Academic literature on the topic 'German literature, history and criticism, 19th century'
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Journal articles on the topic "German literature, history and criticism, 19th century"
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Abbott, Scott. "The Wanderer in 19th-Century German Literature: Intellectual History and Cultural Criticism (review)." Goethe Yearbook 17, no. 1 (2010): 406–8. http://dx.doi.org/10.1353/gyr.0.0046.
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Franek, Ladislav. "L’essence éthique du dialogue culturel." Interlitteraria 25, no. 2 (December 31, 2020): 298–309. http://dx.doi.org/10.12697/il.2020.25.2.3.
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The ethical essence of cultural dialogue. The definition of comparative literary studies in Slovakia. Historical poetics in the works of D. Ďurišin, focused on the typological essence of literary phenomena on the basis of interrelating theoretical and developmental aspects of national literature. The differences of Slovak methodology from Western positivist models of the study of interliterariness. Parallel existence of the principles of literary history and criticism in the reception analyses of Russian, German and French literatures by older Slovak scholars. The onset of realism in Slovak literature at the end of the 19th century (S. Hurban Vajanský). The important contribution of J. Felix’s critical reflection of universalist tendencies in European and esp. modern French writing. The complexity of organically incorporating these impulses into the context of Slovak literature as a result of the provincial character of a “small” nation. The wealth of translations from contemporary world literatures and its positive impact on the work of many Slovak writers in spite of the discontinuity of research in this area after 1989. Urgent need to return to similar forms of literary-cultural reflection and self-reflection through reviving an intensive philological, linguistic, theoretical-critical and historical study at our universities.
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Franek, Ladislav. "L’essence éthique du dialogue culturel." Interlitteraria 25, no. 2 (December 31, 2020): 298–309. http://dx.doi.org/10.12697/il.2020.25.2.3.
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The ethical essence of cultural dialogue. The definition of comparative literary studies in Slovakia. Historical poetics in the works of D. Ďurišin, focused on the typological essence of literary phenomena on the basis of interrelating theoretical and developmental aspects of national literature. The differences of Slovak methodology from Western positivist models of the study of interliterariness. Parallel existence of the principles of literary history and criticism in the reception analyses of Russian, German and French literatures by older Slovak scholars. The onset of realism in Slovak literature at the end of the 19th century (S. Hurban Vajanský). The important contribution of J. Felix’s critical reflection of universalist tendencies in European and esp. modern French writing. The complexity of organically incorporating these impulses into the context of Slovak literature as a result of the provincial character of a “small” nation. The wealth of translations from contemporary world literatures and its positive impact on the work of many Slovak writers in spite of the discontinuity of research in this area after 1989. Urgent need to return to similar forms of literary-cultural reflection and self-reflection through reviving an intensive philological, linguistic, theoretical-critical and historical study at our universities.
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Mumovic, Ana M. "DAM ON THE GREAT RUSSIAN SEA (Contribution to the interpretation of the Review of the History of Serbian Literature by A. N. Pipin)." Folia linguistica et litteraria XII, no. 35 (2021): 117–36. http://dx.doi.org/10.31902/fll.35.2021.6.
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The paper aims is to present and evaluate the Review the History of Serbian Literature A. N. Pipin's as a classical history of Serbian literature that became part of the national culture. The development of the history of literature among Serbs, as an independent discipline and its modest beginnings, can be found in the first decades of the 19th century, in the time of Dositej and Vuk. In its beginnings, the history of literature was a "story" about the literary past of a nation and at its core was - criticism. This main idea as an axiom is a signpost that leads from the history of literature, which has long performed the function of criticism, to the genesis of literary criticism as the youngest branch of literary science and the way it formulated and exercised its functions in conditions when literary history was in a certain measures and history of the people. The Serbs received the first History of Serbian Literature (1865) from the pen of Pavel Jozef Šafarik (1795–1861), a Protestant and German student who served in Novi Sad. The next history of Serbian literature was also written by a foreigner, the Russian Alexander Nikolaevich Pipina (1833–1904). His Review the History of Serbian Literature (1865) has not been fully translated into Serbian. When marking questions from the new Serbian literature, Pipin's approach leads to a synthesis of ideas about cultural and political and national development. Slavery replaced the idea of revival "among Orthodox Serbs who fled to Austria". From that perspective, he views the development of national literature as an important part of culture and identity. Pipin also deals with the issue of national identity and the awakening of the national consciousness of the Slavs in his extensive study "Panslavism in the Past and Present" (1878), in which "the Serbian national question is incorporated into the general critique of Russian official policy and Slavophile orientation in the Balkans during Eastern Europe crisis". In this paper, we value his competence, cultural mission, the gift of the comparator, without which there is no great literary historian, and his practical contribution to classifying Serbian literature and culture in the European context.
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de Souza, Leonardo Cruz, Antônio Lúcio Teixeira, Guilherme Nogueira M. de Oliveira, Paulo Caramelli, and Francisco Cardoso. "A critique of phrenology in Moby-Dick." Neurology 89, no. 10 (September 4, 2017): 1087–90. http://dx.doi.org/10.1212/wnl.0000000000004335.
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Phrenology has a fascinating, although controversial, place in the history of localizationism of brain and mental functions. The 2 main proponents of phrenology were 2 German-speaking doctors, Joseph Gall (1758–1828) and Johann Spurzheim (1776–1832). According to their theory, a careful examination of skull morphology could disclose personality characters. Phrenology was initially restricted to medical circles and then diffused outside scientific societies, reaching nonscientific audiences in Europe and North America. Phrenology deeply penetrated popular culture in the 19th century and its tenets can be observed in British and American literature. Here we analyze the presence of phrenologic concepts in Moby-Dick; or, The Whale, by Herman Melville (1819–1891), one of the most prominent American writers. In his masterpiece, he demonstrates that he was familiarized with Gall and Spurzheim's writings, but referred to their theory as “semi-science” and “a passing fable.” Of note, Melville's fine irony against phrenology is present in his attempt to perform a phrenologic and physiognomic examination of The Whale. Thus, Moby-Dick illustrates the diffusion of phrenology in Western culture, but may also reflect Melville's skepticism and criticism toward its main precepts.
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Nosonovsky, Michael, Dan Shapira, and Daria Vasyutinsky-Shapira. "Not by Firkowicz’s Fault: Daniel Chwolson’s Comic Blunders in Research of Hebrew Epigraphy of the Crimea and Caucasus, and their Impact on Jewish Studies in Russia." Acta Orientalia Academiae Scientiarum Hungaricae 73, no. 4 (December 17, 2020): 633–68. http://dx.doi.org/10.1556/062.2020.00033.
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AbstractDaniel Chwolson (1819–1911) made a huge impact upon the research of Hebrew epigraphy from the Crimea and Caucasus. Despite that, his role in the more-than-a-century-long controversy regarding Crimean Hebrew tomb inscriptions has not been well studied. Chwolson, at first, adopted Abraham Firkowicz’s forgeries, and then quickly realized his mistake; however, he could not back up. Th e criticism by both Abraham Harkavy and German Hebraists questioned Chwolson’s scholarly qualifications and integrity. Consequently, the interference of political pressure into the academic argument resulted in the prevailing of the scholarly flawed opinion. We revisit the interpretation of these findings by Russian, Jewish, Karaite and Georgian historians in the 19th and 20th centuries. During the Soviet period, Jewish Studies in the USSR were in neglect and nobody seriously studied the whole complex of the inscriptions from the South of Russia / the Soviet Union. The remnants of the scholarly community were hypnotized by Chwolson’s authority, who was the teacher of their teachers’ teachers. At the same time, Western scholars did not have access to these materials and/or lacked the understanding of the broader context, and thus a number of erroneous Chwolson’s conclusion have entered academic literature for decades.
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BERNSTEIN, LAWRENCE F. "““Singende Seele”” or ““unsingbar””? Forkel, Ambros, and the Forces behind the Ockeghem Reception during the Late 18th and 19th Centuries." Journal of Musicology 23, no. 1 (January 1, 2006): 3–61. http://dx.doi.org/10.1525/jm.2006.23.1.3.
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ABSTRACT In 1868, Wilhelm Ambros lauded a number of compositions by Johannes Ockeghem, including the triple canon Prenez sur moy. Emphasizing the expressive qualities of this music, he suggested that its composer had breathed into it a ““singing soul.”” Some decades earlier, Johann Forkel also focused on Prenez sur moy, dismissing it, however, as ““unsingable.”” The present study examines the cultural and intellectual forces that gave rise to these strikingly contradictory assessments. Enlightenment historians are generally thought to have charted the flow of history according to a progressive paradigm. Late medieval music often fared poorly viewed from this perspective, drawing criticism for its failure to reflect the refinements of modern music. Initially, Forkel toed this line, but his comments about examples of 15th-century music in the Allgemeine Geschichte der Musik also reveal his capacity to strike a relativist pose regarding some of them, and even to offer unqualified praise. The changes in Forkel's position are traced to philosophical writings known to have been part of his library, and to his conviction that the music of Johann Sebastian Bach was superior to that of his own time. Taking that stand surely must have raised questions in his mind about his earlier commitment to the progressive view of history. Forkel's openness to new historiographical approaches suggests that he, of all Enlightenment writers on music, might have found value in Ockeghem's music, all the more so because he was better informed about Ockeghem's preeminent stature in his own day than anyone else at the time, and owing to his awareness of a current German tradition that regarded Ockeghem as ““the Bach of his day.”” Yet Forkel's deprecation of Ockeghem's music is among the strongest in the literature. His negative stand can be traced to his admiration for a 16th-century tract on teaching music, the Compendium musices by Adrian Petit Coclico, who demonizes Ockeghem as an icon of the scholastic approach to music. Forkel's own commitment to a humanistic orientation in music pedagogy surely led him to view Coclico as a kindred spirit.
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Roasto, Margo. "Marksismi retseptsioon ja dogmaatilise marksismi kriitika Eesti alal aastatel 1905–16." Ajalooline Ajakiri. The Estonian Historical Journal 177, no. 3/4 (June 20, 2022): 169–94. http://dx.doi.org/10.12697/aa.2021.3-4.02.
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In Estonian historiography, the revolutionary year of 1905 has been described as a starting point for subsequent political changes in 1917 and 1918. Hence many authors have highlighted the importance of political development that led to the foundation of the first Estonian political parties in 1905. However, the ideological differentiation of Estonian political thought between the revolutionary years of 1905 and 1917 has been studied less. The aim of this article is to analyse the political debates on Marxist theory that took place in the Estonian area of the Baltic provinces from 1905 to 1916.
The leaders of the Estonian socialist movement first became acquainted with Marxist theory through German and Russian socialist literature. Since 1905, various texts by socialist authors were also available to a wider audience in Estonian. First and foremost, the works of German social democrats were published in Estonian. During 1910–14, the first volume of Karl Marx’s Capital was translated into Estonian. While it had often previously been argued that socialism benefits all oppressed people, Marxist ideology was now presented as a scientific theory that explained economic development and protected the interests of industrial workers in a class society.
The article claims that during the period from 1905 to 1916, recognised experts on Marxist ideology emerged among Estonian socialists. In addition to Marxist tactics, Estonian socialist authors discussed theoretical issues such as the material conception of history. In these discussions, the personal conflicts between Estonian socialists as well as their ideological disagreements became evident. More broadly, these discussions were shaped by earlier ideological debates among European socialists at the end of the 19th century and the beginning of the 20th century.
The article also argues that during the period considered, several Estonian left-wing thinkers questioned the validity of Marxism. Influenced by Bernstein’s revisionist ideas, these thinkers criticised Marxism as a one-sided and dogmatic ideology. They claimed that Marxism was just another theory with both strengths and weaknesses. However, Estonian social democrats who embraced Marxism as a scientific theory responded to such criticism and defended the materialist view of society.
The debates on Marxist theory considered here provide evidence of the ideological differentiation of Estonian left-wing political thought. From 1905 to 1916, numerous socialist texts in Estonian presented various approaches for understanding Marxist ideology. Thus, one can witness an intensified reception of Marxism in the Estonian area during that period. More specifically, these ideological debates reveal new facets of the political views of Estonian socialists who later affected the course of Estonian history as communist revolutionaries or as members of the Estonian Constituent Assembly.
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Nikonova, Natalia Ye. "Vasily Zhukovsky and Friedrich Wilhelm von Schadow: Based on Materials From the Painter’s Unpublished Letters." Imagologiya i komparativistika, no. 14 (2020): 37–61. http://dx.doi.org/10.17223/24099554/14/2.
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The article presents, for the first time, an attempt to reconstruct the context and the object of creative contacts of Vasily Zhukovsky and Friedrich Wilhelm von Schadow (1788–1862), a theorist of painting and head of the Academy of Arts in Dusseldorf. The sources for the reconstruction were the previously unpublished eight letters by the German artist written in the period from 1838 to 1846 and now stored in the Manuscript Department of the Institute of Russian Literature and materials from the creative heritage of the Russian poet and artist. The article establishes new facts about the institutional role of Zhukovsky in the Russian-German cultural ties in the 19th century. Von Schadow gave some of his paintings in the original, in copies or prints for Zhukovsky’s personal collection and for the imperial collection of the future Hermitage. The list of these paintings is, for the first time, compiled in the article. The textual material is illustrated with images from von Schadow’s works discussed in the epistolary dialogue. Von Schadow’s published manifestos on the theory and criticism of Christian religious painting, which Zhukovsky read and which influenced his artistic worldview in the 1840s, are attributed. The article presents, for the first time, the most significant fragments from von Schadow’s letters of 1838–1845 translated into Russian. The fragments fill in the gaps in the objective representation of the scale of Zhukovsky’s activities at court on compiling a collection of Russian paintings both in the institutional and ideological artistic aspects. At the same time, the communication between the German artist and the Russian poet found reflection in Zhukovsky’s creative heritage of the late period: in his criticism, works on art theory, prose, and reflections. Von Schadow, in his last letters, and Zhukovsky, in his diary entries, pay special attention to reflections on pedagogical activities and works on the theory of fine arts, as well as on their social and political activities. The parable of the prodigal son was the final touch in the creative dialogue of the poet and the artist. Zhukovsky reflected this parable in his unfinished poem about the Wandering Jew. The lines of the poem paint in words fragments from the Sacred History quite in the spirit of von Schadow’s paintings: Zhukovsky compares the Wandering Jew who ascended Calvary with the prodigal son and depicts the holistic canvas of the inner and outer space of the character through his eyes. The conclusion is made that the discovered letters from von Schadow to Zhukovsky reveal the adherence of the both to the lofty romantic idea of a synthesis of arts based on the poetics of heartfelt feelings, artistic imagination, active teaching, and religious and mystical experience. Fine arts, science and history, issues of faith and politics of the mid-19th century were a background for the concentration of the correspondents on the rethinking of substantial religious and philosophical issues on the material of eternal biblical plots on the entombment of Christ, taking Christ down from the cross, on reasonable and unreasonable maidens, and, finally, on two parables about the lost sheep and the prodigal son, which became the ultimate embodiment of the dialogue of a poet and an artist in fine arts.
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Svitlenko, Serhiy. "Ukrainian intellectual Trokhym Zinkivskyi and preservation of historical memory of Taras Shevchenko." Chornomors’ka Mynuvshyna, no. 17 (December 31, 2022): 71–78. http://dx.doi.org/10.18524/2519-2523.2022.17.268828.
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The personality of Trochym Zinkivskyi (1861–1891) remains little known and insufficiently developed in modern Ukrainian historiography. The purpose of the article is to study the figure of Trokhym Zinkivskyi in the context of the problem of preserving the historical memory of Taras Shevchenko. Research methods are personalistic, historical-genetic and historical-systemic. Sources: published epistolaries of T. Zinkivskyi and his addressees, memories of contemporaries, biographical articles in the Ukrainian press of the beginning of the 20th century etc. The main results consist in elucidating the peculiarities of the formation of T. Zinkivskyi's worldview under the conditions of the oppression of the Southern Ukrainian lands by the Russian imperial regime, in particular in Berdyansk, Feodosia and Odesa, the establishment of his Ukrainian national-democratic views during his studies and military service in Smila, Shpola and Uman, in Kyiv and St. Petersburg. It is noted that an important factor in the development of his Ukrainian consciousness and identity was his family upbringing, which instilled love for his native language and formed Christian, religious values. A prominent role was played by the reading circle, which included Shevchenkov's «Kobzar» along with other literary works of Ukrainian and foreign writers; as well as Ukrainian folk art. V. Kravchenko, L. Smolenskyi, B. Grinchenko, M. Komarov, and a number of representatives of the Ukrainian colony in St. Petersburg were included in the closest circle of persons who significantly influenced the formation of the worldview of the Ukrainian figure. The article traces the main stages of the intellectual and public activity of the Ukrainian figure in the matter of preserving the historical memory of Kobzar. It is noted that already in the middle and second half of the 80s of the 19th century. T. Zinkivskyi began work in the field of Ukrainian literature, took care of translation activities. In St. Petersburg, he was able to begin wider work for the benefit of Ukrainianism and became an ideological leader of young Ukrainians. The powerful vital energy of the activist was organically combined with consistent and convinced actions in the name of the Ukrainian cause. In the youth group at Shevchenko's anniversary, T. Zinkivskyi read a number of essays, such as «The National Question in Russia», «Shevchenko in the Light of European Criticism», «Young Ukraine» and others. His essay «Taras Shevchenko in the Light of European Criticism», which was read in Ukrainian on the evening of February 25, 1889 in the capital of the empire, was of exceptional importance. This speech, prepared mostly on the basis of French, Austrian, German, and Polish historiographical sources, presented Kobzar as a figure of global poetic scale and destroyed the perception of the Russian metropolitan public about Ukrainians and the Ukrainian language as something provincial and inferior. Conclusions.T. Zinkivskyi became one of the brightest representatives of the «Young Ukraine» generation. The short-lived but important intellectual activity of the ideological leader of young Ukrainians, in particular, speeches at the Shevchenko anniversary, publication of abstracts, epistolaries, drew the attention of contemporaries to the figure of Taras Shevchenko, to his poetic heritage; actualized the issue of preserving the historical memory of Kobzar as a leader of the national values of Ukrainians. It has been proven that during the 1880s and early 1890s, T. Zinkivskyi's intellectual activity contributed to the progress of Ukrainian public affairs and national science, the establishment of Ukrainian national consciousness among the generation of young Ukrainians. The practical significance of the article is that the given material will be of interest to specialists in the context of studying the ethno-national history of Ukraine in the second half of the 19th century. The originality of the article lies in the understanding of insufficiently studied aspects of the activity of the Ukrainian intellectual, who stood at the origins of the idea of «Young Ukraine». Scientific novelty in updating the intellectual activity of T. Zinkivskyi in the matter of preserving Ukrainian national memory and forming national consciousness and identity.
Dissertations / Theses on the topic "German literature, history and criticism, 19th century"
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Magerski, Christine 1969. "The constitution of the literary field in Germany after 1871 : Berlin modernism, literary criticism and the beginnings of the sociology of literature." Monash University, German Studies, 2002. http://arrow.monash.edu.au/hdl/1959.1/8724.
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Cotter, Robert Edmund. "Aspects of philistinism in nineteenth-century German literature : Eichendorff, Keller, Fontane." Thesis, University of Oxford, 1991. http://ora.ox.ac.uk/objects/uuid:fa741b6d-6e13-4587-9369-2a477651cb24.
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The thesis aims to explore philistinism as a German literary topos, in the nineteenth century. It begins with an examination of the extra-literary metaphorical usage of key words like Philister and proceeds to a summary of its impact on writers in the period. By so doing, I have tried to present an image of the developing tradition of the literary depiction of philistines. The main part of the thesis is devoted to three writers - Richendorff, Keller, Fontane - whose work presents us with contrasting responses to the problem of philistinism. Unlike previous investigations, my approach is not only through explicit linguistic and visual markers, but also implicit depictions of philistines in the work of the three writers. To achieve this, attention is focussed on tone and literary devices, comic mode, irony, metaphor. I aim thereby to show the function of philistinism in these writings, an analysis not previously attempted. Eichendorff's work is shown to be imbued with a fundamental antithesis between the lives of Dichter and Philister, so comprehensive as to include eschatological implications. In Keller we notice a questioning of such a dichotomy, an unwillingness to acquiesce in its distinctions and an emphasis on society in determining the worth of his characters. Fontane's work represents the most radical reassessment of the Romantic position and displays a clear shift from categorical thinking to a pervasive ambivalence. Whilst philistinism is an issue for all three writers, the differences in their approach and consequent portrayals are revealing: my Epilogue suggests that their different modes of presentation reflect changes of ethos from Romanticism to realism, which in turn reflect changes in social values over the course of the nineteenth century. The interest of the present thesis is its demonstration that such changes can, in German literary culture, be so precisely observed in the changing treatment of the topos of philistinism.
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Kinney, Tracey Jane. "Challenging the myth of Young Germany, conflict and consensus in the works of Karl Gutzkow, Heinrich Laube, Theodor Mundt and Ludolf Wienbarg." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq25079.pdf.
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Geissler, Christopher Michael. "'Die schwarze Ware' : transatlantic slavery and abolitionism in German writing, 1789-1871." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610465.
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Schor, Ruth. "Eine alltägliche Tätigkeit : performing the everyday in the avant-garde theatre scene of late nineteenth-century Berlin." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:f182a548-e450-4efa-a3a0-478461d44ab6.
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This dissertation situates late nineteenth-century Berlin's reception of naturalist drama in contemporary discourse about European modernism, which to date has disregarded the significant impact of this cultural environment. Examining the Berlin avant-garde's demand for "truth" and "authenticity," this study highlights its legacy of promoting more honest and dynamic forms of human interaction. Sketching the historical background, Chapter 1 demonstrates how the reception of Henrik Ibsen in Berlin fuelled creative strategies for a more honest approach to theatre. From literary matinees to more egalitarian ways of directing theatre, this moment in cultural history significantly shaped people's understanding of theatre as a tool for social criticism and as a means of creating a sense of intimacy. Two important figures are highlighted here: literary critic and theatre director Otto Brahm, central to the promotion of naturalism, and his more prominent protégé Max Reinhardt, who developed Brahm's legacy. Situating these developments in a theoretical framework, Chapter 2 draws on the concept of "the everyday" as set out by Toril Moi, Stanley Cavell, and Ludwig Wittgenstein to link the role of the ordinary on stage to the avant-garde's search for authenticity and truthfulness. Through this framework, Ibsen's social dramas from A Doll's House to Hedda Gabler (Chapter 3) can be seen perfectly to exemplify this shift in perspective from the 1880s through the 1890s, revealing the complexity of truthfulness in communications. Tracing these themes in other dramatic works, innovative readings of Arthur Schnitzler's Liebelei (Chapter 4) and Rainer Maria Rilke's Das tägliche Leben (Chapter 5) shed new light on these two fin-de-siècle authors. By highlighting these authors' previously unrecognised connections with Berlin's avant-garde theatre scene and their dramatic exploration of interpersonal connection, this study shows both how theatre functioned as a tool to examine human relationships and to what extent twentieth-century literature was grounded in this way of thinking.
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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.
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de, Beer Amanda Erika. "„Wo ist der Junge aus dem Urwald?“ Abenteuer und koloniales Afrika in der Jugendliteratur." Thesis, Stellenbosch : Stellenbosch University, 2015. http://hdl.handle.net/10019.1/96813.
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Thesis (PhD)--Stellenbosch University, 2015AFRIKAANSE OPSOMMING : Hierdie proefskrif is ’n ondersoek na die wyse waarvolgens Duitse jeugboekskrywers die koloniale periode in Afrika uitbeeld. Duitse avontuurliteratuur speel dikwels af in die koloniale periode in Afrika. Motiewe in die avontuurroman stem egter nie altyd ooreen met die historiese konteks en geografiese ruimtes nie. Dit skep die indruk dat so ’n verhaal tyd- en ruimteloos is en dat die historiese en geografiese konteks bloot die afstand tussen Afrika en Europa beklemtoon. In die lig van die feit dat Afrika en sy historiese konteks dikwels as eksotiese agtergrond dien, bespreek die studie die problematiek rondom die manier waarvolgens skrywers die koloniale periode in die avontuurliteratuur ontleed. Vervolgens word die vraag gestel tot watter mate die uitbeelding van Afrika sedert 1945 verander het. Die wyse waarop die koloniale periode in Afrika in Duitse jeugliteratuur uitgebeeld word, behoort dus ondersoek te word binne die konteks van die tradisionele avontuurliteratuur. Deurdat die studie gesentreer is rondom die avontuurliteratuur voor 1945 en avontuurboeke na 1945, stel die dissertasie ondersoek in tot watter mate jeugboeke en hulle uitbeelding van die koloniale periode verander het en in hoeverre die tradisionele avontuurliteratuur aan hierdie boeke ontleen is. In hierdie proefskrif word avontuurverhale en avontuurlike jeugverhale wat tydens die koloniale periode in Afrika afspeel, vervolgens ontleed. Die studie fokus op vier periodes: Eerstens word tradisionele avontuurstories en motiewe wat ’n belangrike rol speel in die uitbeelding van Afrika, geïdentifiseer. Die volgende tekste word ontleed: C.Falkenhorst se Der Baumtöter (1894), Gustav Frenssen se Peter Moors Fahrt nach Südwest (1906), Josef S. Viera se Bana Sikukuu (1924) en Gust in der Klemme (1933), Max Mezger se Aufruhr auf Madagaskar (1930) en Rolf Italiaander se Wüstenfüchse (1934). Tweedens ondersoek die studie die rol wat avontuurmotiewe – inisiasie, weerstand en verowering – speel in jeugboeke wat in die Federale Republiek van Duitsland gepubliseer is. Die volgende tekste word onder die loep geneem: Kurt Lütgen se ...die Katzen von Sansibar zählen (1962), Rolf Italiaander se Mubange, der Junge aus dem Urwald (1957), Herbert Kaufmann se Der Teufel tanzt im Ju-Ju-Busch en sy historiese roman Des Königs Krokodil (1959). Derdens ondersoek die studie watter rol avontuurmotiewe – die edel barbaar (edle Wilde), antiheld en die tweegeveg – speel in jeugboeke wat in die Duitse Demokratiese Republiek gepubliseer is. Die volgende tekste word analiseer: Ferdinand May se roman Sturm über Südwest-Afrika (1962) en Götz R. Richter se Savvytrilogie (1955 – 1963) en Die Löwen kommen (1969). Laastens stel die studie die vraag tot watter mate die kontemporêre avontuurliteratuur – soos Hermann Schultz se sendingroman Auf den Strom (1998) ’n nuwe ontwikkeling toon wat van die tradisionele avontuurliteratuur van die 19de en 20ste eeu afwyk.
ENGLISH ABSTRACT : This dissertation investigates how the African colonial period is portrayed in German youth literature. German adventure literature is often set in the African colonial period. However, motifs in the adventure novel do not always correspond with historical themes and geographical spaces. This gives the impression that such novels stand outside of time and space and that the historical and geographical context merely emphasize the distance between Africa and Europe. In light of the fact that Africa and its historical context are often reduced to an exotic backdrop, questions are raised about the way authors examine the colonial period in the adventure literature and how the portrayal of Africa has changed since 1945. The question how the African colonial period is portrayed in German youth literature is therefore examined within the context of the traditional adventure literature. Reflecting on adventure literature before 1945 on the one hand and adventure stories after 1945 on the other, this study examines to what extent youth books and their portrayal of the colonial period have changed and how these books relate back to the traditional adventure literature. For this purpose, adventure stories and adventurous youth stories and –novels that are set in the colonial period in Africa are analysed and the study focuses on four periods: Firstly, traditional adventure stories and motifs that play an important role in the portrayal of Africa are identified. The following are analysed: C. Falkenhorst’s Der Baumtöter (1894), Gustav Frenssen’s Peter Moors Fahrt nach Südwest (1906), Josef S. Viera’s Bana Sikukuu (1924) and Gust in der Klemme (1933), Max Mezger’s Aufruhr auf Madagaskar (1930) and Rolf Italiaander’s Wüstenfüchse (1934). Secondly, the dissertation investigates what role adventure motifs – initiation, resistance and conquest – play in the youth literature of the Federal Republic of Germany. The following are analysed: Kurt Lütgen’s …die Katzen von Sansibar zählen (1962), Rolf Italiaander’s Mubange, der Junge aus dem Urwald (1957), Herbert Kaufmann’s Der Teufel tanzt im Ju-Ju-Busch and his historical novel Des Königs Krokodil (1959). Thirdly, the study examines adventure motifs – noble savage (edle Wilde), anti-hero and the duel – in the literature published in the German Democratic Republic. These are Ferdinand May’s novel Sturm über Südwest-Afrika (1962) and Götz R. Richter’s Savvy-Trilogie (1955-1963) and Die Löwen kommen (1969). Lastly, the dissertation poses the question to what extent the contemporary adventure literature – like Hermann Schulz’ missionary novel Auf dem Strom (1998) – shows a new development which deviates from the traditional adventure literature of the 19th and 20th century.
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Bloss, Hazel Ruth. "'Die Zeit der innern Weltumseglungen': representation of the people and examination of the self in the works of Berthold Auerbach (1812-1882) and Wilhelm Heinrich Riehl (1823-1897)." Thesis, University of Oxford, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.491575.
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Pnevmonidou, Elena. ""Liebes-Töten" : zur Objektwerdung der Frau im Roman der Frühromantik : Novalisʹ Heinrich von Ofterdingen, Friedrich HÜlderlins Hyperion, Friedrich Schlegels Lucinde." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=84537.
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The aim of this comparative study of Novalis' Heinrich von Ofterdingen , Holderlin's Hyperion, and Schlegel's Lucinde is to develop a comprehensive overview of the role of woman in conceptions of male subjectivity in Early German Romanticism. The reading of the novels developed here examines the Early Romantic poetics with a specific view to the conceptualizations of woman contained therein. The Early Romantic 'Project' consists in the rewriting of the subject and the world in the medium of poetry. Tanscendental poetry, the fragment, allegory, and irony are intended to invoke the presence of an absence, that is the absolute. In the concrete praxis in the novels, these concepts of Early Romantic poetics imply conceptualizations of woman. They articulate a specific approach in the encounter of the male subject with the female object. At the center of Romantic poetics lies the encounter with woman. The unique situatedness of the romantic subject is, indeed, crystallized in this encounter.Early Romanticism is situated between Kant and Hegel. The post-Kantian subject experiences a crisis of legitimation. Lacking an unmediated access to the object, it is fragmented and threatened. Early Romanticism, however, also prefigures Hegel, inasmuch as the crisis does not consist in the loss of the object, but rather in the encounter of two subjects. The three novels are juxtaposed here because this position between the loss of the object and the crisis of the encounter with the other as subject leads to a paradoxical conceptualization of woman as an uncanny object of desire. In all three novels, the constitution of the male subject and the possibility of poetry depend on the encounter with woman. However, the possibility of woman emerging, indeed, as subject represents an extreme threat. As a consequence, the constitution of the male poetic subject requires the simultaneous assimilation of femininity and the shielding against woman. Hence, the three novels are love stories that narrate the death of woman. However, woman is fundamentally uncanny because even the presence of the dead woman represents a threat. The constitution of the male subject and novel unfolds, therefore, in three stages; the encounter with woman, the assimilation of femininity and death of woman, and the removal of any traces of that death.
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Mills, Andrew Joseph. "Escaping satisfaktion dueling violence and the German literary canon of the long 19th century /." [Bloomington, Ind.] : Indiana University, 2009. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3378372.
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Thesis (Ph.D.)--Indiana University, Dept. of Germanic Studies, 2009.Title from PDF t.p. (viewed on Jul 7, 2010). Source: Dissertation Abstracts International, Volume: 70-10, Section: A, page: 3870. Adviser: William Rasch.
Books on the topic "German literature, history and criticism, 19th century"
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Sammons, Jeffrey L. Imagination and history: Selected papers on nineteenth-century German literature. New York: P. Lang, 1988.
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Massey, Irving. Philo-semitism in nineteenth-century German literature. Tübingen: Niemeyer, 2000.
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Humble, Malcolm. Introduction to German literature, 1871-1990. New York: St. Martin's Press, 1993.
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Alexander, Craig Gordon. Theodor Fontane: Literature and history in the Bismarck Reich. New York: Oxford University Press, 1999.
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Webber, Andrew. The Doppelgänger: Double visions in German literature. Oxford [England]: Clarendon Press, 1996.
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Jean-Luc, Nancy, ed. The literary absolute: The theory of literature in German romanticism. Albany: State University of New York Press, 1988.
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Behler, Ernst. German romantic literary theory. Cambridge: Cambridge University Press, 1993.
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Müller-Sievers, Helmut. The science of literature: Essays on an incalculable difference. Berlin: De Gruyter, 2015.
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A, Bernd Clifford, ed. Grillparzerʼs der arme Spielmann: New directions in criticism. Columbia, SC, USA: Camden House, 1988.
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Manninger, Sandra, and Matias del Campo. "Deep Mining Authorship." In Computational Design and Robotic Fabrication, 3–10. Singapore: Springer Nature Singapore, 2024. http://dx.doi.org/10.1007/978-981-99-8405-3_1.
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AbstractConsidering the emerging field of architecture and artificial intelligence, it might be necessary to contemplate the remodeling of the concept of authorship entirely. The invention of authorship is a complex historical process that can be traced back to the emergence of print culture in Europe in the 15th century. Prior to this period, most literary and artistic works were created anonymously or attributed to collective or anonymous sources, such as folklore or religious traditions. However, with the rise of printing, texts became more easily reproducible and marketable, and there emerged a need for individual authors to take credit for their works. The notion of authorship was closely tied to the idea of originality and ownership, as authors sought to assert their exclusive rights to their works and to distinguish themselves from other writers. This was supported by the development of copyright law, which granted legal protection to authors and their works, and helped to establish a market for literary and artistic works. The idea of the author as a singular, autonomous figure gained further prominence in the 18th and 19th centuries, with the emergence of romanticism and the cult of the individual. This period saw the rise of the idea of the artist as a genius, whose works were the product of their own unique creativity and imagination. This idea was further reinforced by the rise of literary criticism, which focused on the interpretation and analysis of individual works and their authors. However, as Michel Foucault and other scholars have argued, the notion of authorship is not a universal or timeless concept, but rather a historically contingent and culturally specific one. Different societies ad cultures have different understandings of authorship, and these have shifted over time in response to changes in technology, culture, and social values. As it stands now, authorship in its traditional form can hardly be applied in a context where automated collaborations provide more than 50% of the generated material. This is true for multiple art fields. Visual Arts (Mario Klingemann, Sofia Crespo, Memo Atken, Ooouch, etc.), Music (Dadabots, YACHT, Holly Herndon), Literature, etc. Very soon this will also be true for Architecture. The consequence is also an entire rethinking of the concept of the sole genius. This notion, developed by German Romanticists in the early 19th century, is, in the current context of AI-assisted creativity, completely obsolete, as we are drawing from the genius of hundreds of thousands of artists and artworks in order to interrogate the latent space for unseen artistic opportunities. More akin to an archeological dig leading to the discovery of a next-generation jet fighter plane.
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Vinogradov, Igor A. "German Romantic W.G. Wakenroder and the 20th Century: Artistic Vision of N.V. Gogol." In Literary Process in Russia of the 18th–19th Centuries. Secular and Spiritual Literature. Issue 3, 273–313. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2022. http://dx.doi.org/10.22455/lit.pr.2022-3-273-313.
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The article is devoted to the study of the religious and political aspects of the famous manifesto of European romanticism, i. e. the book of the German writer and musician V.G. Wackenroder “Fantasies Concerning the Art of an Art-Loving Monk” (1814). In 1826 this book was translated into Russian and influenced the development of Russian romanticism. The article examines in detail N.V. Gogol’s attitude to the works of German romantics and traces the evolution of the writer’s views on romantic literature, starting from the 1820s, when he created his first works, namely the prose satire “Something about Nizhyn, or the Law is not Written for Fools” (1826) and the poetic poem “Hanz Küchelgarten” (1827). The author of the article shows close connection of Gogol’s images of the German artisans Schiller and Hoffmann in the story “Nevsky Prospekt” (1835) with other satirical works of the writer and gives an analysis of the reformist ideas of Wakenroder’s book, which were developed in the writings of German romantics and the events of the subsequent 20th century. In addition, the research touches upon the history of the study and perception of “Nevsky Prospekt” and notes the unexpected discovery in Soviet Russia during the Great Patriotic War of the deep, “prophetic” meaning of Gogol’s work. The corresponding judgments about Gogol’s story are given by a number of critics, writers and scientists, such as F.M. Dostoevsky, D.I. Pisarev, V.V. Rozanov, Protopresbyter Vasily Zenkovsky, A.G. Dementiev, G.P. Makogonenko. The article emphasizes immutability of Gogol’s religious and patriotic views, which were formed thanks to family upbringing and school education; and made the conclusion about the fundamental polemic of the artist with the German romantics’ religious-renovationist ideas.
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Abbott, Scott. "Andrew Cusack, The Wanderer in 19th-Century German Literature: Intellectual History and Cultural Criticism. Rochester, New York: Camden House, 2008. 257 pp." In Goethe Yearbook 17, 406–8. Boydell and Brewer, 2010. http://dx.doi.org/10.1515/9781571138132-043.
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Hellebust, Rolf. "Literary History and National Identity." In How Russian Literature Became Great, 55–77. Cornell University Press, 2024. http://dx.doi.org/10.7591/cornell/9781501773419.003.0004.
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This chapter investigates the factors—both domestic and foreign, from the culture of medieval Orthodoxy to neoclassicism and German romanticism—involved in the genesis and development of the modern concept of literature in Russia. It particularly looks at the interrelation of belles lettres, national identity, and national history. For Russia, the nineteenth century opens with the 1812 defeat of Napoleon. It is the lack of political avenues of expression for this newly awakened national consciousness that motivates the cultural elite to work out Russia’s destiny indirectly, through literature and literary criticism. Already by the 1840s this trend has reached its apogee, and the foundation has been laid for a literary tradition to embody the ideals of a nation. For Russians in the nineteenth century, the literary process is a source—even substitute—for the national narrative they see their backward land as having failed to produce. The dominant expression of the social function with which the Tradition’s aesthetic value is equated thus becomes the creation of a history for Russia. The chapter then considers the historiogenic role of Russian writers.
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Makhov, Alexander E. "The History of Literature as a Problem for German Philology." In “The History of Literature”: Non-scientific sources of a scientific genre, 424–86. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2022. http://dx.doi.org/10.22455/978-5-9208-0684-0-424-486.
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The first and second parts of this article consider the basic principles of the “history of national poetry” (Literaturgeschichte), which was one of the leading genres in 19th century German philology. It is shown that the orientation of the genre towards extraliterary concepts, primarily towards the idea of a unique “German soul”, has led this genre to a crisis. From this perspective, Ernst Robert Curtius’s book “European Literature and the Latin Middle Ages”, the main ideas of which are discussed in the third part of the article, appeared to be a solution of the crisis caused by the cultivation of a national approach to literature. Curtius productively inverted all the principles of this approach, replacing nationalism with Europeanism, stadiality with continuity, emphasis on content with primary attention to the aspects of form. In general, the history of literature has got a new life in a “historical topics”. The “science of European literature” created by Curtius was born from a negative reaction to the attitudes of nationally oriented Germanistics.
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Vinogradov, Igor A. "“Taras Bulba” and Russian History of the 19th–20th Centuries." In Literary Process in Russia of the 18th–19th Centuries. Secular and Spiritual Literature. Issue 3, 97–168. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2022. http://dx.doi.org/10.22455/lit.pr.2022-3-97-168.
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The article is devoted to the study of readers’ receptions of N.V. Gogol “Taras Bulba” in Russia. This work, imbued with a deep religious and patriotic intention, occupies such a significant place in Russian culture that the reviews of readers and critics, the assessments and interpretations of its researchers, dramatizations in the theater, opera and ballet, etc. allows to analyze not only history of the story’s existence, but also to trace the key moments of Russian life in the second half of the 19th–20th centuries. The interaction of the patriotic story’s spiritual lyricism with the contradictory socio-political processes of the era identifies the most significant features of the poetics of Gogol’s work. Enthusiastically received by contemporaries, including A.S. Pushkin, “Taras Bulba” was subsequently met with hostility from domestic liberalradical and Polish nationalist criticism. Continuing to be one of the favorite works of the domestic and foreign readers, the story after 1917 was removed from the Soviet school curriculum and again restored in rights only during the Great Patriotic War. The article presents a detailed analysis of the assessments and interpretations of “Taras Bulba” for more than a century and a half.
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Gosai, Manisha. "RAMNARAYAN V PATHAK: A PATRON CRITIC OF GUJARATI LITERARY CRITICISM." In Research Trends in Language, Literature & Linguistics Volume 3 Book 4, 16–20. Iterative International Publishers, Selfypage Developers Pvt Ltd, 2024. http://dx.doi.org/10.58532/v3balt4p1ch3.
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Ramnarayan V. Pathak, a notable reflective critical mind of the 19th century, bear historical and critical significance in the contexts of Gujarati as well as pan Indian language literatures. His work pertains to varied domains such as creative writing, literary criticism, literary history, translation, prosody, epistemology, and aesthetics among others. Pathak’s creative and critical orientation cause strategic deviation in his register, tenor, content and execution in sync with nature of his discourse (historical, formalistic study, philosophical, social, political, aesthetic etc.), form of discourse (critical essay, review, radio talk, key-note address to seminars, etc), audience (informed audience, general readers, students, academics, etc.), subject matter (study of poetic meters, Indian Darshana theories of knowledge, practical criticism of writers like Narmad, Tagore among others). This paper intends to study translatorial perspectives on critical writings of RV Pathak in terms of theory and practice.
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Sommer, Tim. "Usable Pasts: Anglo-American Literature and the Authority of Tradition." In Carlyle, Emerson and the Transatlantic Uses of Authority, 69–100. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474491945.003.0003.
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This chapter analyses how discussions about race and nationhood surfaced in nineteenth-century British and American literary criticism and literary historiography. It discusses Carlyle’s and Emerson’s writings about the relationship between literature and nationality and argues that, drawing on a handful of near-contemporary German and French authors, they positioned themselves at the crossroads of cultural nationalism and literary cosmopolitanism. The second half of the chapter explains how Carlyle and Emerson conceptualised continuity and change in literary history and highlights the role of Romantic expressivism in their nation-centred poetics. The two developed conflicting accounts of English literary history: where Carlyle’s narrative emphasised the past achievement and future global dominance of metropolitan writing, Emerson tended to invest in the authority of the English canon to locate the future of a specifically Anglo-American tradition in the cultural periphery.
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Sizova, Irina I. "To the Problem of Editions of Folk Literature by L.N. Tolstoy in the 1880s." In Questions of Source and Text Studies of Russian Literature of the 19th Century. Collection of articles based on the materials of the International Scientific Conference, 127–40. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2022. http://dx.doi.org/10.22455/978-5-9208-0687-1-127-140.
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The article discusses the distinction between the concepts of «edition» and «version» in the history of the text of L.N. Tolstoy’s stories and plays of the 1880 s, addressed to the people’s audience. The author revises the traditional approach to the textual criticism of the writer’s works, according to which the indicators of a new edition appearance are taken from the graphic features of manuscripts, such as quantitative indicators of changes in the text and the abundance of its discrepancies. The author of the article concludes that the problem of editions and versions of Tolstoy’s folk stories and plays should be solved by combining the tasks of textual and literary studies: to trace the formation of such categories as content and form of works from manuscript to manuscript, to take into account the dynamics of the artist’s worldview, his creative and aesthetic search. To create an objective picture in the research, it is necessary to cover the entire manuscript corpus of writer’s works, but not selectively published fragments in the Anniversary edition and or the volumes of the academic series «Literary Heritage».
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Kaznina, Olga A. "The Book by I.A. Bunin “Liberation of Leo Tolstoy” in the Context of Russian Emigre Literary and Philosophical Criticism." In Russian Émigré Literature, 1920–1940. Writer in Literary Process (to the 150th Anniversary of I.A. Bunin’s Birth), 95–206. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2022. http://dx.doi.org/10.22455/978-5-9208-0685-7-97-208.
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The present article is devoted to the multidimensional analysis of the book by I.A. Bunin “Liberation of Leo Tolstoy” (1937). Attention is devoted to the history of its creation and to its unique structure, combining the genres of memoirs, journalistic sketch, diary, epistles and literary portrait with philosophical contemplation. Special consideration is paid to the properties of style of the text as well as to the development of the artistic image of Leo Tolstoy. The center of the research is occupied by the problem of the spiritual and religious quest of Tolstoy in the latest decades of his life, to his multifaceted concept of liberation and also to the enigma of his last flight from Yasnaya Poliana. Bunin’s interpretations are investigated on the complex background of literary, philosophical and theological evaluations of Tolstoy’s worldview, as it took shape after the spiritual crisis of his later years. Different reactions to his final escape are also taken into account. The article reflects the positions of G. Adamovitch, V. Hodasevitch, V. Maklakov, I. Shahovskoy, S. Bulgakov, as well as many other literary critics, philosophers and theologians. Bunin’s book is investigated as a source for the studies of spiritual and intellectual quest on the verge of the centuries, i.e. the end of the 19th and the beginning of the 20th century. Bunin’s book is presented also in the context of Russian émigré literary and philosophical criticism.
Conference papers on the topic "German literature, history and criticism, 19th century"
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Макарьев, И. В. "Friedrich Schlegel's understanding of history in the context of the philosophy of history of the XX – early XXI centuries." In Современное социально-гуманитарное образование: векторы развития в год науки и технологий: материалы VI международной конференции (г. Москва, МПГУ, 22–23 апреля 2021 г.). Crossref, 2021. http://dx.doi.org/10.37492/etno.2021.83.19.061.
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в философии истории ХХ в. можно выделить двоякую тенденцию. С одной стороны, классическая философия истории подвергается радикальной критике (в немецкой философской герменевтике, французском структурализме и постструктурализме, англоязычной аналитической философии), а с другой стороны, она продолжается и развивается в различных концепциях и теориях («столкновение цивилизаций» С. Хантингтона, «конец истории» Ф. Фукуямы). Такая двойственность (критика философии истории и ее развитие) не является характеристикой только нашей современности. Выдающийся немецкий филолог и философ Фридрих Шлегель (1772–1829) в ситуации философской революции рубежа XVIII–XIX вв. постарался соединить эти две позиции в одну, что и стало предметом анализа автора статьи. in the philosophy of the history of the twentieth century, a twofold tendency can be distinguished. On the one hand, the classical philosophy of history is subjected to radical criticism (in German philosophical hermeneutics, French structuralism and poststructuralism, English-speaking analytical philosophy), and on the other hand, it continues and develops in various concepts and theories (S. Huntington's "clash of civilizations", "end of history" F. Fukuyama). Such duality (criticism of the philosophy of history and its development) is not a characteristic only of our modernity. The outstanding German philologist and philosopher Friedrich Schlegel (1772–1829), in the situation of the philosophical revolution at the turn of the 18th–19th centuries, tried to combine these two positions into one, , which became the subject of the analysis of the author of the article.
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Golubchikov, YUriy. "Methodological potential of the teleological principle of purpose." In International Conference "Computing for Physics and Technology - CPT2020". Bryansk State Technical University, 2020. http://dx.doi.org/10.30987/conferencearticle_5fce27705d8750.02429694.
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The cognitive capabilities of the teleological paradigm of purpose are discussed. An inquiring mind everywhere sees that inanimate matter serves for living, and that, in turn, serves for a man. However, such a concept as “purpose” turned out from the contemporary science, although for a long time it went along the path of becoming the doctrine of purpose determination, or nomogenesis. The history of the substitution of the main paradigm of science from purpose to chance is traced. The overcoming of the catastrophic representations of Cuvier by the provisions of actualism and evolutionism is considered. From the middle of the 19th century, public opinion began to strengthen that every new scientific achievement casts doubt on religious beliefs. Criticism of biblical history began with the events of the Great Flood, as the key one in the Bible. The negative attitude to catastrophism in the Soviet scientific literature and the importance of ideology in the methodology of science are considered. The anthropic principle predetermines a radical restructuring of the general scientific methodology. It finally comes closer to religious knowledge. The anthropic principle is teleological and contains that goal (“eidos-entelechia”) in the structure of matter that impels it. In this light, the power of science is again seen not in confrontation with religion, but in harmonization with it.