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Journal articles on the topic 'Karoline (von Lengefeld) von'

Author: Grafiati

Published: 4 June 2021

Last updated: 16 February 2022

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1

Bär, Gerald. "‘Ossian fürs Frauenzimmer’? Lengefeld, Günderrode, and the Portuguese Translations of ‘Alcipe’ and Adelaide Prata." Translation and Literature 22, no. 3 (November 2013): 343–60. http://dx.doi.org/10.3366/tal.2013.0127.

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This article examines German and Portuguese Ossian translations by female writers, particularly translations of Dar-thula, one of Macpherson's most popular pieces. Charlotte von Lengefeld's and Karoline von Günderrode's German translations raise the question of whether Ossian was considered a suitable subject for women, offering further insights into the reasons for the astonishing popularity of Macpherson's publications in German-speaking countries. The Portuguese versions of the Marquesa de Alorna and Adelaide Prata and their favourable reviews shed light on their acceptance in nineteenth-century Portugal. Comparison of the different approaches and objectives of these four translators together with the analysis of their different source texts and skills is intended to contribute to debate on translation and gender studies.

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2

Ezekiel, Anna. "Metamorphosis, Personhood, and Power in Karoline von Günderrode." European Romantic Review 25, no. 6 (October 29, 2014): 773–91. http://dx.doi.org/10.1080/10509585.2014.963847.

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3

Pendorf, Gabriele. "Weibliche Glückskonzeptionen bei Sophie von La Roche und Wilhelmine Karoline von Wobeser." Seminar: A Journal of Germanic Studies 47, no. 2 (May 2011): 173–89. http://dx.doi.org/10.3138/seminar.47.2.173.

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4

Von Hoff, Dagmar. "Kontingenz-Erfahrung in der Romantik. Ausdrucksbegehren und Zensur bei Karoline von Günderrode." Pandaemonium Germanicum, no. 4 (November 5, 2000): 179. http://dx.doi.org/10.11606/1982-8837.pg.2000.64193.

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Este artigo oferece um panorama da vida e obra de Karoline von Günderrode (1780-1806) no Romantismo alemão. Karoline von Günderrode é uma das mais modernas e radicais escritoras de seu tempo, porque ela expressa a contingência, a marca de uma era moderna. O artigo tambéme examina aspectos de gendered censorship [censura em função de gênero] em seu trabalho, especialmente em seus dramas. Para compreender o fenômeno, é necessário ter uma visão da censura de dentro e de fora. O drama e o teatro no século XVIII eram um tabu para as mulheres. Günderrode reagiu com tripla auto-censura: em sua forma de expressar-se, em sua opção por escrever sob dois pseudônimos (Tian e Ion) e em sua decisão de deixar um número de dramas inacabados. Karoline von Günderrode cometeu suicídio aos 26 anos. É possível entender também seu suicídio como um ato de censura no contexto da experiência de contingência no Romantismo.

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5

Dillmann, Gabriele. "Suicidal Ideation in Karoline von Günderrode's Life and Work." Essays in Romanticism 16, no. 1 (January 2008): 25–48. http://dx.doi.org/10.3828/eir.16.1.2.

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6

Dagmar von Hoff. "Aspects of Censorship in the Work of Karoline von Günderrode." Women in German Yearbook: Feminist Studies in German Literature & Culture 11, no. 1 (1995): 99–112. http://dx.doi.org/10.1353/wgy.1995.0025.

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7

Simonis, Annette. "‚Das verschleierte Bild ‘Mythopoetik und Geschlechterrollen bei Karoline von Günderrode." Deutsche Vierteljahrsschrift für Literaturwissenschaft und Geistesgeschichte 74, no. 2 (June 2000): 254–78. http://dx.doi.org/10.1007/bf03375541.

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8

Bechen, Johanna Gisela. "Zur Geschichte der Philosophin: Karoline von Günderrode: Sämtliche Werke und ausgewählte Studien." Die Philosophin 3, no. 5 (1992): 84–85. http://dx.doi.org/10.5840/philosophin19923510.

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9

Bascoy Lamelas, Montserrat. "La dimensión religiosa de la existencia en la literatura romántica: el concepto de religión en “Geschichte eines Braminen” de Karoline von Günderrode en diálogo con Friedrich Schleiermacher." Futhark. Revista de Investigación y Cultura, no. 7 (2012): 9–42. http://dx.doi.org/10.12795/futhark.2012.i07.01.

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The literary work of Karoline von Günderrode deals, without a doubt, with the same ideological and aesthetic concerns that characterize the texts of the first Romantic writers. One of the key issues which have occupied these writers is redefining the concept of religion. In their works, they defend the need to recover the spiritual side of the human being, oppressed and denied by a materialistic and rational world and a morality that suppressed the true nature of man. The theories of Friedrich D. E. Schleiermacher on true religion had a fundamental importance in the romantic thought. Like his contemporaries, Karoline von Günderrode also reflects in his writings on religious issues. In his story “Geschichte eines Braminen” can be seen, as shown in this paper, the influence of Schleiermacher’s ideas on the concept of religion presented by the writer.

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10

Classen, Albrecht. "Karoline Dominika Döring, Sultansbriefe: Textfassungen, Überlieferung und Einordnung. Monumenta Germaniae Historica. Studien und Texte, 62. Wiesbaden: Harrassowitz Verlag, 2017, XXXIII, 138 S." Mediaevistik 31, no. 1 (January 1, 2018): 437. http://dx.doi.org/10.3726/med012018_437.

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Große wissenschaftliche Leistungen bedürfen nicht immer eines großen Umfangs; gerade schmale Bücher beweisen sich manchmal als am wichtigsten. Genau dies ist der Fall mit der Arbeit Karoline Dominika Dörings, die sich schon über viele Jahre mit den sogenannten Sultansbriefen beschäftigt hat, die im Spätmittelalter und in der Frühneuzeit eine erstaunlich große Beliebtheit genossen und in einer hohen Zahl von Handschriften und dann sogar Inkunabeln und Frühdrucken überliefert sind.

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11

Castano, María Belén. "El pensamiento utópico en Christa Wolf." Verinotio – Revista on-line de Filosofia e Ciências Humanas 26, no. 1 (June 25, 2020): 216–27. http://dx.doi.org/10.36638/1981-061x.2020.v26.530.

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La propuesta se detiene en analizar el eco del pensamiento utópico de Ernst Bloch presente en los ensayos de Christa Wolf “Der Schatten eines Traumes. Karoline von Günderrode -ein Entwurf” (1978) y “Nun ja! Das nächste Leben geht aber heute an. Ein Brief über die Bettine” (1979) . Asimismo, se profundizará la caracterización del romanticismo de Wolf como revolucionario utópico, que implica una crítica a la Modernidad y a la civilización capitalista y que está ligado al feminismo

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12

Riley, Helene M. Kastinger, and Lucia Maria Licher. "Mein Leben in einer bleibenden Form aussprechen: Umrisse einer Asthetik im Werk Karoline von Gunderrodes (1780-1806)." German Quarterly 72, no. 1 (1999): 86. http://dx.doi.org/10.2307/407913.

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13

Lavers, Jordan Ross. "“Der Zorn ist eine unduldsame Liebe”: Gender, Anger and Sisterhood in Letters by Karoline von Günderrode and her Sisters." L'Homme 28, no. 2 (October 2, 2017): 35–48. http://dx.doi.org/10.14220/lhom.2017.28.2.35.

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14

Allingham, Liesl. "Countermemory in Karoline von Günderrode’s “Darthula nach Ossian”: A Female Warrior, Her Unruly Breast, and the Construction of Her Myth." Goethe Yearbook 21, no. 1 (2014): 39–56. http://dx.doi.org/10.1353/gyr.2014.0006.

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15

Schärf, Christian. "Artistische Ironie und die Fremdheit der Seele Zur ästhetischen Disposition in der Frühromantik bei Friedrich Schlegel und Karoline von Günderrode." Deutsche Vierteljahrsschrift für Literaturwissenschaft und Geistesgeschichte 72, no. 3 (September 1998): 433–62. http://dx.doi.org/10.1007/bf03375503.

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16

Greiner, Bettina. "(Hi-)Stories of the Gulag: Fiction and Reality. Ed. Felicitas Fischer von Weikersthal and Karoline Thaidigsmann . Heidelberg: Universitätsverlag Winter, 2016. 382 pp. Appendix. Index. Photographs. €48.00, hard bound." Slavic Review 76, no. 3 (2017): 851–52. http://dx.doi.org/10.1017/slr.2017.232.

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17

Ortlieb, Cornelia. "Konrad Heumann / Karoline Sinur (Hgg.), „Welch kleiner Teufel führt Ihre Hand?“ Autoren der Gegenwart im Dialog mit Handschriften der Romantik. Mit Fotografien von Alexander Paul Englert. Waldemar Kramer, Wiesbaden 2017. 128 S., € 24,–." Arbitrium 38, no. 2 (August 1, 2020): 268–71. http://dx.doi.org/10.1515/arb-2019-0063.

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18

Baldyga, Natalya. "Corporeal Eloquence and Sensate Cognition: G. E. Lessing, Acting Theory, and Properly Feeling Bodies in Eighteenth-Century Germany." Theatre Survey 58, no. 2 (April 19, 2017): 162–85. http://dx.doi.org/10.1017/s0040557417000059.

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Most know Gotthold Ephraim Lessing (1729–81) for his dramatic theory, specifically that which is found in his periodical the Hamburg Dramaturgy (1767–69), a collection of 101 essays that has since earned Lessing the moniker of “the first dramaturg.” Many are also familiar with Lessing's major plays, Miss Sara Sampson (1755), Minna von Barnhelm (1767), Emilia Galotti (1772), and Nathan the Wise (1779). Fewer, however, may be familiar with his acting theory and his long association with actors, an association that began in his college years and which so disturbed Lessing's father that the respectable pastor lured the wayward student home by falsely claiming that Lessing's mother was ill. During his time as a university student in Leipzig, Lessing translated plays for the troupe of Karoline Neuber (1697–1760) and socialized with the company's actors; over time he would continue to accrue significant firsthand knowledge of actors and the art of acting, not only through his frequent theatregoing but also through the coaching of his own plays. Lessing's familiarity with actors and acting informs both his performance and dramatic theory, including that which one finds in the Hamburg Dramaturgy; in Anglophone studies of Lessing's journal, however, one infrequently sees Lessing's dramatic theory placed in conversation with his acting theory, reception theory, or performance reviews. Due to the short and contentious life of the Hamburg National Theatre, the experimental theatre project to which the Hamburg Dramaturgy was ostensibly attached, historical narratives more often focus on Lessing's strained relations with the actors of the Hamburg acting company. If one views Lessing's writing about performance solely in terms of a frustrated critic's attempts to rein in “unruly” actors, however, one loses sight of how Lessing's acting theory supports his wider ideas about the form and function of theatre and about how the Hamburg Dramaturgy and the Hamburg theatre experiment might function as a force for social change.

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19

Hettche, Walter. "Karoline von Günderrode, Sämtliche Werke und ausgewählte Studien. Historisch-Kritische Ausgabe. Hg. von Walter Morgenthaler. 1990." Arbitrium 11, no. 2 (1993). http://dx.doi.org/10.1515/arbi.1993.11.2.196.

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20

Ezekiel, Anna C. "Revolution and revitalization: Karoline von Günderrode’s political philosophy and its metaphysical foundations." British Journal for the History of Philosophy, September 17, 2020, 1–21. http://dx.doi.org/10.1080/09608788.2020.1806033.

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21

Wolfzettel, Friedrich. "Karoline Harthun, Aventure und Askese. Die Gesta militum des Hugo von Mâcon." Zeitschrift für romanische Philologie (ZrP) 123, no. 3 (January 2007). http://dx.doi.org/10.1515/zrph.2007.502.

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22

Tökei, Éva. "Karin Zimmermann, Die polyfunktionale Bedeutung dialogischer Sprechformen um 1800. Exemplarische Analysen: Rahel Varnhagen, Bettine von Arnim, Karoline von Günderode." Arbitrium 13, no. 3 (1995). http://dx.doi.org/10.1515/arbi.1995.13.3.369.

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23

Nassar, Dalia. "The Human Vocation and the Question of the Earth: Karoline von Günderrode’s Philosophy of Nature." Archiv für Geschichte der Philosophie, March 4, 2021. http://dx.doi.org/10.1515/agph-2019-0028.

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Abstract Contra widespread readings of Karoline von Günderrode’s 1805 “Idea of the Earth (Idee der Erde)” as a creative adaptation of Schelling’s philosophy of nature, this article proposes that “Idea of the Earth” furnishes a moral account of the human relation to the natural world, one which does not map onto any of the more well-known romantic or idealist accounts of the human-nature relation. Specifically, I argue that “Idea of the Earth” responds to the great Enlightenment question concerning the human vocation, but from a distinctive romantic-idealist angle. I begin by demonstrating the influence of Fichte’s 1800 Vocation of Humanity on Günderrode’s thinking, which involves an investigation of both Fichte’s text and Günderrode’s critical response to it. I then turn to “Idea of the Earth” where I analyse Günderrode’s understanding of nature and the self in light of her critique of Fichte, and thereby distinguish her position from Fichte’s and from the position espoused by her fellow romantics and idealists. By reading “Idea of the Earth” alongside Fichte’s text and Günderrode’s remarks on it, this article sheds new light on both Günderrode’s understanding and defence of Naturphilosophie – against Fichte’s critique of it – and her distinctive contribution to romantic philosophies of nature.

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24

Kilian, Jörg. "Karoline Ehrlich. 2008. Wie spricht man „richtig“ Deutsch? Kritische Betrachtung der Aussprachenormen von Siebs, GWDA und Aussprache-Duden." Zeitschrift für Rezensionen zur germanistischen Sprachwissenschaft 4, no. 1 (January 2012). http://dx.doi.org/10.1515/zrs-2012-0005.

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25

Wägenbaur, Birgit. "„Ich denke mir es sehr möglich, daß wir einander verständen“ – Der Briefwechsel zwischen Rahel Levin Varnhagen und Karoline von Fouqué." Zeitschrift für deutsche Philologie, no. 2 (July 1, 1998). http://dx.doi.org/10.37307/j.1868-7806.1998.02.04.

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26

Ohme, Andreas. "Fischer von Weikersthal, Felicitas; Thaidigsmann, Karoline (eds.). (Hi-)Stories of the Gulag. Fiction and Reality. Heidelberg: Winter, 2016. 382 pp." Kritikon Litterarum 44, no. 1-2 (January 18, 2017). http://dx.doi.org/10.1515/kl-2017-0019.

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