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Journal articles on the topic 'Heinrich Heine'

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Published: 4 June 2021
Last updated: 11 March 2023

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1

Zohn, Harry, and Jeffrey L. Sammons. "Heinrich Heine." German Studies Review 16, no. 2 (May 1993): 357. http://dx.doi.org/10.2307/1431669.

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2

Perraudin, Michael, and Bernd Kortlander. "Heinrich Heine." Modern Language Review 99, no. 4 (October 2004): 1094. http://dx.doi.org/10.2307/3738579.

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3

Branscombe, Peter, and Heinrich Heine. "Heinrich Heine: Poems." Modern Language Review 90, no. 3 (July 1995): 801. http://dx.doi.org/10.2307/3734400.

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4

Holub, Robert C., and Anthony Phelan. "Reading Heinrich Heine." Modern Language Review 103, no. 4 (October 1, 2008): 1155. http://dx.doi.org/10.2307/20468093.

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5

Hafner, R. "Reading Heinrich Heine." Monatshefte 101, no. 1 (March 1, 2009): 117–18. http://dx.doi.org/10.1353/mon.0.0094.

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6

Heise, Eloá. "Heinrich Heine e Castro Alves: diversidade na convergência." Pandaemonium Germanicum, no. 2 (November 5, 1998): 23. http://dx.doi.org/10.11606/1982-8837.pg.1998.63081.

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Heinrich Heine und Castro Alves haben Gedichte unter dem gleichen Titel geschrieben: Das Sklavenschiff und O Navio Negreiro. Das bedeutet aber nicht, daß Castro Alves ein Plagiat des Gedichts Heines, des Verfassers der ersten Quelle, begangen hat. Trotz der gleichen Thematik in beiden Fällen kann man durch die Analyse der beiden Gedichte die deutliche Divergenz in der Konvergenz belegen.
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7

Sautermeister, Gert. "Heinrich Heine: Zur Wahrheit entstellt. Drei Traumgebilde Heines." Cahiers d’études germaniques 33, no. 2 (1997): 87–104. http://dx.doi.org/10.3406/cetge.1997.1422.

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8

Robertson, Ritchie, Wolfgang Hadecke, and Gerhard Hohn. "Heinrich Heine: Eine Biographie." Modern Language Review 83, no. 4 (October 1988): 1041. http://dx.doi.org/10.2307/3730989.

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9

Peters, George F. "Heinrich Heine at 200." German Quarterly 71, no. 3 (1998): 284. http://dx.doi.org/10.2307/407705.

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10

Robertson, Ritchie, and Gerhard Hohn. "Heinrich Heine. Asthetisch-politische Profile." Modern Language Review 88, no. 1 (January 1993): 259. http://dx.doi.org/10.2307/3730884.

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11

Robertson, Ritchie, and Nigel Reeves. "Heinrich Heine: Poetry and Politics." Modern Language Review 90, no. 3 (July 1995): 801. http://dx.doi.org/10.2307/3734399.

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12

Kolb, Jocelyne, and Walter Grab. "Heinrich Heine als politischer Dichter." German Quarterly 59, no. 1 (1986): 147. http://dx.doi.org/10.2307/406234.

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13

Peters, George F., and Gerhard Hohn. "Heinrich Heine: Asthetisch-politische Profile." German Quarterly 66, no. 1 (1993): 112. http://dx.doi.org/10.2307/408529.

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14

Berkson, Bill. "Heinrich Heine: From "Dichter Liebe"." Chicago Review 46, no. 2 (2000): 32. http://dx.doi.org/10.2307/25304494.

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15

Schiffter, R. "Das Leiden des Heinrich Heine." Fortschritte der Neurologie · Psychiatrie 73, no. 1 (October 2005): 30–43. http://dx.doi.org/10.1055/s-2004-830033.

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16

Otto, Ulrich, and Walter Grab. "Heinrich Heine als politischer Dichter." Jahrbuch für Volksliedforschung 31 (1986): 139. http://dx.doi.org/10.2307/848304.

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17

auf der Horst, C., and A. Labisch. "Hatte Heinrich Heine die Syphilis?" Der Hautarzt 57, no. 12 (December 2006): 1126–32. http://dx.doi.org/10.1007/s00105-006-1237-1.

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18

Mädefessel-Herrmann, Kristin. "Michael Tswett und Heinrich Heine." Nachrichten aus Chemie, Technik und Laboratorium 45, no. 6 (June 1997): 619–20. http://dx.doi.org/10.1002/nadc.19970450614.

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19

Kryeziu, Naim, and Lirak Karjagdiu. "Heinrich Heine in Albanian Literature." Theory and Practice in Language Studies 13, no. 2 (February 1, 2023): 299–310. http://dx.doi.org/10.17507/tpls.1302.04.

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Those who wrote about and introduced Heinrich Heine into Albanian literature and culture are the following distinguished Albanian intellectuals, researches and scholars: Javer Malo, Nexhip Gami, Vehbi Bala, Perikli Jorgoni, Pertef Kruja, Robert Shvarc, Petraq Kolevica, etc. However, no all-embracing articles or papers in English or German were written about Heinrich Heine’s presence, popularity and influence on Albanian literature. Therefore, through qualitative and comparative literature methods this article attempts to illuminate the presence, popularity and impact of Heine’s poetry on the poems of some of the most popular Albanian writers and poets, such as: Çajupi, Konica, Noli and Poradeci by focusing on the main similarities and differences of Heine’s poems with those of the aforementioned Albanian poets. The paper demonstrates and proves that it is beyond doubt that the poems of the aforesaid Albanian poets share strange and interesting similarities and a kind of concordance with the topics, motifs, messages and style of Heine’s poems and that he influenced those poets in different ways and to various degrees. The themes and motifs of politics, patriotism, social injustice, longing for motherland, freedom, brotherhood, nature, enthusiasm, love, hate, pain, sadness, disbelief, tradition, anticipation of future, dreams, etc. best connect the poems of Albanian poets to Heine’s.
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20

Shevtsov, Alexander V. "On the philosophy of Georg Lukach in the article on Heinrich Heine." Siberian Journal of Philosophy 17, no. 4 (2019): 196–207. http://dx.doi.org/10.25205/2541-7517-2019-17-4-196-207.

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In article the analysis of creativity of Heinrich Heine which was presented in introductory article by the famous Hungarian philosopher George (Dyoerd) Lukács (1885–1971) to collected works in 1938 of Heinrich Heine (1797–1837) is considered. Having taken philosophical and poetic creativity of Heine, in the offered research not only the concept of Lukács, but also the thinker of the past, the critic who had, undoubtedly, an impact on Heine’s creativity – the philosopher, the translator Friedrich Schleiermacher is studied. The assessment and brief description of Hegel’s influences on Heine’s world view, which took place in 1821-1823 in Berlin, as well as Marx in 1843-1844 in Paris, is given. Questions are touched upon and raised about future studies such as the Neo-Kantianism motifs of Lukács. Lukács’s post-hegelism and young-hegelism, raising the question of the subject matter of philosophy at Heine, and the role of Schleiermacher’s review of Heine’s creativity.
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21

Schlaudt, Oliver. "Der ,intuitive Verstand‘ bei Heinrich Heine." Philosophia Scientae, no. 20-1 (February 25, 2016): 59–75. http://dx.doi.org/10.4000/philosophiascientiae.1155.

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22

Varkonyi, Istvan, and Mark H. Gelber. "The Jewish Reception of Heinrich Heine." German Studies Review 16, no. 3 (October 1993): 549. http://dx.doi.org/10.2307/1432162.

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23

Phelan, Anthony, and Mark Gelber. "The Jewish Reception of Heinrich Heine." Modern Language Review 90, no. 1 (January 1995): 245. http://dx.doi.org/10.2307/3733361.

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24

Endemann, Fritz. "Heinrich Heine und die schwäbischen Musen." Schwäbische Heimat 61, no. 1 (June 29, 2022): 53–60. http://dx.doi.org/10.53458/sh.v61i1.3199.

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25

Benda, Gisela, and Mark Gelber. "The Jewish Reception of Heinrich Heine." German Quarterly 67, no. 4 (1994): 587. http://dx.doi.org/10.2307/408694.

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26

Holub, Robert C. "Reading Heinrich Heine by Anthony Phelan." Modern Language Review 103, no. 4 (2008): 1155–57. http://dx.doi.org/10.1353/mlr.2008.0469.

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27

Clifford, Dafna. "The Jewish Reception of Heinrich Heine." Journal of Jewish Studies 48, no. 1 (April 1, 1997): 203. http://dx.doi.org/10.18647/1986/jjs-1997.

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28

Holub, Robert C. "Heinrich Heine: Alternative Perspectives 1985–2005." Monatshefte 99, no. 3 (2007): 417–19. http://dx.doi.org/10.1353/mon.2007.0059.

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29

Weissberg, Liliane. "Heinrich Heine Writes about His Life." MLN 122, no. 3 (2007): 563–72. http://dx.doi.org/10.1353/mln.2007.0071.

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30

Mende, Fritz. "Franz Futterknecht,Heinrich Heine. Ein Versuch." Arbitrium 1, no. 1 (January 1987): 74–77. http://dx.doi.org/10.1515/arbi.1987.1.1.74.

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31

Sammons, Jeffrey L. "Wolfgang Hädecke,Heinrich Heine: Eine Biographie." Arbitrium 2, no. 1 (January 1987): 185–87. http://dx.doi.org/10.1515/arbi.1987.2.1.185.

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32

Kruse, J. A. "Heinrich Heine über Schlaf und Traum." Somnologie - Schlafforschung und Schlafmedizin 12, no. 1 (January 30, 2008): 85–90. http://dx.doi.org/10.1007/s11818-008-0328-x.

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33

Barbier, Frédéric. "Eugène Renduel, éditeur de Heinrich Heine." Revue germanique internationale, no. 9 (January 15, 1998): 103–14. http://dx.doi.org/10.4000/rgi.671.

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34

Maillet, Marie-Ange. "Heinrich Heine und der Münchner Kunstverein." Internationales Archiv für Sozialgeschichte der deutschen Literatur (IASL) 30, no. 2 (May 2006): 1–13. http://dx.doi.org/10.1515/iasl.2005.2.1.

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35

Deinet, Klaus. "Heinrich Heine und Frankreich – eine Neueinordnung." Internationales Archiv fur Sozialgeschichte der deutschen Literatur (IASL) 32, no. 1 (August 2008): 112–52. http://dx.doi.org/10.1515/iasl.2007.004.

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36

Deinet, Klaus. "Heinrich Heine und Frankreich – eine Neueinordnung." Internationales Archiv für Sozialgeschichte der deutschen Literatur (IASL) 32, no. 1 (August 2007): 112–52. http://dx.doi.org/10.1515/iasl.2007.1.004.

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37

Moreno Moreno, Daniel. "Heine o la ductilidad del romanticismo." Análisis. Revista de investigación filosófica 2, no. 2 (December 10, 2015): 415. http://dx.doi.org/10.26754/ojs_arif/a.rif.201521197.

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Reseña de: Heinrich Heine, Sobre historia de la religión y la filosofía en Alemania. La escuela romántica. Traducción de Manuel Sacristán. Introducción de Manuel Garrido. Estudio crítico a cargo de Manuel Sacristán. Tecnos, Madrid, 2015, 390 pp.
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38

Youens, Susan. "‘Pure’ Song: ‘Du bist wie eine Blume’ and the Heine Juggernaut." Nineteenth-Century Music Review 3, no. 2 (November 2006): 3–32. http://dx.doi.org/10.1017/s1479409800000586.

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Anyone who ventures into the vastness of German song territory encounters a juggernaut almost immediately. Over and over again, the supplier of the words is identified as Heinrich Heine - a very great poet, to be sure, but other great poets did not leave the same mammoth imprint on the history of song as this man. Günter Metzner's catalogue,Heine in der Musik(Heine in Music), consumes twelve oversize volumes, and both Peter Shea and I have found settings that are not cited in this Herculean source. Those who peruse Ernst Challier'sGrosser Lieder-Katalog(Great Song Catalogue) of 1884 discover that nineteenth-century composers frequently chose Heine for their op. 1 entrée onto the scene, as if setting Heine to music was a rite of passage, a guarantee that attention would be paid.
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39

Hohnstein, Aileen. "Interview: Drei Fragen an Prof. Helmut Frister." kma - Klinik Management aktuell 26, no. 09 (September 2021): 45. http://dx.doi.org/10.1055/s-0041-1736065.

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Prof. Dr. Helmut Frister hat den Lehrstuhl für Strafrecht und Strafprozessrecht an der Heinrich-Heine-Universität Düsseldorf inne und ist dort auch geschäftsführender Direktor des Instituts für Rechtsfragen der Medizin.
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40

Heine, Heinrich. "Situações francesas (excertos)." Prisma Juridico 10, no. 1 (August 17, 2011): 161–70. http://dx.doi.org/10.5585/prismaj.v10i1.2937.

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Excertos traduzidos do livro Französische Zustände, escrito por Heinrich Heine em 1832. Foram selecionadas as passagens que tratavam das revoluções na França e na Alemanha, dos direitos humanos e do absolutismo.
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41

Kortländer, Bernd, and Hans T. Siepe. "Heinrich Heine poète allemand et écrivain français." Revue d'histoire littéraire de la France 105, no. 4 (2005): 913. http://dx.doi.org/10.3917/rhlf.054.0913.

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42

Peters, George F., and Jost Hermand. "Mehr als ein Liberaler: Uber Heinrich Heine." German Studies Review 19, no. 2 (May 1996): 381. http://dx.doi.org/10.2307/1432053.

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43

Reich Ranicki, Marcel. "Heinrich Heine, le génie de l’amour-haine1." Germanica, no. 65 (December 1, 2019): 127–38. http://dx.doi.org/10.4000/germanica.8157.

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44

Marc’hadour, Germain. "Echos de Thomas More chez Heinrich Heine." Moreana 27 (Number 103), no. 3 (September 1990): 71–72. http://dx.doi.org/10.3366/more.1990.27.3.10.

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45

Benda, Gisela, and Paul Peters. "Heinrich Heine "Dichterjude": Die Geschichte einer Schmahung." German Quarterly 65, no. 2 (1992): 248. http://dx.doi.org/10.2307/406504.

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46

Bakalov, A. S. "GOTTFRIED KELLER ABOUT HEINRICH HEINE (PHARMACIST OF CHAMOUNIX)." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 23, no. 79(1) (2021): 38–43. http://dx.doi.org/10.37313/2413-9645-2021-23-79(1)-38-43.

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The article gives an idea of ambivalent relation of Swizz writer Gottfried Keller to Heinrich Heine as person and poet. The object of the analyzes is Keller’s big poem “Der Apotheker von Chamounix”, containing both parody on the habits and features of Heine’s artificial world and respect to his person and sympathy for his suffering as well. The matter of satiric derisions is in Keller’s poem the last cycle of Heine’s ballades “Romancero”, whose poetic world gave G.Keller reasons for the parody against some features of Heine’s artificial world. Keller’s satiric poem is divided into two parts with different functions and unlike plots. In the first of them is presented the love triangle between inhabitants of a Swiss settlement Chamounix, everybody of which perished in an implausible death with following transition into the life beyond the grave. The main character of the second part of Keller’s poem are the poet H.Heine himself and figures of his dead literary teachers and opponents, whom Heine encounters during his visit in the paradise. In contradiction to Heine’s antagonists Platen and Börne, both great educators Goethe and Lessing show their sympathy to “Romancero”’s author. The poet Keller mocks over Heine as a figure and the author, but sympathizes with him as a great poet and estimated person. The second part of the poem is connected with the first one only by the figure of the girl Klara from Chamounix, who became in the second part free from her lover sins and left now her place in the purgatory for the “catholic” poet H.Heine.
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47

Merten, Heike. "El Instituto para el Derecho Internacional y Alemán de Partidos deviene en centro de la ciencia de partidos = The Institute of German and International Party Law and Party Research is gaining national and international reputation as a centre for party res." Teoría y Realidad Constitucional, no. 35 (January 1, 2015): 605. http://dx.doi.org/10.5944/trc.35.2015.14931.

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The Institute of German and International Party Law and Party Research (PRuF) at the Heinrich Heine University of Dusseldorf has been working with an interdisciplinary approach over the past 23 years on political parties and gained national and international reputation. The author of this text presents the functions and objectives of the Institute, as well as summarizing its organisational structure and history.El Instituto para el Derecho Internacional y Alemán de Partidos y Centro de Investigación sobre Partidos (PRuF) de la Universidad Heinrich Heine de Dusseldorf, trabaja con una orientación interdisciplinar desde los últimos 23 años en torno a la materia de los partidos políticos y se ha convertido en un centro reconocido a nivel internacional de las ciencias del partido. La autora de este texto presenta las funciones y los objetivos del Instituto, además de resumir su estructura e historia.
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48

Cao, Jie. "Irony in Heinrich Heines Versepos “Germany, a Winter Fairy Tale”." Scholars Journal of Arts, Humanities and Social Sciences 10, no. 12 (December 20, 2022): 548–50. http://dx.doi.org/10.36347/sjahss.2022.v10i12.003.

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Heinrich Heine is known for his sharp criticism and witty irony. The word "irony" first appears in Aristophane's comedy The Clouds. The simplest form of irony is saying the opposite of what you mean. In “Germany, a Winter Fairy Tale” tells the lyrical I in an epic about his journey in his homeland. What makes the epic poem fascinating is Heine's consistently ironic writing. As a Jew, Heine remained an outsider in Germany. This outsider role shaped his life and his work. He vacillates between dream and reality, hope and disappointment, romance and realism. His conflict is rooted in this contradiction.
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49

Zuseva-Ozkan, V. B. "Heine-esque. Timur Kibirov." Voprosy literatury, no. 2 (July 29, 2020): 89–114. http://dx.doi.org/10.31425/0042-8795-2020-2-89-114.

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Amongst the commonly recognized qualities of Timur Kibirov’s poetry is its extensive usage of quotations, occasionally resulting in a cento. While his scholars have been limiting their search to the references to Russian poetry, this article explores Kibirov’s reception of the work and personality of Heinrich Heine in an attempt to prove that the latter influenced Kibirov greatly at the start of his career, as described in Kibirov’s autobiographic Crones, Deceased [Pokoynye starukhi], an epic poem in prose. The author points out indirect evidence of Kibirov’s enthusiastic reading of Heine (quotations, allusions, etc.), analyzes Kibirov’s poems directly referencing Heine’s work (‘Heine’ [‘Geyne’], ‘From Heine’ [‘Iz Geyne’]), and describes the principal similarities between the two poets’ poetics and philosophy, also noting their differences. Zuseva-Ozkan argues that Heine dominates Kibirov’s output, but if in the 1980s-1990s this ‘obsession’ with Heine’s spirit manifested itself mostly in reminiscences and allusions, the early 2000s saw a more vivid introspection, later turning into Kibirov’s self-identifi ation with the German poet.
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50

Vester, Anne. "„Der Himmel weiß! In welchem Geistesstall er sein nächstes Steckenpferd finden wird“ Liszts Interesse an der bildenden Kunst mit den Augen Heines gesehen." Studia Musicologica 55, no. 1-2 (June 2014): 81–102. http://dx.doi.org/10.1556/6.2014.55.1-2.6.

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In German literature Heinrich Heine is regarded as one of the founders of musical feuilleton, a genre that he developed to the highest mastery with the means of irony and satire. In his music reviews Heine discussed repeatedly many of his musical contemporaries; he met leading composers of his time like Mendelssohn-Bartholdy, Meyerbeer, Berlioz, Chopin, Liszt, and Wagner personally. The fact that the relationship between Heine and Liszt (they got to know each other in 1831 in Paris) was not without problems, is a commonplace. Rainer Kleinertz describes it as ambivalent. The essay examines Heine’s musical judgements about Liszt, focussing on the question of Liszt’s interest in the fine arts. In the tenth letter from Über die Französische Bühne. Vertraute Briefe an August Lewald (1837), Heine accused Liszt of philosophical eclecticism, because he would change his beliefs like hobbyhorses. Are there contradictions and inconsistencies also in Liszt’s thinking about art and music that justified such an ambivalent attitude on the part of Heine? Finally, Liszt replied Heine in the seventh of his Lettres d’un bachelier ès musique, dated Venice, 15 April 1838.
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