Academic literature on the topic 'Goethe, Johann Wolfgang von (1749-1832) – Influence'
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Journal articles on the topic "Goethe, Johann Wolfgang von (1749-1832) – Influence"
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Firoze Basu. "Goethe’s “Welt” poet in Bengal: The Influence of World Literature on Jibanananda Das and other Bengali Poets of the 1930s-40s." Creative Launcher 6, no. 3 (August 30, 2021): 1–8. http://dx.doi.org/10.53032/tcl.2021.6.3.01.
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This study aims to establish a link between the concept of “Weltliteratur” or World Literature, in terms of the free movement of literary themes and ideas between nations in original form or translation, and the Bengali poets of the thirties and forties who actively translated French and German poets. It identifies Johann Wolfgang von Goethe's (1749-1832) concept of World Literature as a vehicle for the Kallol Jug poets. Johann Wolfgang von Goethe introduced the concept of “Weltliteratur” in a few of his essays in the first half of the nineteenth century to describe the international circulation and reception of literary works in Europe, including works of non-Western origin. My emphasis will be on Jibanananda Das (1899-1954) arguably the most celebrated poet in Bengali literature who was well versed in the contemporary Western Canons of Poetry. Jibanananda’s defamiliarization of the rural Bengal Landscape, his use of exotic foreign images owe a debt to contemporary European poets. Interestingly, Jibanananda had reviewed an English translation of German author Thomas Mann’s novel “Dr Faustus’ for a Bengali magazine “Chaturanga”. In the Bengali review he states that despite prevalent misconceptions (some critics considering the novel to be superior to the original Faust epic by Goethe) Goethe’s Faust was the first text to capture the hope, despair and crisis in the modern world and articulate it in such a manner that “true” literature of the age was created in its new light. In Jibanananda’s estimation, Thomas Mann deserves credit for treating the Faust legend in a unique and creative way.
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Shahar, Galili. "Goethe’s Song of Songs : Reorientation, World Literature." Prooftexts 40, no. 1 (2023): 110–39. http://dx.doi.org/10.2979/ptx.2023.a899251.
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Abstract: The engagement of the German poet Johann Wolfgang von Goethe (1749–1832) with biblical Hebrew poetry already during the early stages of his career in the 1770s and later during the Divan period (1814–27) was associated with his study of Oriental literatures. Under the influence of his mentor and friend, Johann Gottfried Herder, Goethe devoted himself to studying and translating Hebrew and Arabic sources (mostly from the Latin), among them the Song of Songs, alongside chapters from the Qurʿan. In his late work his reflections on the Hebrew biblical poem were associated with his interpretation of Persian classical poetry, first and foremost the ghazals, the love poems by Hâfiz, while composing his work Der westöstlicher Divan . This article offers a comparative study of Goethe’s translation and interpretation of Song of Songs, discussing its major motives, the dialectic of profane love and the sacred, confusion and disorientation, drunkenness, erotic desire, and gender ambiguities. It refers to Goethe’s translation of the Hebrew poem also in conjunction with a critical, decolonial review of Weltliteratur (world literature). Goethe’s Song of Songs serves us as a map of literary interactions, in which the German, the Hebrew and the Persian are brought into conversation.
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Haas, L. F. "Johann Wolfgang von Goethe (1749-1832)." Journal of Neurology, Neurosurgery & Psychiatry 56, no. 11 (November 1, 1993): 1148. http://dx.doi.org/10.1136/jnnp.56.11.1148.
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Mannetstätter, Antje, and Christoph Friedrich. "Die Zürcher Arzt-Apotheker-Familie Lavater und Johann Wolfgang von Goethe." Gesnerus 55, no. 1-2 (November 27, 1998): 5–16. http://dx.doi.org/10.1163/22977953-0550102002.
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The aim of this paper is to demonstrate the connections between Johann Wolfgang von Goethe (1749-1832) and the physician and pharmacist family Lavater in Zurich. The analysis of the correspondence between Johann Bartholomäus Trommsdorff (1770-1837) and the Lavater family and between the Lavater family and the government of the duchy of Weimar shows an interesting story about a picture "Goethe in Italy".
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Herrmann, Helmut. "Johann Wolfgang von Goethe (1749-1832) und seine Hohenloher Vorfahren." Württembergisch Franken 84 (May 17, 2023): 181–86. http://dx.doi.org/10.53458/wfr.v84i.5620.
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Todd, Malcolm. "Goethe and prehistory." Antiquity 59, no. 227 (November 1985): 197–201. http://dx.doi.org/10.1017/s0003598x00057264.
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In this fascinating article, the Professor of Archaeology in the University of Exeter shows us that Johann Wolfgang von Goethe (1749–1832) was not only the author of Faust, The Sorrows of Young Werther, and of beautiful lyrics, ballads and love-songs, but was keenly interested in prehistory and was well abreast of the subject as it was developing in Germany in the early nineteenth century.
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Kestler, Izabela Maria Furtado. "Johann Wolfgang von Goethe: arte e natureza, poesia e ciência." História, Ciências, Saúde-Manguinhos 13, suppl (October 2006): 39–54. http://dx.doi.org/10.1590/s0104-59702006000500003.
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Este artigo apresenta a obra científica do poeta alemão Johann Wolfgang von Goethe (1749-1832), a qual engloba os campos da anatomia humana e animal, ótica, geologia, mineralogia, química, botânica, morfologia e meteorologia. Goethe considerava que na natureza e na arte vigiam as mesmas leis, conceituadas por ele como leis da polaridade e da intensificação. Sua obra poética só pode ser avaliada e interpretada à luz de sua visão da harmonia entre homem e natureza, assim como da complementaridade entre espírito e matéria.
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Fein, I. Alan, and Gregg Y. Lipschik. "“We only see what we know”—Johann Wolfgang von Goethe [1749–1832]*." Critical Care Medicine 37, no. 1 (January 2009): 352–53. http://dx.doi.org/10.1097/ccm.0b013e31819305f3.
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Tocha, Veronika. "Dichtung und Wahrheit. Gesichtsmasken in der Berliner Gipsformerei." Zeitschrift für Ideengeschichte 14, no. 1 (2020): 27–38. http://dx.doi.org/10.17104/1863-8937-2020-1-27.
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Johann Wolfgang von Goethe (1749-1832) sah etwas "Fremdartiges, ja völlig Unwahres" im Medium der Totenmaske. Überhaupt schien ihm der Tod "ein sehr mittelmäßiger Porträtmaler", weshalb er sich nicht nur gegen die Abnahme seiner eigenen Totenmaske aussprach, sondern es auch ablehnte die Totenmasken seiner Freunde zu betrachten. Mit dieser Haltung nimmt Goethe im Kontext seiner Zeit eine Ausnahmestellung ein, waren Totenmasken von öffentlichen Persönlichkeiten und Geistesgrößen aller Art ab dem frühen 19. Jahrhundert doch höchst populär und wurde die Abformung des Totengesichts gerade deshalb praktiziert, weil sie - so der damalige Konsens - wie kein anderes bildgebendes Verfahren Realitätsnähe und Wahrheit verbürgte.
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Nawata, Yūji. "Phantasmagoric Literatures from 1827 : Johann Wolfgang von Goethe, Sin Chaha, and Kyokutei Bakin1." Jahrbuch für Internationale Germanistik 54, no. 1 (January 1, 2022): 145–66. http://dx.doi.org/10.3726/jig541_145.
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The magic lantern as a projection technique, which has existed in Europe since the 17th century (at the latest), and phantasmagoria as a large-scale magic lantern occupy a prominent place in the world history of visual culture. As they spread across the world, these technologies encountered written cultures and produced fantastic literature—phantasmagorical literature, so to speak. This article analyzes phantasmagorical literature written or published circa 1827 by Johann Wolfgang von Goethe (1749–1832) of Germany, (SIN Chaha, also called [SIN Wi], 1769–18452 of Korea, and (KYOKUTEI Bakin, 1767–1848) of Japan. This is a demonstration of a novel approach to comparative literature, which compares literary works in the light of global technological history, and this is an attempt to give an insight into the world history of visual culture from the perspective of 1827.
Dissertations / Theses on the topic "Goethe, Johann Wolfgang von (1749-1832) – Influence"
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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 SvevoOn 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
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Picard, Sophie. "Fêter les classiques : permanence et polyfonctionnalité des figures de Beethoven, Goethe et Hugo (1927-1970)." Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL193.
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Par l’analyse et la comparaison des actualisations de Beethoven, Goethe et Hugo à l’occasion des commémorations de l’entre-deux-guerres (1927, 1932, 1935) et de l’après 1945 (1949, 1952, 1970), la thèse étudie les conditions de la permanence de ces « classiques » tout au long du XXe siècle. Elle montre comment les acteurs politiques et culturels ont cherché lors de ces célébrations à stabiliser le sens attribué à ces figures et à leurs œuvres et à encadrer les usages qui en sont faits. La prise en compte des dynamiques d’appropriation interculturelles ainsi que des formes de réception généralement ignorées des études littéraires, notamment dans les médias de masse, permet néanmoins de faire émerger des sens et des usages alternatifs qui s’inscrivent souvent en faux par rapport aux modèles dominants et qui tendent à les relativiser, voire à les contrecarrer. Ainsi, en adoptant résolument le point de vue de la réception, la thèse propose une réponse possible au problème de la permanence des classiques : le fait que Beethoven, Goethe et Hugo soient fonctionnalisés simultanément et / ou successivement dans des contextes discursifs et culturels divergents explique leur exceptionnelle longévité. C’est parce qu’ils font l’objet d’usages hétérogènes et souvent contradictoires, qu’ils sont donc polyfonctionnels, que certaines figures d’auteurs ou certaines œuvres survivent à toutes les évolutions culturelles, idéologiques et médiatiques que connaît le XXe siècleBy analyzing and comparing the actualizations of Beethoven, Goethe and Hugo during jubilees in their honor dating from the interwar period (1927, 1932, 1935) and the post-1945 period (1949, 1952, 1970), the thesis examines the conditions of permanence of these “classics” throughout the twentieth century. It shows how political and cultural actors engaged in these celebrations sought both to stabilize the figures’ and their works’ meanings as well as to frame the ways in which they were used. Simultaneously, by taking account of the dynamics of intercultural appropriation and of receptions in domains which remain understudied by literary studies such as mass media, it is possible to bring out alternative meanings and uses which do not fit dominant models and which tend to relativize or even to contradict them. So, by focusing resolutely on the reception of these figures, the thesis proposes a possible answer to the problem of the permanence of classics: The fact that Beethoven, Goethe and Hugo are functionalised simultaneously and / or successively in divergent discursive and cultural contexts explains their exceptional longevity. It is because they are the subject of heterogeneous and often contradictory uses – in other words: because they are polyfunctional – that certain figures and works survive the many cultural, ideological and media evolutions of the twentieth century
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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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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.
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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. .Tesis
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Michet, Uranie. "Romantisme et psychanalyse : héritages de l'époque goethéenne chez Freud et dans la psychanalyse." Electronic Thesis or Diss., Aix-Marseille, 2020. http://www.theses.fr/2020AIXM0216.
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La tradition romantique a joué un rôle déterminant dans le parcours de Sigmund Freud. Le romantisme allemand a initié l'âge critique qui caractérise toujours notre modernité en même temps qu'il a préparé la naissance de la psychanalyse. La manière d'être et l'esthétique romantiques ont ainsi « formé » Freud et l'ont engagé vers la découverte et la théorisation de l'inconscient. Nous revenons d'abord sur la trajectoire historique qui a permis d'engendrer le romantisme allemand à la fin du XVIIIème siècle. Le romantisme se fonde en effet sur la prise de conscience d'une énigme dans « l'en-soi », tout comme la psychanalyse, un siècle après, se fondera quant à elle sur la reconnaissance de l'inconscient. Le romantisme – comme plus tard la psychanalyse – a pu se constituer comme une réaction et comme une volonté d'explication et d'acceptation de la condition humaine à l'âge de la crise de l'identité. Nous qualifions cette condition humaine d'exilique, et développons trois exils structurants avec lesquels le romantique, héritier des Lumières, doit désormais composer. À travers ces trois exils, nous proposons une définition du romantisme, non pas comme mouvement littéraire mais comme état, un « état romantique » qui vaut comme réaction face à l’épreuve de ces trois exils par le sujet. Or cet état, incarné par le personnage de Faust, ouvre justement la voie à l'exploration du nocturne de la conscience. Il permet la reconnaissance de l'irrationnel inscrit au cœur de l'être, et constitue le moteur qui permettra à Freud d'innover par rapport à ses contemporains en s'en allant « au diable », c'est-à-dire vers la théorisation de l'inconscientGerman Romanticism and Goethe are very present in Sigmund Freud’s work. Beyond this quantitative aspect where Goethe gets a remarkable presence, what we want to do is to show how romanticism and psychoanalysis are linked, to tell the role of thought and romantic “ethos” on Freud’s background. This work tries to explain how romanticism has prepared the birth of psychoanalysis. First, we will start with the historical trajectory which has permitted the origins of German romanticism, at the end of the 18th century. Romanticism is built on the recognition of the blind spot of Science and Ego, as well as psychoanalysis is built on the recognition of the unconscious and his influence on consciousness. Romanticism, and afterwards psychoanalysis, seems to be a reaction and an acceptance attempt of human condition. We understand this human condition as an exile, and we develop in our first part three kinds of exiles which are the consequences of the Age of the Enlightenment : first concerns Religion, second Nature and the third one the mystery of “causa sui”. Through these three exiles, we propose a definition of romanticism, not as a literary movement, but as a “state”, a “romantic condition”, which is a reaction against the experience of these exiles. This romantic state, personified by Doctor Faustus, allows the recognition of the other side of the conscious mind, his irrational and “demoniac” part. With this “faustian state”, Freud will be able to theorize the unconscious
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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 ScienceEven if they are heteregeneous in their scope, their methods and their object, these studies on Goethe have a common purpose: they intent to elucidate Goethe's literary work thanks to the notions that the German poet has elaborated in his scientific works. If, therefore, these studies are, of necessity, fragmentary, all, of them put in evidence a certain unity in Goethe's thought, and even postulate it. Goethe's writing on geology, on theory of colours, on biology and botany - writings which, for Goethe himself, were of paramount importance, to the great surprise of his admirers - give expression, either by the medium of an ample prosa or in aphorisms, to Goethe's deepest thought, the world-view that finds in Goethe's poetry its condensed translation. Of course, poetry in this case, is not the translation in verse of a "scientific" and dogmatic thought that would be explained to a larger audience by way of a didactic poem. It is, on the contrary, the most genuine condensation, the quintessence, hidden in the biographical data - of a Weltaanschauung, that is to say of a conception of man and a vision of Nature which find in the scientific writings (in particular the Theory of colours) its clearest expression. It could be said that Goethe's thought, at the same time rational and poetic, is simultaneously one and double, eins and doppelt, like the celebrated ginko biloba at the West-östlicher Divan
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Hurson, Didier. "L'idée de totalité chez Johann Wolfgang von Goethe." Nancy 2, 1995. http://www.theses.fr/1995NAN21006.
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La notion de totalité postule l'existence d'une sphère de réalité inaccessible aux sens comme à la pensée discursive, mais sentie comme légitimation transcendantale du continuum phénoménal, donc du consentement au monde. Le corpus scientifique et littéraire de Goethe est examiné à l'aide de larges extraits situés dans la diachronie de l'histoire des idées (pensée présocratique, stoïcisme, Renaissance européenne, philosophie critique de Kant). L'idée de totalité apparaît alors tel un principe structurant, une base heuristique qui oriente la quête ontologique de Goethe lors de son questionnement de la natura naturata et son admiration productive devant la natura naturans. La critique esthétique de Goethe (Mantegna, Laocoon) révèle la présence d'un temps mixte garant de complétude et de plénitude. L'exquise rareté de "l'aperçu" convoque devant la conscience la totalité qui a dépassé l'état d'énigmeThe notion of totality postulates the existence of a sphere of reality inaccessible to the senses as well as to the discursive approach; totality is much more felt as the transcendental legitimacy of the phenomenal continuum and thus of the consent of existence. The scientific and literary works of Goethe are examined by way of large extracts which are placed into the diachronical context of the history of ideas (Presocrates, Stoa, European Renaissance, critical philosophy of Kant). The idea of totality appears to be a structure-creating principle, an heuristic base which directs the ontological request of Goethe during his investigations of the natura naturata and when being inspired by the natura naturans. Goethe's reflexion on art (Mantegna, Laocoon) reveals the existence of a mixed time contributing to a sense of completeness and serenity. The rare and unique appeatance called "apercu" makes us aware of a totality no longer being an enigma
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Manteau, Roger Avanzini Guy. "Les Idées pédagogiques de Goethe." [S.l.] : [s.n.], 1985. http://theses.univ-lyon2.fr/sdx/theses/lyon2/1985/manteau_r.
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Richter, Alexandra. "La pensée en archipel : Goethe face à la philosophie." Paris 4, 2003. http://www.theses.fr/2003PA040216.
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Entre l'image d'un Goethe aphilosophique et celle d'un Goethe pataugeant dans toutes les eaux de la pensée, "La pensée en archipel" aborde la question du rapport littérature-philosophie dans la constellation d'un "face à face". Réfractaire à la pensée hiérarchique, entassée dans les systèmes architecturaux et régie par le principe de contradiction, la pensée littéraire apparaît chez Goethe sous la forme plus effilochée de l'archipel. Au lieu d'extraire de son oeuvre un "suc philosophique" et sans vouloir transformer ses écrits en une métaphysique concurrençant celle des grands penseurs occidentaux, "La pensée en archipel" propose d'analyser la vie et l'oeuvre de Goethe en tant que forme de pensée autonome et de jeter une nouvelle lumière sur le lien particulier qui, depuis des temps immémoriaux, tient en haleine les écrivains et les philosophesAt 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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Lenz-Michaud, Suzanne. "La voie de la vertu : théologie, morale et fiction dans l'oeuvre narrative de Jacob Michael Reinhold Lenz (1751-1792)." Paris 4, 2004. http://www.theses.fr/2004PA040274.
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L'idéal d'autonomie constitue la pierre angulaire des convictions théologiques et morales de Jacob Michael Reinhold Lenz. Celles-ci sont le fondement d'une poétique centrée sur la volonté d'agir. Ce travail met en lumière la dimension poétologique des récits de Lenz et montre qu'il y recourt à des stratégies narratives particulières, qui témoignent de l'intérêt porté par lui à l'effet de la littérature, à l'énergie qu'une œuvre peut transmettre au lecteur. En outre, cette étude révèle que les récits lenziens véhiculent une critique de la poétique de Wieland et de la philosophie des Lumières. Lenz s'oppose au scepticisme anthropologique qu'il perçoit dans l'œuvre de Wieland, mais aussi dans certains textes de Goethe, notamment dans Werther. Lenz considère ce scepticisme comme un effet pervers des théories "éclairées", notamment celles du matérialisme français, qui, bien qu'optimistes à l'égard de l'évolution de l'espèce humaine, sont fondées sur une anthropologie déterministe. Celle-ci, et le scepticisme qui en résulte sont diamétralement opposés à l'idéal d'autonomie défendu par Lenz. L'étude de l'œuvre narrative fait apparaître la critique que Lenz a faite de Werther - critique dont on a longtemps sous-estimé l'ampleur - et permet corriger la vision, donnée dans les travaux antérieurs, de la relation entre les deux auteurs. Ce travail est la première étude abordant l'intégralité de l'œuvre narrative de Lenz. Il propose une interprétation détaillée non seulement des cinq récits les plus connus, mais aussi des textes moins souvent abordés. Un récit inédit datant des années moscovites fait dans ce travail l'objet d'une première approche. Enfin, cette étude contribue à la réflexion sur l'attribution à Lenz de deux récits d'authenticité douteuse, publiés anonymement en 1781. Si les manuscrits de ces deux récits sont aujourd'hui perdus, leur interprétation dans le contexte de cette étude montre que leur attribution à Lenz est très vraisemblableThe ideal of autonomy stands at the heart of Lenz's theological and moral beliefs. These are the foundation of his poetics revolving around the will to act. This study brings to light the particular narrative strategies Lenz resorts to, and the poetological dimension of his narrative works which show his interest in the effect of literature and in the energy that a literary work can convey to a reader. Moreover, this study reveals that his narratives offer a critical view of Wieland's poetics as well as of Enlightenment philosophy. Lenz opposes the anthropological scepticism he perceives, not only in Wieland's works, but also in certain texts by Goethe, especially Werther. Lenz considers this scepticism as a perverse effect of the "enlightened" theories, in particular that of French materialism. Although these theories are optimistic towards the evolution of mankind, they are filled with a determinist vision of humanity. This anthropology, and the scepticism it leads to are diametrically opposed to the ideal of autonomy Lenz defends. The study of his prose fiction reveals his criticism of Werther, the extent of which has long been underestimated in academic debate. It allows for a correction to the vision conveyed by previous works of the relationship between the two authors. This study is the first work dealing with the whole of Lenz's narrative writings. It presents a close reading, not only of his five best known stories but also of works which are rarely mentioned in previous studies, together with a yet unpublished story written in Moscow which is presented here for the first time. Furthermore, this study supplements the reflection on the attribution to Lenz of two narratives of doubtful authenticity published anonymously in 1781. Although the manuscript copies have been lost their interpretation in the context of this study shows that, in all likelihood, they are attributable to him
Books on the topic "Goethe, Johann Wolfgang von (1749-1832) – Influence"
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Ernst Jünger und Goethe: Eine Untersuchung zu ihrer ästhetischen und literarischen Verwandtschaft. Frankfurt am Main: Lang, 2008.
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Chung, Wonseok. Ernst Jünger und Goethe: Eine Untersuchung zu ihrer ästhetischen und literarischen Verwandtschaft. Frankfurt am Main: Lang, 2008.
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Alexej, Ugrinsky, Hofstra University, and International Conference in Commemoration of the 150th Anniversary of the Death of Johann Wolfgang von Goethe (1982 : Hofstra University), eds. Goethe in the twentieth century. New York: Greenwood Press, 1987.
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Der grosse Heide Nr. 2: Heinrich Heine and the levels of his Goethe reception. New York: P. Lang, 1989.
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Köln, Universität zu, ed. Frauen. Dichten. Goethe.: Die produktive Goethe-Rezeption bei Charlotte von Stein, Marianne von Willemer und Bettina von Arnim. Tübingen: Niemeyer, 2006.
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Allen, Paul Marshall. The time is at hand!: The Rosicrucian nature of Goethe's Fairy tale of the green snake and the beautiful lily and The mystery dramas of Rudolf Steiner. Hudson, NY: Anthroposophic Press in association with Rudolf Steiner Publications, 1995.
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The spell of Italy: Vacation, magic, and the attraction of Goethe. Detroit: Wayne State University Press, 2006.
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Spaethling, Robert. Music and Mozart in the life of Goethe. Columbia, S.C., USA: Camden House, 1987.
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Goethe und die Jungen: Über die Grenzen der Poesie und vom Vorrang des wirklichen Lebens. Tübingen: Niemeyer, 1989.
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Danzel, Theodor Wilhelm. Uber Goethes Spinozismus: Ein Beitrag zur tieferen Wurdigung des Dichters und Forschers. Eschborn: D. Klotz, 1992.
Find full textBook chapters on the topic "Goethe, Johann Wolfgang von (1749-1832) – Influence"
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Shamey, Renzo, and Rolf G. Kuehni. "Goethe, Johann Wolfgang von 1749–1832." In Pioneers of Color Science, 135–38. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-319-30811-1_29.
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Barclay, Katie, and François Soyer. "Johann Wolfgang von Goethe (1749–1832), the Sorrows of Werter: a German Story." In Emotions in Europe 1517–1914, 324–30. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003175513-50.
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"Johann Wolfgang von Goethe (1749–1832)." In The Longman Anthology of Gothic Verse, 56–65. Routledge, 2014. http://dx.doi.org/10.4324/9781315834023-16.
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Sautter, Udo. "Johann Wolfgang von Goethe (1749–1832)." In Die 101 wichtigsten Personen der Weltgeschichte, 79. C.H.Beck, 2015. http://dx.doi.org/10.17104/9783406679483-79.
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Riordan, Colin. "Johann Wolfgang von Goethe 1749–1832." In Key Thinkers on The Environment, 70–75. Routledge, 2017. http://dx.doi.org/10.4324/9781315543659-14.
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"Johann Wolfgang von Goethe (1749–1832; German)." In Romanticism: 100 Poems, 9–11. Cambridge University Press, 2021. http://dx.doi.org/10.1017/9781108867337.003.
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Swales, Martin. "Johann Wolfgang von Goethe (1749–1832): The German Bildungsroman." In The Cambridge Companion to European Novelists, 124–39. Cambridge University Press, 2012. http://dx.doi.org/10.1017/ccol9780521515047.009.
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"Johann Wolfgang von Goethe (1749 Frankfurt am Main – 1832 Weimar)." In Brahms and His Poets, 138–46. Boydell and Brewer Limited, 2017. http://dx.doi.org/10.1017/9781787441552.020.
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Gratzer, Walter. "Hybrid vigour." In Eurekas and euphorias, 194–95. Oxford University PressNew York, NY, 2002. http://dx.doi.org/10.1093/oso/9780192804037.003.0118.
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Abstract Science has generated its own vocabulary, loosely rooted in the classical languages. But neologisms today are less scrupulously coined than in the era when the ancient languages were universally taught. Jacques Barzun, the American scholar, has recalled the lament of a university president, deploring the introduction of the Bachelor of Science degree: it would not, he said, ensure that the students knew science, but it would certainly ensure that they knew no Latin. Mixed derivations, in those more learned days, were anathema. An Oxford historian was supposed to have remarked when television arrived that no good would ever come of an invention the name of which was half in Latin and half in Greek. In old age, Johann Wolfgang von Goethe (1749-1832), who wrote and theorized widely about science (and is now remembered for his elaborate, but incorrect, theory of colour vision), was reported to have had the following illuminating exchange with his disciple, Johann Peter Eckermann: the latter related to his master one day that he had been present at the demonstration of a remarkable new invention. It was a steam carriage, or automobile, which could propel itself without horses. Goethe pondered long over this remarkable apparition, and presently summoned Eckermann again. It was surely, he pronounced, Eckermann’s little joke, for if such a contrivance had indeed been invented it could not have been given so grotesque a name: it would have been called an autokineticon, or otherwise perhaps an ipsornobile.
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Herdt, Jennifer A. "The Bildung tradition." In Routledge Encyclopedia of Philosophy. London: Routledge, 2021. http://dx.doi.org/10.4324/9780415249126-dc125-1.
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Bildung was a central concept in the ethical and aesthetic thought of many late-eighteenth and early-nineteenth century German thinkers associated with Weimar classicism, romanticism, and idealism, notably Johann Gottfried Herder (1744–1803), Friedrich Schiller (1759–1805), Johann Wolfgang von Goethe (1749–1832), Wilhelm von Humboldt (1767–1835), Georg Wilhelm Friedrich Hegel (1770–1831), and Friedrich Schleiermacher (1768–1834). As such, the Bildung tradition is not a philosophical school but rather a loosely bounded conversation over the cultural significance of Bildung. The term itself, which has no straightforward English translation, can mean ethical formation, development, education, or culture; it had roots both in ancient Greek notions of culture or paideia and in Christian understandings of human creation and re-formation in the image of God. Early on, Bildung is understood primarily as a process of development, taking place at the level of the individual, of whole cultures, and sometimes even of the world as such, in which diverse inner capacities, powers, and/or tendencies are fully realised by being brought into harmonious interrelation. Later, it is understood more often as a cultural product, associated with the bourgeois intelligentsia and their cultural capital. Initially bound up with growing aspirations to broadened political participation, Bildung comes in the late nineteenth century to be associated with political withdrawal by cultural elites. Bildung as a cultural ideal and aspiration is thematised and interrogated in the Bildungsroman, a subgenre of the novel epitomised by Goethe’s Wilhelm Meister’s Apprenticeship but often seen as including classic coming-of-age novels beyond the German context, such as Charles Dickens’ Great Expectations or J.D. Salinger’s Catcher in the Rye. In the German-speaking world today, the term Bildung is simply synonymous with education and has ceased to carry a determinate philosophical meaning, although it is still broadly associated with the ideals of liberal arts education as championed by Wilhelm von Humboldt. To trace the Bildung tradition from beginning to end is to highlight the emergence, transformation, and ultimate chastening of cultural aspirations that were central to European modernity.
Conference papers on the topic "Goethe, Johann Wolfgang von (1749-1832) – Influence"
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PONSOLLE, Géraldine. "Goethe et l’interdisciplinarité active : l’os intermaxillaire." In Les journées de l'interdisciplinarité 2022. Limoges: Université de Limoges, 2022. http://dx.doi.org/10.25965/lji.454.
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Johann Wolfgang von Goethe, poète, scientifique et homme politique allemand (1749-1832) traversa le tournant des siècles avec un soucis constant d’harmonie et d’action. La nature profondément interdisciplinaire de son écriture dramatique comme de ses études scientifiques peut aider les chercheurs d’aujourd’hui à acquérir une vision différente de leurs pratiques interdisciplinaires. Quel est ce Goethe qui se passionne d’anatomie et recherche l’os intermaxillaire chez l’homme ? Quelles œuvres dramatiques reflètent ses analyses scientifiques ? Quelle méthode de recherche le mène à renverser un mythe des sciences du XVIIIème siècle et préfigure les avancées cruciales du XIXème siècle ? Entre personnages hybrides, morphogénèse et unité du vivant, Goethe semble bien proche des préoccupations de notre temps.
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Chiba, Masato, and Masashi Yamada. "A Perceptual Study on the Ratios of Areas of Two Adjacent Colors for the Optimal Congruency." In 14th International Conference on Applied Human Factors and Ergonomics (AHFE 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1002995.
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Cute female characters frequently appear in Cool Japan content, such as anime, video games and manga. When designing a character, color is one of the most important factors. Previous studies showed that yellow characters tended to have a cute connotation like Pokémon. A character with yellow hair also had a cute impression. Particularly, a character with yellow hair and blue irises was perceived as one of the cutest types of character. A pair of yellow and blue consists of complementary colors and generally it is said that a pair of complementary colors gives an uncomfortable impression. It could be hypothesized that the small area of the pair of blue irises functioned as the effect color when combined with the wide area of yellow hair, and these colors were perceived as congruent. A Swiss artist, theorist and educator, Johannes Itten (1888-1967) calculated the ratios of areas of different colors based on a German poet, playwright, novelist and critic, Johann Wolfgang von Goethe (1749-1832). Goethe insisted the ratios of brightness of different colors are “yellow: orange: red: violet: blue: green = 9:8:6:3:4:6”. Then, the ratios of area of different colors for congruency were “yellow: orange: red: violet: blue: green = 3:4:6:9:8:6”, in Itten’s theory. Itten’s theory shows an inverse tendency from the phenomenon of a cute character. According to Itten’s theory, the area of blue must be wider than yellow. However, the theories of Itten and Goethe were based on their intuition. In the present study, a perceptual experiment was conducted to directly measure the ratios of areas of different colors for congruency, to test Itten’s theory. Twelve colors were selected from Itten’s color wheel; yellow, orange, red, violet, blue and green, and 132 pairs of two different colors were prepared. Two adjacent squares were painted in two different colors and 20 participants from the Kanazawa Institute of Technology were requested to adjust the boundary of the two areas to make them most congruent, using the software Illustrator. The results of the experiment showed that the ratios were “yellow: orange: red: violet: blue: green = 5:6:5:6:7:6”. The ratio of 5:7 for yellow and blue colors were smaller than Itten’s theory, but the tendency was consistent with Itten’s theory. To conclude, the phenomenon observed in cute characters in Japanese content could not be illustrated by the ratio of areas of the complementary colors of yellow and blue. The phenomenon may be explained rather by the cultural effects where Japanese people admired Western people with blond hair and blue eyes.