre em Letras
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Lee, Charlotte Louise. "Self-consciousness in the works of the very late Goethe." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610832.
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Osterloh, Malte. "'Unterm reinsten Himmel der unsicherste Boden' : Die Grossstadterfahrung in Goethes Italiendichtung." Paris, EPHE, 2014. http://www.theses.fr/2014EPHE4001.
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La thèse est consacrée à l’expérience urbaine dans les œuvres « italiennes » de Goethe : Les Elégies romaines (1795), Les Epigrammes vénitiennes (1790/1800) et Le Voyage en Italie (1816/1817 – 1829). Une partie introductive fournit un tableau de l’évolution de la vision de la ville depuis les modèles mythiques de Babylone et de Jérusalem jusqu’à la métropole moderne synonyme de mouvement et d’agitation. La seconde partie traite des deux recueils poétiques de Goethe, Les Elégies romaines et Les Epigrammes vénitiennes, dans lesquels le cadre urbain est très présent. Mais c’est Le Voyage en Italie, qui fournit les données les plus importantes. La thèse examine successivement l’image que Goethe donne des quatre grandes villes italiennes dans lesquelles il a vécu : Venise, Palerme, Naples et Rome. La poésie d’Italie de Goethe montre la grande ville comme lieu des possibilités et des dangers. Et ces possibilités ne restent pas abstraites mais se réalisent très concrètement : Goethe guérit et développe sa personnalité dans les grandes villes. Néanmoins, Goethe critique souvent la vie et les événements dans les grandes villes, sur le niveau politique, esthétique, et spirituel, surtout quand il voit menacé, ce qu´il considère comme les plus importants éléments d´une vie urbaine : la conscience historique, la tradition des lois, l’échange, la concentration. La dissipation, la vélocité et le tumulte, donc le torrent de la ville moderne, mettent ces expériences urbaines plus que jamais en péril. Goethe indique ce qu’il faut préserver, et les raisons pour lesquelles il faut protéger certains acquis de la vie urbaine<br>This study deals with the urban experiences in the “Italian” works of Goethe: The Roman Elegies (1795), The Venetian Epigrams (1790/1800), and The Italian Journey (1816/1817 -1829). The introductive part delivers an overview of the evolution of the idea of the city, from the cities of ancient Greece and the biblical tradition to the modern metropoleis who become synonyms for mobility and nervousness. The second part is dedicated to The Roman Elegies and The Venetian Epigrams, two collections of poems in which the urban space figures prominently. It is then The Italian Journey that delivers the bulk of the material thus allowing the most insights about Goethe’s urban experiences. The study focuses on the four large cities which Goethe has seen in Italy and which he describes in his works: Venice, Palermo, Naples and Rome. Goethe shows the possibilities and the dangers of the metropolis. These possibilities are not presented in an abstract manner but take a rather concrete shape: It is in the large cities where Goethe convalesces and where evolves his personality. This doesn’t prevent him from criticising the life and the events in these cities, be it on the political, spiritual or aesthetic field. Whenever he sees at stake what he considers to be the decisive points in urban life – the historical consciousness, tradition of principles, exchange, and concentration – he criticises. Dissipation, velocity, and pandemonium threaten these urban experiences more than ever. Goethe calls attention to the things that are fading and need to be preserved and he gives the reasons why some urban attainments are worth being protected
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Efchin, Isabelle. "L'art et les plantes : trois regards d'écrivains, J.-J. Rousseau, J.-W. von Goethe, A. Karr." Paris 5, 1994. http://www.theses.fr/1994PA05P246.
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Wellige, Rainer. "Elemente der illuminatischen Ideologie in einigen vorklassischen Werken von Goethe und Schiller." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21277.
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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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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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Previous issue date: 2018-05-03<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>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<br>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
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Rosa, Elis Piera [UNESP]. "O símbolo e a alegoria nos textos teóricos de Goethe [de 1772 a 1798]." Universidade Estadual Paulista (UNESP), 2012. http://hdl.handle.net/11449/93999.
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rosa_ep_me_arafcl.pdf: 934093 bytes, checksum: e8923f38d0c273124682f279188c39f2 (MD5)<br>Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)<br>A presente dissertação delineará as noções que baseiam a oposição goethiana entre símbolo e alegoria (a partir dos textos do autor que dissertaram sobre arte, dos anos de 1772 a 1798), visando torná-la produtiva para a análise literária de passagens de As afinidades eletivas e Os sofrimentos do jovem Werther. Nosso trabalho traz um histórico sobre o signo em Goethe, observando a relação que este estabeleceu com a natureza e a Antiguidade, bem como o correspondente esforço em superar a dependência destas mesmas influências até atingir uma forma de expressão e pensamento próprias. O símbolo, como emergência de uma reflexão sobre linguagem não mais como meio, jaz também na teoria de Goethe. Sob a sugestão de Todorov em “A crise romântica”, relacionaremos o par símbolo-alegoria às ideias linguísticas de motivação e arbitrariedade (respectivamente): tal intento insere Goethe na tradição de discussão sobre a possibilidade de origem motivada para a linguagem iniciada pelo Crátilo de Platão, e continuada por autores de linguística e teoria literária, principalmente no que concerne às bases da fundamentação de uma linguagem poética. Arbitrariedade e motivação, ainda que inexistentes na Goethezeit, apresentam-se como conceitos que clareiam a distinção entre símbolo e alegoria. Uma origem motivada ou arbitrária para a linguagem encontrou destaque desde a declaração saussuriana de que todo signo é arbitrário – princípio fundador de sua ciência. Em seus textos teóricos, Goethe se detém numa defesa do signo linguístico como essencialmente motivado, noção esta que passa por nuances ao longo de sua carreira e se articula com o conceito de arbitrariedade em linguagem, culminando numa ideia de signo que englobe ambas as características contraditórias: o simbólico se torna mistério, que é velado e se...<br>This dissertation intend to outline the underlying concepts of the Goethean opposition symbol-allegory (using his texts whose main theme concern to art, written between 1772 and 1798), in order to make them productive for literary analysis on passages from Elective Affinities and The Sorrows of Young Werther. Our work provides a background about the idea of sign in Goethe: we note the relationship his art established with nature and antiquity, as well as his effort to overcome the dependence of these two influences, aiming to achieve an autonom form of expression and thinking. The emergence of language as a being able to self-expression (and no more as a mean serving institutions) is a atributtion of the symbol also present in Goethe's theory. Following the suggestion of Todorov in Romantic crisis, we will link the pair symbol-allegory to the linguistic ideas of motivation and arbitrariness (respectively): Goethe inserts such intent in the philosophic line which discuss the possibility of a motivated origin to the language – started with “Cratylus's” Plato, and continued by authors of literary and linguistic theory, especially the ones who concern to the basis fundamenting poetic language. Arbitrariness and motivation, even nonexistent in Goethezeit, can be presented as concepts that clarify distinctions between symbol and allegory. A motivated or arbitrary origin for the language has found prominence since the Saussurean declaration that, as a whole, the sign is arbitrary – the founding principle of his science. In his theoretical writings, Goethe holds up a defense of the linguistic sign as essentially motivated – a concept that goes through nuances throughout his career and is linked to the concept of arbitrariness in language, culminating in the construction of conventionality in the sign. It embraces... (Complete abstract click electronic access below)
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Silva, João Carlos Salles Pires da. "A gramatica das cores em Wittgenstein." [s.n.], 1999. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280190.
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Previous issue date: 1999<br>Resumo: Nosso objeto é a gramática das cores na obra de Ludwig Wittgenstein (1889-1951). Dirigimo-nos, portanto, às relações internas entre cores e não às relações externas entre pigmentos, raios luminosos, processos retinianos, que interessariam precipuamente a físicos, fisiólogos ou psicólogos. Desse modo, enquanto estudo sobre uma investigação filosófico-gramatical, nossa atenção se volta para o uso normativo de palavras descritivas da experiência cromática, perfazendo tal uso uma tarefa característica de uma fenomenologia, na medida em que seu alvo são as condições de sentido e não a verdade da percepção. O modo original de Wittgenstein de tratar a identidade da cor logra definir-se apenas em um percurso extenso, cujos pólos são, por um lado, a tentativa de resolver, de 1929 a 1932, um impasse contido no Tractatus (explicitamente, no aforismo 6.3751) e, por outro, a sofisticada composição final das Bemerkungen über die Farben, em 1950. Para enfrentar a tarefa de análise desses momentos, foi necessário o acesso a fontes bem mais extensas que as editadas e mesmo o restabelecimento de parte do corpus wittgensteiniano, mas isso comportou a vantagem de permitirnos acompanhar o andamento da obra, o movimento de suas teses, recusando, na evidente e abundante reiteração, a rubrica fácil da latênda, uma vez que a solução de certas questões (como a de um possível tratamento uniforme da incompatibilidade ampla e da restrita) resulta sobretudo de uma inflexão autoterapêutica da obra, com a introdução concorrente de novos recursos e conceitos, e não de um desdobramento. Recusamos porém o discurso da latência e a continuidade não se toma por isso menos eloqüente, de modo que talvez nossa aventura com as cores possa ser assim sintetizada. Em resumo, mostramos por que Wittgenstein acreditou enfim necessário explorar o espaço das cores e como ele o fez extensa mas distintamente sobretudo nesses dois momentos: quando do período inicial de seu retomo a Cambridge e em seus últimos anos de vida. Mas o percurso mesmo e, sobretudo, o detalhe desses seus momentos contrapostos são o fundamental. Assim, a tese evidencia seu modo enfim não fenomenológico de tratar de problemas fenomenológicos, de descrever relações internas dispostas à visão, e o sentido dessa sua negação de uma fenomenologia, cifrada no enunciado do paradoxo de Goethe. O tema das cores coincide com a trama mais profunda da obra, tendo inclusive servido à maturação ou introdução de conceitos que lhe são essenciais. E, sem dúvida, os resultados específicos dessa investigação gramatical podem iluminar questões centrais da filosofia de Wittgenstein, como a natureza das relações internas e da necessidade, a autonomia da gramática e a relação entre jogos de linguagem e formas de vida. Assim, mais que uma alegoria, a cor é exemplo (e privilegiado) do movimento da obra inteira<br>Abstract: The object of study of this thesis is the grammar of colours in the work of Ludwig Wittgenstein (1889-1951). Thought is given, therefore, to the internal relationships between colours and not to the external relationships between pigments, light rays, retinian processes, which would be of interest mainly to physicists, physiologists or psychologists. Thus, as this study focuses on a philosophical-grammatieal investigation, attention is turned to the normative use of descriptive words of the chromatie experience. Such use makes up a characteristic task of a phenomenology, as it aims at the conditions of the meaning and not of the truth of perception. Wittgenstein's original way to deal with the identity of colours manages to define itself only along an extensive trajectory, whose poles are, on the one side, the attempt to solve, from 1929 to 1932, an impasse existing in the Tractatus (explicitly in the aphorism 6.3751), and, on the other side, in 1950, the final sophistieated composi~ion of the Bemerkungen über die Farben. To face the task of analysing those moments, it was necessary !to have access to many more extensive sources than to the ones already published. It was even necessary to restore part of the wittgensteinian corpus, but that had the advantage of allowing the reader to follow the progress of the work, the movementof his theses, refusing, in the evident and abundant reiteration, the easy rubrie of latency, since the solution to certain issues (like the issue of a possible uniform treatment of the ample and the restriet incompatibility) results, especially, from an autotherapeutic inflexion of the work, with the concurrent introduction of new resources and concepts, and not from an evolution. However, the discourse of lactence has been refused, but that does not make the continuity less eloquent, sb that this adventure with colours might be thus summarised. In short, it has been shown why Wittgenstein finally believed it necessary to explore the space of colours and how he did it, extensively but distinctively, especially at those two moments: at the early period of his return to Cambridge and in his last years of life. But the trajectory itself and, above ali, the detail of those opposed moments of that trajectory are the fundamentaIs. Thus, this thesis shows his ultimately non-phenomenological way to deal with phenomenological problems (to describe internal relationships exposed to the sight) and it also shows the sense of his negation of a phenomenology, underlying the statement of Goethe's paradoxo. The theme of colours coincides with the deepest frame of the work and it has even served to the maturation or introduction of concepts which are essential to it. And, undoubtedly, the specific results of this grammatical investigation may enlighten central issues of the philosophy of Wittgenstein, such as the nature of the internal relationships and the nature of necessity, the grammar autonomy and the relationship between language games and ways of life. Thus, more than an, allegory, the colour is an example (and a privileged one) of the movement of the whole work<br>Doutorado<br>Doutor em Filosofia
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Oliveira, Manoela Hoffmann 1980. "A sociedade é inefável : sobre a individualidade do protagonista do romance "Os anos de aprendizado de Wilhelm Meister" (1795/96), de Goethe." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/281214.
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Orientador: Maria Suely Kofes<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas<br>Made available in DSpace on 2018-08-25T21:47:26Z (GMT). No. of bitstreams: 1
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Previous issue date: 2014<br>Resumo: O objetivo desta tese é reconstituir ontologicamente a individualidade de Wilhelm Meister, protagonista do romance "Os anos de aprendizado de Wilhelm Meister", de Goethe, defendendo que Wilhelm não pôde efetivar-se por meio de sua autoatividade. No Capítulo 1, apresentamos o caráter do herói, suas qualidades e fraquezas, seus modos recorrentes de pensar, agir e sentir; discutimos, em seguida, como sua sensibilidade é especialmente aberta a certos estímulos, provocadora e atraente de outros, bem como a constituição subjetiva do herói, por meio da interiorização das experiências e da lembrança; em consciência, as ideias que ele faz sobre a realidade que experiencia. No Capítulo 2, demonstramos o modo como Wilhelm foi ativo no decorrer de sua trajetória, os obstáculos que se interpuseram à inclinação e à disposição que existiam nele para a arte teatral e, por fim, como ele redirecionou sua atividade. No Capítulo 3, abordamos as circunstâncias e as relações que Wilhelm trava com outras pessoas, tentando delimitar os contextos e avaliá-los segundo os objetivos do herói; para tanto, apresentamos um grande painel dos personagens. No Capítulo 4, acompanhamos a trajetória do herói sob o ponto de vista da sua passividade e de como essa característica reúne tanto uma necessidade literária quanto uma necessidade real, da vida social na qual Wilhelm está imerso. Por fim, apresentamos o destino do herói, o desfecho de sua trajetória. Deixamos para as Considerações Finais a discussão dos possíveis significados do destino de Wilhelm Meister, entendido como trágico para sua individualidade<br>Abstract: The objective of this thesis is ontologically reconstruct the individuality of Wilhelm Meister , protagonist of the novel " The years of learning Wilhelm Meister ", Goethe , arguing that Wilhelm could not manifest itself through its self activity. In Chapter 1 , we present the character of the hero , his qualities and weaknesses , their recurring ways of thinking , acting and feeling ; discussed then as its sensitivity is especially open to certain stimuli , provocative and appealing to others as well as the subjective constitution of the hero through the internalization of experiences and souvenir ; in consciousness, the ideas than it does about the reality he experiences . In Chapter 2 , we demonstrate how Wilhelm was active throughout his career , the obstacles brought to the slope and layout that existed in it for the theatrical art , and finally , as he redirected his activity. In Chapter 3 , we discuss the circumstances and relationships that lock Wilhelm with others , trying to define the contexts and evaluate them according to the objectives of the hero ; for this, we present a large panel of characters . In Chapter 4 , we follow the path of the hero from the point of view of their passivity and how this feature brings both a literary necessity as a real necessity of social life in which Wilhelm is immersed. Finally, we present the fate of the hero , the outcome of its trajectory . We leave it to the Final Considerations discussing the possible meanings of the fate of Wilhelm Meister , understood as tragic for his individuality<br>Doutorado<br>Ciencias Sociais<br>Doutora em Ciências Sociais
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Suskin, Karen Leigh. "Beyond knowledge to understanding: a Goethean perspective on design education as living process." Thesis, Cape Peninsula University of Technology, 2016. http://hdl.handle.net/20.500.11838/2410.
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Thesis (MTech (Design))--Cape Peninsula University of Technology, 2016.<br>This study explores appropriate responses to some of the challenges inherent to life today, and
how a holistic design education can bring about a new reality. The approach to design learning
advocated here acknowledges the present reality of fragmentation and reductionism as the fundamental
and pervasive mode of understanding our world and ourselves, and seeks to develop
instead a design approach grounded in inclusion, context and connectedness.
Under the primary concept of profound engagement with self, culture and environment, I developed
a complementary design education model exploring the role of designer as mediator between
culture and nature. This model proposes future design knowing situated in environmental,
social and self-awareness so as to offer a vital interface between ecology, public and the personal. Three themes emerged during the research that helped me to approach and engage with complexity
during particular experiences of teaching and learning. These themes are: Wild, representing
quality; Conversation, representing experience; and Transformation, representing consciousness.
With these themes in mind I entered into the untamed territory of my research seeking the
dynamic connections and interrelationships of living processes in education.
The Ensembles or modules constituting this model evolved from the work of Rudolf Steiner’s
concepts of higher perception: Imagination, Inspiration and Intuition, made clear through following
Johann Wolfgang von Goethe’s phenomenological method. Goethe’s phenomenological method – “delicate empiricism” – is essentially a participatory, perceptive practice with which
to harness qualitative ways of knowing. The methodology supports students to cross the divide
between abstraction and holistic relational modes of knowing that are context-sensitive.
The research study reconsiders the current worldview and determines ways in which to develop
relational awareness through deliberate learning experiences. These ways imply re-focusing existing
awareness with personal qualities and active participation. The Ensembles open up new ways
of perceiving emergent process rooted in integrated, flexible and evolutionary processes.
Students’ learning experiences are traced as they develop their capacity for interconnected decision
making modelled on living processes. This in turn helps develop the model further, so that
in the future designers may embrace ways of thinking and doing design that are more flexible,
mobile, delicate and sustainable. The radical humanist perspective and qualitative methods used in the study advance the pedagogical
approach embedded in human engagement and interaction, and encompass logic, intellect,
creativity, imagination and philosophical reflection. Thus the critical shift, from perceiving the
world as abstract and as “something out there” to a deeper inner knowing and understanding, is
embedded in the education model as an opus of Ensembles reflecting a pedagogy of lived experience,
grounded in embodied creative practice.
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Bonnaure, Édouard. "L'Image de Goethe dans l'oeuvre de Thomas Mann." Paris 4, 1985. http://www.theses.fr/1985PA040091.
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Nessler, Marie-Chantal. "Le Märchen de Goethe : étude d'histoire littéraire et approche figurative." Bordeaux 3, 1986. http://www.theses.fr/1986BOR30033.
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Cet ouvrage qui comporte une traduction du marchen de goethe (1795) consacre une premiere partie au bilan de la critique, a l'etude de l'exegese; un regroupement thematique et chronologique y est effectue. En premier lieu on passe en revue les diverses interpretations a caractere historique, politique et nationaliste. Dans le second chapitre il est question des etudes inspirees par divers courants (philosophiques (kant, schiller), antthroposophiques (steiner) et psychanalytiques (freud, jung). Puis un autre axe de lecture est degage : le marchen est considere comme le fruit de l'imagination poetique et comme une mosaique de reminiscences diverses (bible, mille et une nuits, contes de fees). Ensuite l'esoterisme alchimique est egalement note par l'exegese qui releve la symbolique des nombres des personnages, des couleurs et trade un parallele avec d'autres oeuvres. En dernier lieu, divers auteurs examinent l'aspect initiatique du conte. La seconde partie, approche figurative, est une tentativer personnelle d'elucidation qui admet la coexistence de divers axes de lecturechacun etant en etroite correlation avec les autres, cette lecture stereophonique privilegie ici l'esoterisme du message du conte. En premier, il est effectue une analyse rigoureuse du recit et a la presentation des personnages. Le second chapitre est consacre a la philosophie de la nature dans le conte en fonction des oeuvres de goethe (traite des couleurs, morphologie, metamorphose des plantes). Le chapitre suivant concerne l'alchimie : topographie hermetique, transmutations des personnages, il est rattache a divers ecrits de goethe et a la tradition hermetique. Cette quete de la pierre philosophale etant similaire a celle de l'adepte, le conte est donc etudie entant que mystere initiatique : le temple est associe a la franc-maconnerie, les personnages principaux sont inities. Le dernier chapitre aborde la notion de temps avec la nouvelle ere, le theme de la constellation favorable (cet aspect se retrouve dans les chapitres precedants avec la magie naturelle, l'alchimie, la franc-maconnerie et l'insertion du temple dans le cosmos)<br>THIS WORK COMPOSED OF A TRANSLATION OF GOETHE'S MARCHEN (1795) DEALS IN AFIRST PART WITH A SUMMARY OF THE CRITIQUE AS WELL AS A STUDY OF THE EXEGESIS; WE SHALL GATHER THE THEMES AND THE CHRONOLOGY. FIRSTLY WE SHALL EXAMINE THE VARIOUS EXPLANATIONS WITH A HISRORICAL, POLITICAL, NATIONALISTIC CHARACTER. IN CHAPTER TWO, WE SHALL SEE THE STUDIES INSPIRED BY DIFFERENT PHILOSOPHICAL SCHOOLS (KANT, SCHILLER); ANTHROPOSOPHICAL (STEINER); PSYCHOANALYTICAL (JUNG, FREUD). THEN WE SHALL DERIVE ANOTHER WAYOF READINNG: THE MARCHEN CONSIDERED AS THE FRUIT OF THE POETICAL IMAGINATION, A MOSAIC OF A MULTIPLEE REMINISCENCES (THE BIBLE, THE ONE THOUSAND AND ONE NIGGHTS, FAIRY TALES). THEN AGAIN THE ALCHEMIC IS ALSO STUDIED THROUGH THE EXEGESIS THAT COLLECTS THE SYMBOLICS OF NUMBERS, CHARACTERS, COLOURS AND SO ON AND DRAWS A PARALLEL WITh OTHER WORKS. (THE MAGIC FLUTE, THE CHEMICAL MARRIAGE OF CHRISTIAN ROSENKREUZ). LASTLY SEVERAL WRITERS EXAMINE THE INITIATORY ASPECTS OF THE STORY. THE SECOND PART, A FIGURATIVE APPROACH, IS A PERSONAL ATTEMPT OF ELUCIDATITION: WHILE ADMITTING A STEREOPHONIC, EXOTERIC READING OF THE TALE, THIS ANALYSIS PREFERS THE ESOTERIC WAY OF READING AND CHOOSES TO EXAMINE THE FOUR ASPECTS ALL LINKED CLOSELY TOGETHER. FIRST THE STORY IS ANALYSED CAREFULLY; CHARACTERS, TOPOGRAPHY, CHRONOLOGY). THE SECOND CHAPTER IST DEVOTET TO THE PHILOSOPHY OF THE NATURE AND IS CONNECTED TO SCIENTIFIC WORKS BY GOETHE. THE THEME OF METAMORPHOSIS IN THE NATURE BRINGS ABOUT THE STUDY OF ALCHEMY IN THE MARCHEN, IN GOETHE'S WORKS AND IN THE HERMETIC TRADITION. IN FACT THIS SEARCH OF THE PHILOSOPHICAL STONE IS SIMILAR TO THAT OF THE ADEPT : THE TALE IS THEREFORE STUDIED AS AN INITIATORY MYSTERY. THE LAST CHAPTER DEALING WITH THE THEME OF TIME, OF THE NEW ERA EXAMINES THE NOTION OF FAVORABLE MOMENT, OF PROPICIOUS CONSTELLATION WHICH CAN BEE FOUND IN NATURAL MAGIC, ALCHEMY, FREEMASONRY AND IN THE INSERTION OF THE TEMPLE IN THE COSMOS
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Zabiega, Tadeusz. "La pensée musicale d'Anton von Webern et la philosophie de la nature de Goethe." Paris 4, 1987. http://www.theses.fr/1986PA040179.
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Webern est un passionné de l'œuvre scientifique de Goethe. La théorie des couleurs de Goethe influence ses méthodes d'organisation du matériel sonore. Elles sont fondées sur les lois goethéennes de complémentarité, de polarité et de réfraction. Ces lois sont à l’ origine de la construction des séries, des intervalles et des périodes. La métamorphose des plantes de Goethe détermine sa conception organique de la forme musicale et sa poétique organique. Deux idées de Goethe présentent, pour lui, une importance capitale: l'idée de la plante originelle (urpflanze) et l'idée de l'organisme. L'unité organique de la composition de Webern est fondée sur les notions de compréhension, d'articulation et de cohérence. La série de douze sons, constitue le fondement de l'unité organique de sa composition. Webern applique aussi les idées morphologiques de Goethe à l'histoire de la musique, à la matière sonore et à l'esthétique musicale.
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Boni, Livio. "Freud et le classique : deux lectures et une note." Paris 7, 2005. http://www.theses.fr/2005PA070077.
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Sous un tel intitulé on propose de relire l'écriture par Freud de ses voyages en Italie à côté -voire avec - le Voyage en Italie de Goethe, ouvrage que Freud connaissait sûrement fort bien, et que pourtant il ne cite à aucun moment, du moins explicitement. Cette archéologie de l'engouement classiciste de Freud pour l'Italie nous conduit à élargir le spectre de notre lecture à J. J. Winckelmann, initiateur de l'histoire de l'art, de l'herméneutique archéologique et de l'esthétique classiciste en Allemagne, mais également aux origines du mythe ciassiciste de l'Italie. Ainsi, notre première lecture sera résolument à trois voix. La deuxième section est consacrée à une tentative de déconstruction métapsychologique de l'esthétique winckelmannienne, et en particulier de la fonction assignée au masculin et au féminin dans l'idéalisation de l'art plastique grec. Plus largement, il s'agit de renverser l'attitude prévalante qui consiste à chercher les antécédents de la psychanalyse en privilégiant le pôle romantique de «l'époque de Goethe», plutôt que son versant classiciste<br>This study re-reads Freud and his travels to Italy alongside, or even with, the "Travels to Italy" of Goethe, a work Freud must have known well, although at no point does he refers to it, at least not directly. This archaeology of Freud's "classic" infatuation for Italy is widened through a reading of J. J. Winkelmann, the founder of the history of art, of the archaeological hermeneutics, of classic aesthetics in Germany, as well as of the origins of the classicist myths of Italy. Therefore, our first reading is composed by those three voices (Winkelmann - Goethe - Freud). The second section concentrates on an attempt of a metapsychological deconstruction of the winkelmannian aesthetics, particulariy of thé function ascribed to the masculine and feminine in the idealisation of Greek fine art. In a broader sense, it will be the question of reversing the prevailing attitude which seeks the antecedents of psychoanalysis privileging the Romantic pole of "the epoch of Goethe", rather than his classical heritage
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Lourenço, Robson 1969. "Embriologia e arte : dançando a formação do corpo." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284582.
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Orientador: Júlia Ziviani Vitiello<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-21T09:54:20Z (GMT). No. of bitstreams: 1
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Previous issue date: 2012<br>Resumo: Esta pesquisa propõe a investigação entre duas áreas de conhecimento: Dança e Embriologia Humana. A primeira é desenvolvida através das técnicas de dança e práticas artísticas. Através da Embriologia Humana considera algumas das reflexões sobre a fenomenologia de Johann Wolfgang Goethe (1749-1832), a qual desenha inter-relações a partir da observação da estrutura total dopróprio fenômeno, onde o individuo não está separado da pesquisa, mas faz parte integral da experiência. Desenvolve uma metodologia do corpo na dança, onde o conhecimento não deve vir através de fenômenos isolados, mas sim através de suas inter-relações entre sujeito e objeto de pesquisa, onde os sentidos, a intuição e o raciocínio devem ser usados para acompanhar a experiência do fenômeno.Nos relacionamentos entre Dança e Embriologia Humana é possível criar procedimentos artísticos diferenciados, visando tanto a compreensão corporal dos conteúdos da embriologia, quanto para a criação de um solo de dança<br>Abstract: This research proposes the investigation of two areas of expertise: Dance and Human Embryology. The first is developed through the techniques of dance and artistic practices. Through the Human Embryology considers some of the reflections on the phenomenology of Johann Wolfgang Goethe (1749-1832), which draws inter-relationshipsfrom the observation of the total structure of the phenomenon itself, where the individual is not separate from research, but is an integral part of the experience.This research develops a methodology of the body in dance, where knowledge should not come acrossas isolated phenomena, but rather through their inter-relationships between subject and object of research, where the senses, intuition and reasoning should be used to monitor the experience of the phenomenon. Inrelationships between dance and Human Embryology is possible to create different artistic procedures, aimed at both understanding in content of embryology and for the creation of a solo dance<br>Mestrado<br>Artes Cenicas<br>Mestre em Artes
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Tanzi, Roberta. "L'Europe de Faust : mythographie de la crise dans "Mon Faust" de Paul Valéry." Paris 4, 2009. http://www.theses.fr/2009PA040083.
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Cette étude examine un des aspects les moins connus de la réécriture faustienne de Valéry : le rapport entre l’imaginaire symbolique du mythe et le thème de la crise des civilisations européennes entre les années vingt et les années quarante du XXe siècle. Notre analyse se divise en deux parties, la première qui est caractérisée par une approche philologique ; et la deuxième qui utilise, au contraire, une thématique : toutes les deux font référence aux manuscrits inédits du texte, afin de démontrer le décalage entre le projet originaire d’un Faust et sa publication. Elle part d’une reconstitution des étapes historiques et biographiques de la rédaction, des structures formelles et des modèles archétypaux. Dans un deuxième moment, on en vient à reconnaître dans le texte les principales fonctions métaphoriques exercées par l’interaction entre la mythologie faustienne et certains des thèmes-clés de la pensée de Valéry : la première métaphore, relative à l’économie, étudie les bases historiques d’un échange lexical et sémantique entre marché et langage à l’arrière-plan du répertoire mythologique ; la deuxième, qui concerne l’histoire, analyse les effets de la dialectique entre l’intrigue mythique et le discours historique à la lumière de l’anti-historicisme valéryen; la troisième, enfin, démontre le rapport étroit entre le projet d’une réécriture faustienne, d’une part, et les réflexions théoriques sur l’Europe, d’autre part, durant la période qui vit l’auteur exercer un rôle public et quasi-officiel dans les institutions de coopération intellectuelle européenne. Le choix de l’approche naît de l’idée de concevoir une méthode comparatiste qui n’opère pas sur le dialogisme entre langues et auteurs, mais entre disciplines et savoirs : elle a permis de représenter la pluralité des registres typiques de l’écriture valéryenne et surtout de démontrer le parcours qui a mené un des plus grands écrivains français du XXe siècle – en même temps que d’autres écrivains européens – à faire du mythe de Faust une allégorie de la crise européenne à la veille de la Deuxième Guerre mondiale<br>My 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
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Menez, Tanya. "L'arbre des poètes : des sources bibliques et gréco-romaines à leur devenir dans la poésie de Goethe et de Hugo." Grenoble 3, 2003. http://www.theses.fr/2003GRE39044.
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L'étude comparée des textes antiques montre que l'imaginaire est constitué d'images universelles dont l'arbre fait partie : nourriture mythique, force, paix, sensualité et fécondité, sacré sont des valeurs du symbole de l'arbre qui se retrouvent tout en évoluant d'une culture à l'autre. L'imaginaire est un ensemble d'éléments dynamiques, structurants ; ces représentations antiques sont recréées, enrichies par la sensibilité de Goethe et de Hugo. Ce travail montre que la représentation de l'arbre est une clef d'accès privilégiée pour comprendre certains aspects de l'esthétique et de l'imaginaire des poètes qui s'inspirent du monde naturel : le rapport du poète au temps, à l'âme et à son oeuvre poétique peuvent se lire dans leur manière d'aborder l'arbre et la forêt ; la prédilection pour le jardin et le verger de Goethe diffère par exemple des images de forêt primitive de Hugo.
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Kurtuluş, Hakkı. "L'Italie dans la littérature et la pensée allemandes depuis la fin du XVIIIe siècle." Paris 8, 2013. http://octaviana.fr/document/181101599#?c=0&m=0&s=0&cv=0.
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La thèse envisage d’examiner l’Italie dans la littérature et la pensée allemandes depuis la fin du XVIIIe siècle, en s'intéressant particulièrement au regard porté sur ce pays par Goethe et par Nietzsche. Les voyages en Italie de Goethe, qui coïncident avec la fin du XVIIIe siècle, et la présence fantomatique de Nietzsche sur les terres italophones entre 1872 et 1889 résument bien le rôle de l’Italie et du Sud en général dans l’aire culturelle allemande. La thèse mettra l'accent sur la question de Heimat, telle qu'elle est traitée par Goethe et Nietzsche, en développant leurs réflexions sur le Sud en général en tant que but de voyage et/ou lieu d’exil. Ces voyages seront également abordés sous l'angle des motifs psychologiques et on s'intéressera par ailleurs à la Suisse en tant que lieu de passage. Le travail de recherche se conclura par un focus sur les transformations qu'a connues l'Italie entre l'époque de Goethe et celle de Nietzsche, et sur l'idée d’Europe à travers ces impressions de l’Italie<br>This thesis examines Italy's presence in German philosophy and literature since the end of the 18th century, with a special emphasis on Goethe’s and Nietzsche’s work. Goethe’s Italian Voyage at the end of the 18th century and Nietzsche’s perpetual errancy during his sojourn in Italy betweeen 1872 and 1889 already hint at the particular role of Italy, and of the South in general, in German culture. The thesis questions the notion of Heimat, and its particular meaning for Goethe and Nietzsche, while at the same time elaborating on their understanding of the South both as a travel destination or an exile place. The psychological aspect of these voyages, together with Switzerland’s transit position, are also brought into question. The research concludes with a focus on the transformations in the Italian history between the Goethe’s and Nietzsche’s periods, as well as on the idea of Europe through their visions in Italy<br>Die Arbeit untersucht anhand der Lebenswege und Werke von Johann Wolfgang von Goethe und Friedrich Nietzsche den wechselseitigen Einfluss Italiens und seiner Kultur auf die Produktion deutscher Literatur und exemplarischen Gedankenströmungen des 18. Jahrhunderts. Das erste Kapitel untersucht die unterschiedlichen Identifikationsstufen, die Goethe und Nietzsche mit ihrer „Heimat“ verbinden, und stellt anhand dieser Unterschiede bezüglich ihrer biografischen, sozialen und geografischen Verwurzelung heraus. Im zweiten Kapitel wird das Verständnis und die Bedeutung des Begriffs „Süden“ für Goethe und Nietzsche nachhaltig geklärt und verglichen. Zum Tragen kommen hierbei geografische, klimatologische, botanische, sowie gastronomische Aspekte. Das dritte Kapitel perspektiviert die Motive für Goethes und Nietzsches Italienreisen anhand psychoanalytischer Gesichtspunkte. Hierzu werden die Rolle und Bedeutung ausgewählter Frauen im Leben von Goethe und Nietzsche untersucht und gefragt, in wie weit diese Entscheidungen der beiden Männer bezüglich ihrer Italienreisen beeinflusst haben. Das vierte Kapitel analysiert und vergleicht aus historischer Perspektive den Begriff der „Grand Tour“ mit der Tradition der „Italienreise“. Der Fokus liegt hierbei auf Reiseberichten aus dem europäischen Kulturraum und berücksichtigt gesondert die Deutsch-Italienischer Beziehungen, sowie die Rolle der Schweiz als Transitland und Durchreisestation. Das fünfte Kapitel arbeitet anhand einer komparativ angelegten sozialhistorischen Analyse das jeweils spezifische Italien Goethes und Nietzsches heraus. In einem ausführlichen Vergleich werden hierbei Goethes Verhältnis zu Rom und respektive Nietzsches Turin in Hinblick auf deren Status als Städte der „Erleuchtung“ und „Inspiration“ herausgearbeitet. Im sechsten und letzten Kapitel werden schließlich die Auswirkungen der Reisen und vorübergehenden Aufenthalte von Goethe und Nietzsche in Italien ausgewertet. Dabei werden die eigenständigen Visionen und Vorstellungen, die beide in Bezug auf das sich entwickelnde Europa entwickeln, in den Blick genommen, und die Aneignung ihrer vielmehr kosmopolitischen als rein deutsch(-germanischen) Identitäten und Haltungen analysiert. Zusammenfassend wird aus der vielschichtigen Verbindung von Goethe und Nietzsche gefolgert, dass sehr große Parallelen und Ähnlichkeiten zwischen den beiden existieren, vor allem auch in Hinblick auf ihren Wunsch, Deutschland den Rücken zu kehren und sich Italien zuzuwenden. Die in der Arbeit dargelegte Entwicklung von Goethe hin zu Nietzsche, und die Bedeutung desjenigen Italiens, welches das Denken und literarisch-philosophischen Werke der beiden gleichermaßen mit geformt haben, leistet einen wichtigen Beitrag zum Verständnis der intellektuellen und kulturellen Geschichte Europas seit dem Ende des 18. Jahrhunderts
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Bensalah, Souad. "Le lyrisme oriental de Goethe, Rückert et Platen." Paris 3, 1991. http://www.theses.fr/1991PA030064.
Full textAbstract:
La publication du divan par goethe en 1819 avait ouvert la voie a la poesie allemande d'inspiration et de forme orientales. On retrouve dans ce lyrisme, cultive par les poetes les plus divers, les themes et les motifs des ecrivains de l'orient, leur langage allegorique, leurs metaphores et aussi leur technique de versification, notamment la forme du ghazel. Goethe, qui reproduit dans son divan la teneur et la symbolique de la poesie de hafiz, ne se soumet cependant pas aux regles du ghazel. Ses successeurs ruckert et platen, s'inspirant l'un de roumi et l'autre de hafiz, se conforment eux strictement aux lois du genre. Ils ambitionnent dans leurs recueils de ghazels d'enrichir la poesie allemande des ressources expressives des ecrivains orientaux et de la faire parvenir a la perfection formelle par l'emploi du ghazel et de contrebalancer ainsi la domination exclusive du metre antique. En restituant la technique poetique de leur modele et la structure tres condensee de leur pensee, ils se heurtent a l'hostilite de la critique qui ne voit dans leurs creations orientales qu'un travail de forme de qualite inegale. De la les assertions mal fondees sur leurs ghazels et la malveillance a l'egard de toute leur oeuvre. Les analogies forcees etablies entre eux et leurs emules munichois en feront en outre les precurseurs d'un esthetisme formaliste qu'ils n'ont pas preconise<br>Goethe's publication of the divan in 1819 marked the beginning of german poetry of oriental form and inspiration. This poetry, practiced by many poets, is characterized by themes and motives of oriental writers, of their allegorical language, their metaphors, as well as their technique of versification, especially in the ghazel form. Although goethe uses the content and the symbolism of hafiz es poetry for his divan, he does not stick to the formal laws of the ghazel. His successors ruckert, inspired by rumi, and platen, inspired by hafiz, strictly obey the laws of the genre. Their ambition is to enrich the german poetry by recurring to the abundant expressivity of the oriental writers as well as to achieve a perfect form of the poem by using the ghazel. In this way they oppose the exclusive dominance of the antique metre. By imitating the versification and the highly condensed structure of thought of their models, they face fierce criticism. Their oriental poetry is considered as formal work of inconsistant quality. This explains why their ghazels are not correctly assessed. Consequently this prejudice is extended to their entire literary production. The supposed analogies with their disciples wrongly made them the precursors of formal art
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Haberl, Hildegard. "Écriture encyclopédique - écriture romanesque : représentations et critique du savoir dans le roman allemand et français de Goethe à Flaubert." Paris, EHESS, 2010. http://www.theses.fr/2010EHES0046.
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A partir de deux romans expérimentaux du 19 siècle -Les Affinités électives de Johann Wolfgang Goethe (1809) et Bouvard et Pécuchet de Gustave Flaubert (1880/81) -ce travail propose une contribution à la réflexion sur la littérature encyclopédique et plus largement sur les relations complexes et riches entre « littérature et savoirs ». Sur le plan théorique, il se situe dans les discussions actuelles sur les relations multiples entre critique littéraire et histoire des sciences. D’un point de vue historique, il interroge l'idée même d'encyclopédie, pour montrer non seulement l'influence que celle-ci a pu exercer sur la littérature, mais plus profondément la circulation entre texte fictionnel et texte factuel d'un discours qui exprime la volonté humaine de classer et d'ordonner le savoir dans un tout systématique. Revenir sur la réception de Goethe par Flaubert permet de montrer que l'universalisme goethéen et son écriture objective ont fortement influencé la réception de l'écrivain allemand dans la deuxième moitié du XIXe siècle en France. En mettant l'accent sur les figures du sujet connaissant, les espaces, les thèmes et motifs encyclopédiques, l'analyse des textes, montrer que les auteurs prennent des décisions formelles semblables lorsqu' ils abordent des thèmes encyclopédiques dans le roman. Dans la pluralité des savoirs repérables dans les deux textes, j’insiste sur trois domaines du savoir qui constituent à eux seuls le cœur du nouvel esprit scientifique du XIXe siècle: la chimie, la botanique/l'art du jardin et la pédagogie. Ces trois domaines de savoir permettent finalement trois formes de réflexion sur et de critique du projet encyclopédique<br>Based on an analysis of two experimental novels of the 19th Century -The Elective Affinities ( 1809) by Johann Wolfgang Goethe and Bouvard et Pécuchet (1880/81) by Gustave Flaubert, this dissertation aims at making a contribution to both existing research on fiction al encyclopaedias and, more largely, to the study of the complex relationships between literature, science and knowledge. The first chapter introduces current theoretical debates on the relationships between literary theory and the history of science. It discusses existing theoretical approaches to encyclopaedic literature at hand as well as their attempts at giving a definition of an encyclopaedic novel. The second chapter traces the social and intellectual history of encyclopaedia from its roots in the baroque era to the late 19th Century. It offers a detailed analyses of a specific discourse that reflected the human strive to collect, order and systematize knowledge. Analysing in detail the reception of Goethe by Flaubert shows that Goethean universalism and his objective writing have strongly influenced the reception of the German writer in the late nineteenth century France. Focusing on the figures of the knowing subject, encyclopaedic spaces, themes and motifs, my analyses of both texts reveals how both authors take similar formal decisions when addressing encyclopaedic issues in the novel. Among the various fields of knowledge that are embraced in both novels, I focus on three areas of knowledge chemistry, education and botany, that embodied the new scientific spirit of the 19th Century, as well as three different forms of reflection on and criticism of the encyclopaedic project
39
Céron, Emmeline. "Goethe, Musil, Svevo, de l'universalisme heureux à l'indétermination malheureuse." Thesis, Tours, 2012. http://www.theses.fr/2012TOUR2010.
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La confrontation des utopies et de la Weltanschauung goethéennes avec les différents modes d’expression, dans les œuvres de fictions de Robert Musil et d’Italo Svevo, de la crise de la conscience européenne du début du XXème siècle et la rencontre, notamment, de l’âge d’or du roman de formation « heureux » qu’incarne l’œuvre de Goethe et de l’indétermination qui caractérise les œuvres de Svevo ou de Musil, permettent de mesurer l‘évolution de la conception de l’individu et du processus d’individuation ainsi que de sonder la nature des nouveaux enjeux qui accompagnent la permanence de préoccupations telles que les questions du Moi, de destin et de hasard, de morale, ou d’esthétique. D’autre part, il s’agit d’observer comment les idéaux et fantasmes mythiques (tentations faustiennes, désir de savoir absolu, idéal communautaire, mythe de l’androgyne primordial) qui habitent déjà la spiritualité goethéenne retrouvent une place dans le contexte crépusculaire de la crise européenne de l’individualité ou dans la figuration littéraire d’un monde en déclin, sans échapper cependant au caractère lucide et ironique des plumes respectives de Musil et de Svevo<br>On 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
40
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.
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Mettre au jour le travail de la pensée à l’œuvre dans la littérature européenne du XXème siècle, tel a été le fondement de cette cartographie faustienne, centrée sur Pessoa, Valéry, Mann et Boulgakov et leurs Faust après Goethe. Il a fallu pour cela reprendre l’édifice goethéen du Faust I et II et de la Weltliteratur afin de donner force à la figure du Faust-Phénix, renaissant en mauvais héritier de ses précédentes incarnations. Le Faust III, fiction du livre et de l’innutrition, programme une décourageante oeuvre de la défection, où la réécriture tient dans un livre instable, mouvant, marqué du sceau de l’urgence, et comme en deçà de la somme de savoirs qui l’ont engendré. Écriture de la grande presse du temps, du corps et du monde – une chaosmogonie, ce Faust est par coup de force l’auteur d’une œuvre-promesse, qui exige que la lecture soit philologie. C’est à la lumière d’une telle esthétique qu’on a veillé à débrouiller les œuvres-chantiers faustiennes de Pessoa et de Valéry<br>Enlightening 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
41
Fontany, Laurence. "Trahison et héroi͏̈sation au théâtre : étude de Mahomet de Voltaire (1741), Clavigo de Goethe (1774), Die Rau͏̈ber de Schiller (1781) et Lorenzaccio de Musset (1834)." Grenoble 3, 1997. http://www.theses.fr/1997GRE39007.
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La presence frequente d'une trahison dans les cursus heroiques nous amene a penser qu'elle joue un role important dans le processus d'heroisation. L'etude de quelques pieces grecques antiques, de certains episodes de la bible et d'oeuvres shakespeariennes permet d'aller aux fondements des relations entretenues par la trahison et l'heroisation et de montrer la dependance de ces relations avec la societe, ses principes, ses tabous. Les quatre pieces mahomet de voltaire (1741), clavigo de goethe (1774), die rauber de schiller (1781) et lorenzaccio de musset (1834), sont utilisees pour illustrer la dynamique dramaturgique de la trahison et de l'heroisation en s'attachant d'abord aux presentations du traitre et du heros, ensuite aux modalites d'action du traitre, enfin aux differents modes de confrontation de la trahison et de l'heroisation. Dans un dernier temps, la structuration du sens des rapports qui regissent la trahison et l'heroisation est etudiee par la mise en relation du traitre et de certaines figures archetypales, ainsi que de la trahison avec certains schemes, ce qui permet de mieux cerner l'imaginaire et l'utilite de la trahison. En outre, la relation que le traitre entretient avec le discours, illustre a la fois son importance dramaturgique et la particularite de ce personnage theatral qui se construit par la double signification de ses propos et instaure ainsi une relation particuliere avec le public. Enfin, la prise en compte a la fois des intentions de l'auteur et de la reception fait apparaitre les possibilites et les limites d'une identification au personnage du traitre ainsi que la signification de ce dernier et, plus largement de la trahison, qui remet en cause la societe et l'oblige souvent a redefinir ses valeurs et ses criteres d'heroisation.
42
Arnaiz, Ferrer José Manuel. "Empiria lene de Goethe y ecofilosofía." Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/399922.
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La presente tesis doctoral estudia los «Naturwissenschaft» de Johann Wolfgang von Goethe, quien es mundialmente conocido como literato, pero también desarrolló un paradigma científico como «Naturforscher» ―estudioso de la naturaleza―; un paradigma distinto del newtoniano y del de la «Naturphilosophie».
La investigación reivindica el interés del pensamiento naturalista de Goethe para resolver positivamente los retos de nuestro presente. Los cuales caracterizamos desde dos ámbitos intervinculados: por un lado, la crisis ambiental, con el deterioro de la vida y sus condiciones en la globalidad de nuestro planeta; y, por otro, la crisis humana o de civilización que, además de sus problemas y catástrofes, se encuentra en la base de la problemática anterior.
De esta forma, se trata de explorar el pensamiento científico de Goethe y ponerlo en relación con tales desafíos que recoge la ecofilosofía. Por ello, la investigación describe una trayectoria circular desde el presente ecofilosófico al pasado de los estudios naturales de Goethe, para regresar desde la perspectiva de la ciencia ecológica y de los movimientos sociales verdes. Así, a la vez que contribuye al conocimiento del pasado europeo, evalúa sus conexiones con el presente y el potencial de sus aportaciones para la resolución de nuestros retos.<br>The present doctoral thesis studies the "Naturwissenschaft” of Johann Wolfgang von Goethe, who is worldwide known as a man of letters, but also developed the scientific paradigm “Naturforscher” ―naturalist―. A different paradigm from the Newtonian and the “Naturphilosophie”’s one.
This research affirms the relevance of Goethe's naturalistic thought for resolving our present environmental challenges. Challenges we define from two interconnected areas: on the one hand, the environmental crisis, with the deterioration of the conditions for life worldwide; and, on the other hand, the human or civilizational crisis that, besides other problems and disasters, lies at the basis of the environmental crisis.
This thesis explores Goethe's scientific thought in relation to the challenges acknowledged by ecophilosophy. For this reason, this research describes a circular trajectory from the ecophilosophical present to the past in Goethe's natural studies, to return from the perspective of the ecological science and social green movements. Thus, while it contributes to the knowledge of the European past, it also evaluates its connections with the present and the potential contributions to the resolution of current challenges.
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Girard-Kenk, Françoise. "Poésie et vérité chez Elias Canetti : rapports entre littérature et connaissance dans l'ensemble de l'oeuvre." Paris 3, 2000. http://www.theses.fr/2000PA030023.
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L'identite de l'auteur canetti apparait enigmatique, car il revendique a partir d'une meme legitimite, celle du "dichter", l'ensemble de son oeuvre, alors que, en principe, elle ressortit a deux domaines de souverainete distincts et meme opposes: la litterature et la connaissance theorique. L'optique de cette etude consiste a faire de l'identite enigmatique de canetti une question de place dans l'histoire intellectuelle europeenne en examinant quelles consequences il tire du fait qu'il vient apres freud, mais aussi apres nietzsche, avec qui il partage la critique de l'histoire et de la science de la nature. On trouve la trace de cet heritage dans son opposition constante a freud, qui concoit la psychanalyse comme l'application a l'homme interieur de l'esprit scientifique herite du xixeme siecle. L'opposition a freud permet de comparer canetti "dichter" a th. Mann, musil et broch, mais aussi ses principes de connaissance theorique a ceux de goethe dans la theorie des couleurs. Son utopie de la petitesse imaginee pour le "dichter" moderne ideal inverse, d'autre part, l'heritage de nietzsche dans ses consequences.
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Guimarães, Gabriel Alonso. "Paisagem, tempo e memória na Viagem à Itália de Goethe." Niterói, 2017. https://appdesenv.uff.br/riuff/handle/1/3790.
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dissertacao - Gabriel Alonso Guimaraes - estudos de literatura.pdf: 1845139 bytes, checksum: 2d8a87f00cc249fb19fe3d4528f7b9be (MD5)<br>Conselho Nacional de Desenvolvimento Científico e Tecnológico<br>O presente trabalho procura relacionar três tópicos conceituais – paisagem, tempo e memória – na Viagem à Itália
de Goethe. Nossa intenção é, primeiramente, mapear nas descrições paisagísticas a presença do tempo
fenomenológico do olhar, do corpo e da viagem, pensando assim a memória em sua forma primária, isto é, como
estrutura retentiva. Para isso, recorremos ao pensamento husserliano das Lições de 1905 e da doutrina mereológica
nas Investigações lógicas, levado adiante pela Fenomenologia da percepção de M. Merleau-Ponty e pelos
trabalhos de Paul Ricoeur, buscando relacioná-lo com a forma testemunhal da experiência de paisagem na Viagem.
Nossa análise visa demonstrar os diferentes ritmos da vivência e de sua descrição, e a impossibilidade de separar
os elementos do “quadro” visto e os momentos da percepção total. Além disso, queremos investigar, num segundo
percurso, o pertencimento de Goethe à tradição da mnemotécnica antiga, na qual a memória é pensada, por um
lado, como impressão anímica e, por outro, como espaço interior. Aqui, a paisagem será vista a partir do seu
elemento sublime, a força patética pela qual ela se inscreve no texto memorativo. Servem como guia, nessa parte
da pesquisa, as fontes clássicas: os diálogos platônicos, dois trabalhos aristotélicos e algumas retóricas latinas, bem
como as exposições sobre o sublime, do retor Longino ao contemporâneo e amigo de Goethe, Friedrich Schiller.
Tal empreitada, cujo objetivo é pôr em contato a paisagem italiana com um tempo memorativo individual, aparenta
ser novidade em meio aos estudos goethianos, tendo em vista que a paisagem é relacionada tradicionalmente, na
crítica, ao tempo histórico e à memória cultural<br>This master thesis tries to relate three concepts – landscape, time and memory – in Goethe’s Italian Journey. Our
first goal is to uncover the phenomenological time of sight, body and travel in landscape descriptions, thus
conceiving memory in its primary form, namely as retention. In order to do this, we use as basis the 1905
Husserlian Lessons on time and his mereology in the Logical Investigations, both of which were later developed
by Merleau-Ponty’s Phenomenology of perception and by Paul Ricoeur’s works on narrative and memory, and we
relate them to the testimonial form of landscape experience on the Journey. Our analysis aims at demonstrating
the different rhythms of experience and its description and also the impossibility of separating the elements of a
landscape "picture" and the moments of its perception. In addition, as second goal, we investigate Goethe's
belonging to the ancient tradition of mnemonics, in which memory is conceived, on the one hand, as an impression
on the soul and, on the other, as an interior space or palace. At this stage of our research, landscape is considered
from the point of view of its sublimity, that is, the pathetic force through which it inscribes itself in the memory
text. The classical sources, which serve as guide, are the Platonic dialogues, two Aristotelian works and some
Latin rhetoric treatises, as well as some expositions on the sublime, from the Longinus through Burke to Goethe’s
contemporary and personal friend Friedrich Schiller. Our thesis, whose aim is to establish contact between
landscape and individual recollection, appears to be a new contribution in the field of studies on Goethe,
considering that Italian and classical landscape in the Journey is traditionally referred to historical time and cultural
memory
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Guidotti, Mirella [UNESP]. "Zweckmässigkeit ohne Zweck: ideias kantianas presentes na estética de Goethe." Universidade Estadual Paulista (UNESP), 2014. http://hdl.handle.net/11449/123315.
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000824228_20190624.pdf: 87788 bytes, checksum: b2078016ab433594363661bc6a6b4a20 (MD5)<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)<br>A tese investiga as afinidades de ideias entre a Crítica da Faculdade do Juízo de Kant, e o pensamento estético de Goethe, abordando os elementos presentes nos textos que o escritor produziu sobretudo a partir de 1786, ano em que realiza a famosa viagem à Itália e espécie de marco zero na construção de sua estética. Pelo conceito kantiano de finalidade sem fim [Zweckmässigkeit ohne Zweck], um dos termos decisivos de sua Terceira Crítica, pretende-se apreciar a concepção segundo a qual a obra de arte não seria redutível a uma explicação ou dedução em uma ciência do Belo, detentora que é de valor intrínseco, avessa a qualquer finalidade que não seja ela própria. Por finalidade sem fim, entende-se, pois, a independência de julgamento do objeto de bela arte face a outras instâncias, sejam elas morais, históricas ou filosóficas, não cabendo instrumentalizá-la no sentido de qualquer finalidade que seja exterior a ela, uma vez que nenhum discurso exterior é capaz de traduzir a verdade do texto poético. Nesse sentido, a formulação representa uma ruptura com a tradição estética predominante em séculos anteriores. A arte, para Goethe como para Kant, constitui, no limite, um campo inexprimível. Em Goethe, a arte produz seu próprio mundo, suas próprias verdades, e por isso mesmo não deve ser julgada senão a partir de suas leis intrínsecas, conceito que abriga também, ainda que com traje específico, a ideia de sua intraduzibilidade. Desde os anos 1990, essa ideia vem adquirindo especial importância para os estudos de Goethe, valendo salientar que mesmo o Goethe maduro recorre a Kant e, em especial, à ideia da autonomia da arte. Na última parte deste trabalho, tendo em consideração os pressupostos teóricos acima arrolados, procede-se à análise crítica de seu último romance, As afinidades eletivas [Die Wahlverwandtschaften], com uma metodologia que se mostra apropriada para a obra em apreço ...<br>This thesis investigates the affinities between the ideas of Kant’s Critique of Judgment and Goethe´s aesthetic thought, by dealing with aspects in Goethe´s texts from 1786 on, when Goethe made his renowned journey to Italy, a landmark in the construction of his aesthetics. Through the concept of purposiveness without a purpose [Zweckmässigkeit ohne Zweck], one of the key terms of Kant´s Third Critique, it is intended to explore the aesthetic concept, which states that the artwork ist not reducible to an explanation or deduction in a science of beauty. The value of art should lie in itself; the art has an intrinsic value, not projected for any purpose than itselt. Through the notion of purposiveness without a purpose one should undestand the independency of the judgment of an art object in regard to other spheres, whether moral, historical or philosophical, not instrumentalizing thereby the literary text to any outside purposes, since no external speech is able to translate the truth of the poetic text. In this sense, the term relates the moment of rupture with the normative aesthetic tradition prevalent in previous centuries, as the sphere of art is to both, Goethe and Kant, an area that remains inexpressible. For Goethe, art is also a domain that creates its own world, its own truths, and in this sense should be judged only from its intrinsic rules. The idea of the untranslatability of the art manifests, though in his own way, also in Goethe. From the 90´s on, this idea reaches considerable importance to the poet and even the mature Goethe appeals to Kant and specially to the idea of the autonomy of art. Here, the last Goethe´s novel Die Wahlverwandtschaften is analyzed according to the theoretical premises discussed in the first part of this thesis: the novel´s critical analysis intends thereby to incorporate the concept of the art as an untranslatable domain. We argue that this way of critical analysis is suitable for the ...
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Pezzoli-Bonneville, Christine. "Vie intellectuelle et Lumières à Darmstadt entre 1700 et 1774 : baroque, empfindsamkeit et sturm und drang." Paris 4, 2000. http://www.theses.fr/1999PA040275.
Full textAbstract:
La ville Darmstadt connait un éclat littéraire éphémère entre 1770 et 1774. En 1770, Herder y rencontre sa future femme ainsi qu'un fonctionnaire, Merck, dont la grande intelligence lui fournit un nouveau correspondant de valeur. Merck se forme alors à la critique littéraire et découvre le monde de l'Empfindsamkeit puis du Sturm und Drang. Il entraine avec lui le petit groupe d'amis qui l'entoure. Le culte de l'Empfindsamkeit dans la ville culmine en 1771 avec la première publication d'un recueil d'odes de Kiopstock. En 1772, Merck et Goethe, qui se lient en partie grâce à Herder, diffusent leurs idées grâce aux annonces littéraires de Francfort qui deviennent pendant un an l'organe du Sturm und Drang. Poussé par Merck, Goethe publie également ses premières oeuvres. Certains ont ainsi suggéré à tort que Darmstadt préfigure ce qu'allait devenir Weimar par la suite. La landgrave caroline, tout en connaissant le développement de la littérature allemande, est en réalité imprégnée de culture française et est alors préoccupée par des problèmes dynastiques. Le bref rayonnement de Darmstadt provient de la rencontre de Merck avec Herder puis Goethe. Les textes laissés par Merck nous montrent un esprit caustique mais ouvert, tolérant et dénué de malveillance, contrairement à la réputation qui lui fut faite par la suite. Cette période de fermentation intellectuelle se clôt par le départ de Merck pour la Russie à la suite de la landgrave. Darmstadt retombe dans la grisaille. Une nouvelle période commence à son retour en 1774. Herder a rompu avec lui. Goethe a évolué et commence à s'éloigner. Merck se tourne vers les journaux à l'extérieur, comme vers la bibliothèque générale allemande, et surtout le mercure allemand à Weimar.
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Fontanella, Marco Antonio Rassolin. "Vestigios de Espinosa na produção literaria de Goethe." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270058.
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Orientador: Marcio Orlando Seligmann-Silva<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem<br>Made available in DSpace on 2018-08-11T21:18:56Z (GMT). No. of bitstreams: 1
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Previous issue date: 2008<br>Doutorado<br>Historia e Historiografia Literaria<br>Doutor em Teoria e História Literária
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Busquet, Fabiana de Mattos. "Escrita e identidade feminina no romance L’Enfant de sable de Tahar Ben Jelloun." Niterói, 2017. https://app.uff.br/riuff/handle/1/3704.
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1 DISSERTAÇÃO DEFINITIVA FABIANA SETEMBRO 2016.pdf: 1271837 bytes, checksum: 05333a0f342232ec0a357b9ed1667485 (MD5)<br>Na Dissertação de Mestrado Escrita e identidade feminina no romance L’Enfant de
sable de Tahar Ben Jelloun, estuda-se a metáfora literária como lugar de (re)construção de
memórias e identidades culturais. O jogo de (re)construção identitária é analisado através do
diálogo entre as múltiplas vozes narrativas que cruzam o romance como forma de
reconstituição da “verdadeira” história da personagem central da obra, identificada como
Ahmed-Zahra.
Na (re)construção das memórias de infância, a personagem Ahmed, protagonista da
narrativa, em busca de sua verdadeira identidade, procura conhecer-se, uma vez que, tendo
nascido mulher, foi criada como homem. Essa memória é construída e revivida ora pelas
páginas escritas do diário de Ahmed, personagem, ora pelas narrativas feitas pelos contadores
de histórias que reivindicam para si, cada qual, a verdadeira história da protagonista do
romance, fazendo ressoar na obra diversas vozes narrativas que compõem o enredo de
L’Enfant de sable. A dupla identidade de gênero é tensionada no confronto das diferentes
versões veiculadas pelos diferentes narradores que requerem para si a verdadeira versão da
história de vida da protagonista do romance.
A construção da identidade da personagem central ganha forma no “entre-lugar”
conflituoso e crítico da intertextualização entre as múltiplas vozes narrativas. Na tessitura da
trama narrativa desenvolve-se a história do nascimento de uma menina que tem sua
verdadeira identidade furtada como forma de proteger a herança familiar e o legado da
família. É a partir dessa farsa familiar que se constrói o enredo do romance, uma vez que a
busca da identidade de Ahmed-Zahra passa pela busca da verdade sobre si mesma. Como
homem, a personagem assume a identidade de Ahmed, imposta pelo pai e, como mulher,
identifica-se com o nome de Zahra, que ele/ela mesma escolheu para si. Vivendo assim,
“entre dois mundos”, o mundo da Medina, destinado aos homens, e o mundo do oikos,
destinado às mulheres, Ahmed-Zahra possui o passaporte que lhe permite transitar por esses
dois espaços culturais tão diferentes.
O resgate da memória de Ahmed-Zahra, através da escrita, nada mais é que a busca da
verdadeira identidade da protagonista que, ao escrever, tenta se descobrir e se inserir como ser
na sociedade do Maghreb 1. Para ele/ela separar esses dois mundos é algo impossível, porém,a necessidade de se conhecer e de se fazer conhecida levará a personagem a uma “odisseia”
de vida.
Nas múltiplas vozes narrativas do romance, insere-se a cultura do Norte da África, onde
se destaca a prática da narrativa oral como fonte de preservação da tradição de seu povo. Ao
fazer uso da prática narrativa, a personagem revive a tradição de contar histórias como resgate
de sua própria identidade<br>This written Master’s Dissertation "the Female Identity in the novel L’Enfant de sable
de Tahar Ben Jelloun," is a study of the literary metaphor as a manner of (re)construction of
cultural memories and identities. The play of identity reconstruction is analyzed behind the
dialogue of multiple narrative voices which cross the romance as a form of reconstitution of
the "true" history/story of the central character of the work, who is identified as AhmedZahra. In the reconstruction of childhood memories, Ahmed, the protagonist of the narrative,
in search of his true identity, seeks self-knowledge (because) although having been born a
woman, she was raised as a man. This memory is (re)constructed and revived in the pages
written in Ahmed's diary, character whose narratives are related by story tellers who relate for
themselves with every story the true history of the novel´s protagonist, resulting in various
resounding narrative voices which comprise the story of the L’Enfant de sable. The double
identity of the gender is tense in its confrontation of different versions by different narrators
who utilize the true story of the protagonist.
The construction of the identity of the main character takes on a form in a conflicting
study “between places “and criticism of the inter-textualization between multiple narrative
voices. In the texture of the dramatic narrative there is developed a narrative of the story of
the birth of a girl who has her true identity stolen as a way to protect the family inheritance
and legacy. Beginning with this familiar farce is constructed the plot of the novel, a true
search for identity of Ahmed-Zahra in search of himself. As a man the main character
assumes the identity of Ahmed, imposed by his father and as a woman assumes the name of
Zahra that he/she himself/herself chooses .Living between two worlds, “the world of Medina,
destined to men, and the world of oikos, destined to women,” Ahmed-Zahra thus possesses a
“passport” which permits him/her to enter two different cultural spaces.
The salvation of memory of Ahmed-Zahra, via the the written word, is nothing more
than the search for true identity of the protagonist, to write and try to discover and insert
himself/herself into society of Maghreb (northeastern Africa near Morocco). For him/her to
separate these two worlds however is impossible.
The necessity to know oneself and to make oneself known leads the protagonist to
undergo an odyssey of life.
11
In multiple voices narrated in the novel, insert themselves the culture of North Africa,
where the importance of the practice of oral narrative revives a tradition to tell stories as a
rescue of one´s proper identity
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Nicholls, Angus 1972. "The mantic art : an examination of the notion of the daemonic in the writings of Plato, Goethe and Goethe's contemporaries." Monash University, Centre for Comparative Literature and Cultural Studies, 2001. http://arrow.monash.edu.au/hdl/1959.1/9148.
Full text
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Levy, Wolfenzon Jennifer. ""La estética de la crueldad" : una lectura sobre De sobremesa de J. A. Silva a la luz del Fausto de W. J. Goethe." Master's thesis, Pontificia Universidad Católica del Perú, 2012. http://tesis.pucp.edu.pe/repositorio/handle/123456789/4481.
Full textAbstract:
Si bien la crítica latinoamericana contemporánea ha estudiado buena parte de las
referencias literarias, plásticas y filosóficas de De Sobremesa (1895) de José
Asunción Silva, aún queda por investigar con mayor profundidad cuál es la
relación que se establece entre esta novela típicamente modernista y la mitología
faustiana. La mayoría de estudiosos de la obra de Silva han señalado las fuertes
influencias europeas de fines del siglo XIX enfatizando en las de Joris-Karl
Huysmans, Charles Baudelaire, el novelista y psicólogo Paul Bourget, el pintorpoeta
Dante Gabriel Rossetti, Friedrich Nietzsche e incluso Arthur Schopenhauer.
Sin embargo, no se ha considerado con seriedad el influjo que sin lugar a dudas
tuvo Johann Wolfgang von Goethe (1749-1832) en la obra de José Asunción Silva
(1865-1896).
El Modernismo fue un movimiento literario que surgió en Latinoamérica a fines del
siglo XIX y cuya estética estuvo determinada en gran parte por la necesidad de
instituir un nuevo modelo de hombre intelectual moderno que estuviera al margen
de los discursos del poder político y educativo. Durante casi todo el siglo XIX el
letrado era un intelectual ligado al dominio de lo público y a las más altas esferas
del poder político. La literatura constituía un dispositivo puesto al servicio del
Estado que, en ese entonces, buscaba educar a una gran parte de la población
americana considerada como “bárbara” y “salvaje”. Son los casos del Facundo
(1845) de Domingo Faustino Sarmiento, Amalia (1851) de José Mármol y María
(1867) de Jorge Isaacs, textos narrativos realistas con fines didácticos. Con la
emancipación de la metrópoli, la literatura latinoamericana empieza a tomar
distancia de sus obligaciones pedagógicas–morales y, como consecuencia de ello,
los escritores se repliegan en la soledad de sus despachos para crear desde su yo
interior. De aquí se entiende por qué en la poesía como en la narrativa modernista
hay una repetición de imágenes alusivas a los espacios interiores como las
habitaciones de las amadas, los despachos, las tertulias entre amigos cercanos y
los consultorios médicos. En este “interior”, perfumado del olor de los cigarrillos de
Oriente, colmado de exóticos objetos decorativos traídos desde China y tapizado
con finos terciopelos y pieles de origen ruso, las referencias librescas no pasan
desapercibidas. Bajo este mismo espíritu sofisticado y preciosista para describir
las atmósferas intimas, la novela de Silva podría ser considerada como un valioso
catálogo bibliográfico que recoge muchas de las inspiraciones artísticas y
científicas de su autor. De sobremesa es, entonces, no sólo una “autobiografía
novelada” donde el personaje principal es “un alter ego exacto” (Remedios Mataix,
111) de J. A. Silva, sino un homenaje a los autores y sus obras que más huella
dejaron en la corta vida del autor. .<br>Tesis