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Artículos de revistas sobre el tema "Goethe, Johann Wolfgang von. Goethe, Johann Wolfgang von. Goethe, Johann Wolfgang von"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 10 de febrero de 2022

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1

Williams, John R. y P. F. Ganz. "Johann Wolfgang von Goethe". Modern Language Review 81, n.º 1 (enero de 1986): 251. http://dx.doi.org/10.2307/3728838.

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2

Haas, L. F. "Johann Wolfgang von Goethe (1749-1832)." Journal of Neurology, Neurosurgery & Psychiatry 56, n.º 11 (1 de noviembre de 1993): 1148. http://dx.doi.org/10.1136/jnnp.56.11.1148.

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3

Wahl, Daniel C. ""Zarte Empirie"". Janus Head 8, n.º 1 (2005): 58–76. http://dx.doi.org/10.5840/jh20058134.

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This paper explores the 'delicate empiricism' proposed by Johann Wolfgang von Goethe. Goethe's scientific work provided an alternative epistemology to that of conventional science. The author discusses the Goethean way of knowing. Particular emphasis is given to the changed understanding of process, form and participation that results from employing the epistemology expressed by Goethe. A methodology for Goethean science is introduced and its applications and their implications are explored. Goethe's "zarte Empirie" — his delicate empiricism - legitimises and organizes the role of imagination, intuition and inspiration in science. It may contribute significantly to the emerging participatory and holistic worldview, and to providing knowledge that is in tune with nature. This paper explores how and why.
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4

Körndle, Franz. "Johann Wolfgang von Goethe, Carl Friedrich Zelter und „die musikaUsche Malerey"". Anuario Musical, n.º 54 (24 de enero de 2019): 185. http://dx.doi.org/10.3989/anuariomusical.1999.i54.259.

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Im Briefwechsel zwischen Johann Wolfgang von Goethe und Carl Friedrich Zelter nimmt die Diskussion um die sogenannte Nachahmungsästhetik einerseits und das Problem des „Durchkomponierens" andererseits einen breiten Raum ein. Am Beispiel der Ballade Johanna Sebus und ihrer Vertonung durch Zelter kann gezeigt werden, wie Goethe die Moglichkeiten der „musikalischen Malerey" einschatzte. Außerdem wird deutlich, daß der Dichter bei Balladen durchaus bereit war, vom strophischen Schema der Liedvertonung abzusehen und die individuelle Behandlung der einzelnen Abschnitte des Textes zuzulassen, hier sogar in einer der Kantate nahestehenden Form mit Vokalensemble. Mehrere Takte aus dem Eingangschor der Matthauspassion von Johann Sebastian Bach, die Zelter in seine Vertonung eingebaut hat, geben einen zusätzlichen Einblick in die ästhetischen Vorstellungen des Komponisten und belegen darüber hinaus, daß sich Zelter weitaus früher mit dem Werk Bachs befaßt hat als bisher angenommen wurde
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5

Mannetstätter, Antje y Christoph Friedrich. "Die Zürcher Arzt-Apotheker-Familie Lavater und Johann Wolfgang von Goethe". Gesnerus 55, n.º 1-2 (27 de noviembre de 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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Schüller, Volkmar. "Goethe versus Newton: Zum 250. Geburtstag von Johann Wolfgang von Goethe". Physik Journal 55, n.º 12 (diciembre de 1999): 62–66. http://dx.doi.org/10.1002/phbl.19990551216.

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7

Pirholt, Mattias. "»Gott segne Kupfer« Goethes Kunstbeschreibungen im Zeitalter der semitechnischen Reproduzierbarkeit". Zeitschrift für Kunstgeschichte 80, n.º 3 (30 de diciembre de 2017): 392–417. http://dx.doi.org/10.1515/zkg-2017-0019.

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Abstract This study investigates how the experience of reproductions – drawings, copperplate engravings, woodcuts, lithography, plaster casts, and so forth – influenced Johann Wolfgang von Goethe’s conception of art in general and his descriptions of art (e.g., ekphrases, reviews, and autobiographical accounts) in particular. Well acquainted with the technologies of reproduction of his time, Goethe, often in collaboration with Johann Heinrich Meyer, acknowledged the crucial role of reproductions for the understanding of the productive idea of the original work. Experiences of reproductions and comparisons between copies, drafts, and the original enabled Goethe to grasp the idea as an ever-transforming productive constant of the continuous process of becoming of the work.
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8

Schröder, W. "Johann Wolfgang von Goethe and the aurora borealis". Acta Geodaetica et Geophysica Hungarica 43, n.º 1 (marzo de 2008): 113. http://dx.doi.org/10.1556/ageod.43.2008.1.9.

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9

Wurst, Karin A. "Johann Wolfgang von Goethe in Conversation with Things". Goethe Yearbook 26, n.º 1 (2019): 199–216. http://dx.doi.org/10.1353/gyr.2019.0027.

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10

Guthrie, John. "Book Review: Jeremy Adler: Johann Wolfgang von Goethe". Journal of European Studies 51, n.º 1 (marzo de 2021): 81–82. http://dx.doi.org/10.1177/0047244121990461h.

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11

Todd, Malcolm. "Goethe and prehistory". Antiquity 59, n.º 227 (noviembre de 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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12

Kestler, Izabela Maria Furtado. "Johann Wolfgang von Goethe: arte e natureza, poesia e ciência". História, Ciências, Saúde-Manguinhos 13, suppl (octubre de 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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13

Guimaraes, Ana Rosa Gonçalves De Paula. "GOETHE: POETA E PSICANALISTA". Trama 13, n.º 30 (20 de octubre de 2017): 59–76. http://dx.doi.org/10.48075/rt.v13i30.16762.

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O presente estudo objetiva evidenciar por quais maneiras o poeta pré-romântico alemão, Johann Wolfgang von Goethe influenciou os posteriores escritores do Romantismo, como também ensejou temas próprios à psicanálise fundada por Freud. Para isso, será feita uma breve descrição do Romantismo Alemão, para, posteriormente, analisar a construção do sujeito; o valor das vivências subjetivas; aos dualismos psíquicos e aos fenômenos de natureza inconsciente – tendo como eixo a questão de que Goethe foi psicanalista e/ou Freud foi romântico.
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14

Steinberg, Holger y Peter Schönknecht. "Goethe: A bipolar personality? Periodicity of affective states in Johann Wolfgang von Goethe as reflected by Paul Julius Möbius". Journal of Medical Biography 28, n.º 3 (26 de enero de 2018): 174–80. http://dx.doi.org/10.1177/0967772017743880.

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This paper aims to investigate the character and etiological basis of German poet Johann Wolfgang von Goethe’s mental disorder. From 1898, German neuropsychiatrist Paul Julius Möbius developed the hypothesis that Goethe’s work provided several hints for the notion that the German poet suffered from a distinct bipolar disorder. The paper investigates Möbius’s psychopathographic study on Goethe and his hypothesis of a mood periodicity in Goethe against the mirror of modern concepts. Möbius came to the conclusion that Goethe’s illness was bipolar in character and became visible at intervals of seven years and lasted for about two years. The majority of Möbius’s contemporary psychiatric colleagues (Emil Kraepelin, Max Isserlin, Ernst Kretschmer, Josef Breuer) supported this view which has still not been convincingly challenged. In present-day terms, Möbius’s hypothesis can be best mirrored as a subclinical foundation of mood disorder. Furthermore, with his extensive study, Möbius disproved the common notion that Goethe had suffered from an illness as the result of a syphilitic infection.
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15

Hilfiker, Roger. "Gemeinsam planen motiviert". physiopraxis 5, n.º 09 (septiembre de 2007): 28–31. http://dx.doi.org/10.1055/s-0032-1308114.

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„Erfolgreich zu sein setzt zwei Dinge voraus: klare Ziele und den brennenden Wunsch, sie zu erreichen.“ Dieser Satz stammt von Johann Wolfgang von Goethe. Für die Therapieplanung ist er essenziell. Wie man mit einer guten Zielsetzung die Motivation des Patienten erhöht, die Teamzusammenarbeit fördert und so den Therapieerfolg leichter erreicht, lesen Sie hier.
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16

Grandy, David. "Goethe on Color and Light". Journal of Interdisciplinary Studies 17, n.º 1 (2005): 26–44. http://dx.doi.org/10.5840/jis2005171/22.

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Thiis essay explores Johann Wolfgang von Goethe*s reaction to Newtonian science and its quantification of nature. In particular, Goethe insisted that Newton's mechanistic portrayal of light and color was but a partial account of their reality. Broadening the understandings upon which science is practiced, Goethe developed ideas that presuppose mind-world intimacy and the consequent need to acknowledge the limited utility of mathematical modeling and theory construction. Such an approach values human subjectivity and sees it as partly constitutive of nature. While Goethe's treatment of color and light is not religious in a traditional sense, it resonates overtones consonant with religious belief. Rejecting the materialistic emphasis of Newtonian physics, Goethe felt that science may expand our spiritual horizons by helping us see the many ways we are patterned into the phenomenological splendor of the world This outlook aligns with Goethe's belief-illustrated in Faust-that the soul holds out for something more than a materialistic metaphysics.
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17

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, n.º 3 (30 de agosto de 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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18

Abdullaeva, Roviyajon. "NAVOI AND GOETHE: COMMON VITAL BENCHMARKS". INTERNATIONAL JOURNAL OF WORD ART 6, n.º 3 (30 de junio de 2020): 5–13. http://dx.doi.org/10.26739/2181-9297-2020-6-1.

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his article discusses the common (typological) intersecting or non-intersecting lines in the life and work of two great scholars of the East and the West–the sultan of poetry Nizamiddin Amir Alisher Navoi and Johann Wolfgang von Goethe, recognized as the “great German”. If we look at the issue in the context of global literary communication, translation and influence,unfortunately, the question of familiarity and influence in the work of these word masters remains an unanswered puzzle
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19

Resvick, Jessica C. "Faust: A Tragedy, Part I by Johann Wolfgang von Goethe". Eighteenth-Century Studies 54, n.º 1 (2020): 225–27. http://dx.doi.org/10.1353/ecs.2020.0101.

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20

John, Eckhard y Hermann Strobach. "Volkslieder gesammelt von Johann Wolfgang Goethe, Wiedergabe der Weimarer Handschrift". Jahrbuch für Volksliedforschung 31 (1986): 132. http://dx.doi.org/10.2307/848296.

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21

Caisley, Jennifer. "Stella: A Play for Lovers by Johann Wolfgang von Goethe". Goethe Yearbook 27, n.º 1 (2020): 345–46. http://dx.doi.org/10.1353/gyr.2020.0018.

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22

Galle, Helmut. "Resenha: Goethe, Fausto I, Trad. de J. Klabin Segall com notas de M. V. Mazzari". Pandaemonium Germanicum, n.º 8 (19 de diciembre de 2004): 229. http://dx.doi.org/10.11606/1982-8837.pg.2004.68428.

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RESENHA:GOETHE, Johann Wolfgang von: Fausto. Uma tragédia. Primeira parte. Tradução do original alemão de Jenny KLABIN SEGALL. Apresentação, comentários e notas de Marcus Vinícius MAZZARI. Ilustrações de Eugène Delacroix. Edição bilíngüe. São Paulo: editora 34, 2004.
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23

Wegmann, Nikolaus. "Im Labyrinth". Bibliothek Forschung und Praxis 42, n.º 2 (1 de junio de 2018): 370–78. http://dx.doi.org/10.1515/bfp-2018-0047.

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Zusammenfassung Ausgehend von der Fallstudie der Bibliotheksbenutzung durch Johann Wolfgang von Goethe wird die Operation des Suchens und Findens speziell in der Bibliothek als risikoreiches Eintreten in ein Labyrinth beschrieben. Den aktuellen Versuchen gerade auch nutzerorientierter Formalisierung des Suchprozesses wird entgegen gehalten, dass diese nicht der eigentlichen „Qualität“ der Bibliothek entsprechen. Es wird eine Bibliothekskritik gefordert, die das Operative des Findens jenseits von Recommender-Systemen und einfacher Serendipity in den Blick nimmt.
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24

Vinardell Puig, Teresa. "Desplegando a Melusina. Acerca de un proyecto inconcluso de Walter Benjamin". Res Publica. Revista de Historia de las Ideas Políticas 22, n.º 3 (23 de octubre de 2019): 659–71. http://dx.doi.org/10.5209/rpub.66181.

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Durante largo tiempo Walter Benjamin acarició la idea de escribir un ensayo sobre el cuento “La nueva Melusina”, de Johann Wolfgang von Goethe, aunque nunca llegó a realizar su propósito. Se ha señalado ya, acertadamente, la afinidad de este relato con la micrología benjaminiana. El presente artículo desarrolla cómo el cuento de Goethe, refleja en su argumento aspectos extrapolables a cómo concibió Benjamin el arte del narrador y la tarea del filólogo. Asimismo se encuentran analogías entre el texto de Goethe y algunas de las ideas de Benjamin sobre la naturaleza de la infancia y la evocación o el sentimiento amorosos.
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25

Tocha, Veronika. "Dichtung und Wahrheit. Gesichtsmasken in der Berliner Gipsformerei". Zeitschrift für Ideengeschichte 14, n.º 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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26

Torres Martínez, Raúl. "“Im Kampf, Penthesilea und Achill”. Pentesilea y Aquiles: ¿Kleist y Goethe?" Anuario de Letras Modernas 21 (31 de octubre de 2019): 133–44. http://dx.doi.org/10.22201/ffyl.01860526p.2018.21.1190.

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Este pequeño ensayo pretende revisar la vieja teoría del agón literario entre Heinrich von Kleist y Johann Wolfgang Goethe, aportando algo novedoso desde el punto de vista de la Grecística, y tomando, a modo de ilustración, elementos de la tragedia Pentesilea del escritor prusiano. La Antigüedad, la androginia y el agón mismo son puntos de partida desde los que podemos sacar provecho al aproximarnos al llamado Goethezeit.
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27

Campe, Rüdiger. "Continuing Forms: Allegory andtranslatio imperiiin Caspar von Lohenstein and Johann Wolfgang von Goethe". Germanic Review: Literature, Culture, Theory 77, n.º 2 (enero de 2002): 128–45. http://dx.doi.org/10.1080/00168890209597862.

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28

Silva, Felipe Vale da. "A LITERATURA ALEMÃ DE WOLFGANG MENZEL, RESENHADA POR HEINRICH HEINE:". Belas Infiéis 6, n.º 2 (20 de diciembre de 2017): 177–97. http://dx.doi.org/10.26512/belasinfieis.v6.n2.2017.11461.

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Die deutsche Literatur von Wolfgang Menzel (1828) não é apenas uma das resenhas mais conhecidas de Heinrich Heine, mas também um importante documento sobre a cultura alemã em sua fase de transição do romantismo para a literatura da Jovem Alemanha (Junges Deutschland). O presente artigo, além de trazer a tradução integral do texto em questão, faz uma leitura que visa a evidenciar as principais tensões vividas por escritores naquele momento de assumida estagnação cultural e censura política. Heine se vale do registro da resenha para propor um programa estético inovador, e o faz declarando o final do Período da Arte (Kunstperiode) representado por Johann Wolfgang von Goethe e os teóricos do romantismo.
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29

Călin, Mariana Floricica, Mihaela Rus y Mihaela Luminița Sandu. "The influence of the educational and family environment on the preschool". Technium Social Sciences Journal 15 (9 de enero de 2021): 55–60. http://dx.doi.org/10.47577/tssj.v15i1.2420.

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Johann Wolfgang von Goethe says behavior is "the mirror in which each reflects his image." This is also visible to preschoolers who through their innocence and sincerity exhibit behavioral differences in the family and in the educational institution. The creativity and imagination of the children goes beyond the imaginary lines of reason and the physical contour of this drawing, having a story behind the visible stories of the craft that it carries out.
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30

Eder, Ulrike. "Johann Wolfgang von Goethe, Jens Thiele (Ill.): Der Erlkönig. Weitra: Bibliothek der Provinz 2007 / Johann Wolfgang von Goethe, Sabine Wilharm (Ill.): Der Erlkönig. Berlin: Kindermann Verlag 2013". ÖDaF-Mitteilungen 30, n.º 1 (marzo de 2014): 125–29. http://dx.doi.org/10.14220/odaf.2014.30.1.125.

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31

Stuckrad, Kocku von. "Refutation and Desire: European Perceptions of Shamanism in the Late Eighteenth Century". Journal of Religion in Europe 5, n.º 1 (2012): 100–121. http://dx.doi.org/10.1163/187489211x612622.

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The article discusses learned debates that evolved at the end of the eighteenth century in Europe about the interpretation of shamanism. Intellectuals, philosophers, and enlightened monarchs engaged in controversies about shamanism that were clearly linked to Enlightenment ideals of rationality and religious critique. The article addresses the ambivalence of ‘refutation and desire’ in French, German, and Russian responses to shamanism, with special attention to the French Encyclopedists, Johann Gottfried Herder, Johann Wolfgang von Goethe, and Catherine the Great. The controversies reveal the intrinsic tension of the European project of ‘modernity’: what was discussed as ‘shamanism,’ ultimately turned out to be the result of European self-reflection.
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32

Schmidt, Wolff A. Von, Ulrich Goebel y Wolodymyr T. Zyla. "Johann Wolfgang von Goethe: One Hundred and Fifty Years of Continuing Vitality". Rocky Mountain Review of Language and Literature 39, n.º 1 (1985): 76. http://dx.doi.org/10.2307/1346773.

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33

Simpkins, Scott K., Ulrich Goebel y Wolodymyr T. Zyla. "Johann Wolfgang von Goethe: One Hundred and Fifty Years of Continuing Vitality". South Central Review 2, n.º 1 (1985): 80. http://dx.doi.org/10.2307/3189416.

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34

Durrani, Osman, Ulrich Goebel y Wolodymyr T. Zyla. "Johann Wolfgang von Goethe: One Hundred and Fifty Years of Continuing Vitality". Modern Language Review 81, n.º 1 (enero de 1986): 254. http://dx.doi.org/10.2307/3728839.

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35

Fein, I. Alan y Gregg Y. Lipschik. "“We only see what we know”—Johann Wolfgang von Goethe [1749–1832]*". Critical Care Medicine 37, n.º 1 (enero de 2009): 352–53. http://dx.doi.org/10.1097/ccm.0b013e31819305f3.

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36

Maierhofer, Waltraud. "Werther, der Werwolf: Roman by Johann Wolfgang von Goethe, Wolf G. Heimrath". Goethe Yearbook 20, n.º 1 (2013): 265–66. http://dx.doi.org/10.1353/gyr.2013.0011.

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37

Hamilton, Andrew. "Faust: A Tragedy by Johann Wolfgang von Goethe, Trans. by Mike Smith". Goethe Yearbook 21, n.º 1 (2014): 256–58. http://dx.doi.org/10.1353/gyr.2014.0029.

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38

Stewart, Walter K. "Faust: The First Part of the Tragedy by Johann Wolfgang von Goethe". Goethe Yearbook 24, n.º 1 (2017): 281–82. http://dx.doi.org/10.1353/gyr.2017.0013.

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39

Käbisch, David. "Antrittsvorlesungen. Religiöse Bildung bei Goethe. Oder: Was eine moderne Universität von ihrem Namenspatron lernen kann". Zeitschrift für Pädagogik und Theologie 67, n.º 1 (1 de marzo de 2015): 78–88. http://dx.doi.org/10.1515/zpt-2015-0110.

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Abstract Can a person have a religious education and not participate in religious practices? What is it that distinguishes religious education from religious literacy, and a religious person from a non-religious person? In his inaugural professorial lecture, which was held at Frankfurt University, David Käbisch gives an answer to these questions regarding the most famous native of Frankfurt, the poet and writer Johann Wolfgang Goethe. By doing so, the author shares his understanding of religious literacy including current research and future plans
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40

Barany, George. "From Fidelity to the Habsburgs to Loyalty to the Nation: The Changing Role of the Hungarian Aristocracy before 1848". Austrian History Yearbook 23 (enero de 1992): 36–49. http://dx.doi.org/10.1017/s0067237800002873.

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Recalling the medieval pageantry of the coronation of the future emperor Joseph II as King of the Romans in Frankfurt in 1764, the sexagenarian Johann Wolfgang von Goethe mentions among the names of the special ambassadors attending the solemn occasion Prince Esterházy, the Bohemian envoy, [who] was not tall, though well built, vivacious, and at the same time of noble respectability, yet neither proud nor cold. I had a special liking for him, because he reminded me of the Marshall de Broglio.
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41

Sá, Luiz Fernando Ferreira y Miriam Piedade Mansur Andrade. "Rosa, Goethe e Milton". Remate de Males 39, n.º 1 (13 de junio de 2019): 440–64. http://dx.doi.org/10.20396/remate.v39i1.8654052.

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A proposta deste artigo é analisar os traços dos textos de João Guimarães Rosa, Johann Wolfgang von Goethe e John Milton, a saber, Grande sertão: veredas, Fausto e Paradise Lost, respectivamente, que compõem diálogos poético-bíblicos, cantos paralelos ou transcriações. Este artigo também investigará o modo como o romance brasileiro dialoga com a peça trágica alemã na elaboração e recriação do mito do Diabo e em seus desdobramentos, elementos esses que também estão presentes no diálogo entre os textos em alemão e em inglês. A noção de diálogo aqui trabalhada é a estudada por Mikhail Bakhtin, o qual sugere a ideia de dialogismo como constitutivo da intertextualidade, com o texto passando a ser visto como uma absorção de e uma resposta a um outro texto. Nesse movimento de absorção de elementos e resposta a outros textos, a lógica do suplemento de Jacques Derrida promove a noção de diálogo com o termo funcionando como a escrita de proliferação de significados.
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42

Wittkowski, Wolfgang y Ferdinand van Ingen. "Johann Wolfgang Goethe: Gotz von Berlichingen. Grundlagen und Gedanken zum Verstandnis des Dramas". German Quarterly 62, n.º 2 (1989): 262. http://dx.doi.org/10.2307/407393.

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43

Madigan, Patrick. "Johann Wolfgang von Goethe. By JeremyAdler. Pp. 256, London: Reaktion Books, 2020, £11.99." Heythrop Journal 61, n.º 3 (24 de abril de 2020): 565–66. http://dx.doi.org/10.1111/heyj.13539.

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44

Heller-Vitouch, Claudia. "„Die Flöhe und die Wanzen gehören auch zum Ganzen“ (Johann Wolfgang von Goethe)". hautnah 17, n.º 2 (25 de enero de 2018): 64–68. http://dx.doi.org/10.1007/s12326-018-0260-1.

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45

Ebach, Malte C. "Anschauung and the Archetype". Janus Head 8, n.º 1 (2005): 254–70. http://dx.doi.org/10.5840/jh20058151.

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Comparative biology is afield that deals with morphology. Johann Wolfgang von Goethe recognised comparative biology, not as a passive science obsessed with counting similarities as it is today, but as an active field wherein he sought to perceive the inter-relationships of individual organisms to the organic whole, which he termed the archetype. I submit that Goethe's archetype and his application of a technique termed the Anschauung are rigorous and significant ways to conduct delicate empiricism in comparative biology. The future of comparative biology lies in the use of the Anschauung to communicate the archetype as a set of inter-relationships of homologues that we perceive intuitively. In this essay I present how the extension of our own intuitive perception forms the foundations of a method for seeing and discovering the archetype in comparative biology.
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46

Belina, Bernd, Tino Petzold, Jürgen Schardt y Sebastian Schipper. "Die Goethe-Universität zieht um. Staatliche Raumproduktion und die Neoliberalisierung der Universität". sub\urban. zeitschrift für kritische stadtforschung 1, n.º 1 (29 de julio de 2013): 49–74. http://dx.doi.org/10.36900/suburban.v1i1.62.

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Im Zuge des Bildungsstreiks 2009 besetzten Studierende der Johann Wolfgang Goethe-Universität (JWGU) in Frankfurt das „Casino“, ein zentrales Gebäude auf dem neuen IG-Farben-Campus im Westend. Während frühere Besetzungen von Universitätsgebäuden auf dem alten Campus in Bockenheim von der Universitätsleitung zwar auch nicht gerade begrüßt, aber doch toleriert worden sind, ließ das Präsidium im jüngsten Fall 176 Studierende nach nur drei Tagen polizeilich räumen. Um diesen repressiven Wandel im Umgang mit studentischem Protest zu verstehen, rekonstruieren wir im Folgenden die Art und Weise, wie die JWGU als Teil des Staatsapparates Universität zu unterschiedlichen Zeiten zwei Campus als konkrete Orte (places) hervorgebracht hat, die jeweils als Ausdruck und Verdichtung der nationalen und lokalen gesellschaftlichen Kräfteverhältnisse im Fordismus bzw. Neoliberalismus zu interpretieren sind.
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47

Arraes, Esdras Araujo. "A apreensão sensível da natureza em Goethe e Humboldt". Paisagem e Ambiente, n.º 42 (19 de diciembre de 2018): 11–22. http://dx.doi.org/10.11606/issn.2359-5361.v0i42p11-22.

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O texto busca interpretar as noções de natureza e paisagem em certas obras de Johann Wolfgang von Goethe e Alexandre von Humboldt. Para ambos, enquanto que a natureza seria a totalidade dos fenômenos naturais, a paisagem seria um fragmento dessa totalidade enquadrada pela experiência do olhar constantemente treinado. Assim, a paisagem, tanto para Goethe como para Humboldt, é formulada pelo desejo de apresenta-la segundo a dimensão estética, isto é, seria necessário sensibilidade e imaginação para perceber a natureza em sua completude. No início do ensaio mostra-se a noção goetheana de natureza e paisagem lançando luz sobre alguns de seus romances e doutrinas científicas, tais como Os sofrimentos do jovem Werther, Novela ou história de uma caçada e Metamorfose das Plantas. Em seguida, apresenta-se o entendimento humboldtiano sobre ambas as categorias assimiladas segundo poesia e ciência. Finalmente, analisa-se algumas afinidades e diferenças conceituais que há entre o poeta e o naturalista prussiano.
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48

Karadžić, Vuk Stefanović, Ena Selimović, Katja Perat y Selimović. "The Wedding of Radul Vlašić". PMLA/Publications of the Modern Language Association of America 135, n.º 3 (mayo de 2020): 546–50. http://dx.doi.org/10.1632/pmla.2020.135.3.546.

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In January 1827, a serbian poem enters into the conversation between johann wolfgang von goethe and his faithful scribe, johann peter eckermann, who writes, “Mit diesen Worten reichte er mir eine Übersetzung eines serbischen Gedichtes von Herrn Gerhard. . . . Das Gedicht führte den Titel ‘Die Gefängnisschlüssel‘” (“[With these words he] handed to me a translation by Herr Gerhard of a Serbian poem. . . . It was entitled The Prison-Key”; Eckermann 195; Goethe 131). The following week, the two men's conversation returns to the Serbian poem; in the published record of their discussion, the poem is mentioned in the same passage that contains the first appearance in print of the term Weltliteratur (“world literature” [Eckermann 198; Goethe 133]). The original poem on which the translation is based has curiously remained unnamed in Gespräche mit Goethe (Conversations with Goethe)—and it has not yet been named in the large body of Goethe scholarship until now. In the edited volume of Gespräche, one finds a note appended to Eckermann's reference to “Die Gefängnisschlüssel” (“Prison Key”). It clarifies that the title of the German translation of the unnamed original Serbian poem is not “Die Gefängnisschlüssel,” as Eckermann recorded it, but “Die Kerkerschlüssel” (“Dungeon Key” [734]). The latter appears in Gerhard's Wila: Serbische Volkslieder und Heldenmährchen (Vila: Serbian Folk Songs and Heroic Tales), published in 1828. The recovered title of the original Serbian poem is ( “The Wedding of Radul Vlašć”). While world-literary approaches to Gespräche have largely focused on the unnamed Chinese novel that, like the Serbian poem, appears in the same passage in Gespräche as Weltliteratur, this introduction traces how the Orientalist production of the phrase Weltliteratur takes two forms: one in reference to the Chinese novel, the other in reference to the Serbian poem.
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Bikundo, Edwin. "‘Behold, I tell you a mystery’: Tracing Faust’s Influences on Giorgio Agamben to and from International Law". Pólemos 15, n.º 1 (1 de abril de 2021): 15–35. http://dx.doi.org/10.1515/pol-2021-2002.

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Abstract It is a mystery as to why more is not made of the influence of Johann Wolfgang von Goethe’s Faust on Italian philosopher Giorgio Agamben’s body of work. After all, as a great philosophical poet, and tremendously concerned with language, Goethe’s work could not have failed to capture Agamben’s attention, especially given his early and sustained interest in poetry. Indeed, Agamben cites Goethe in at least 12 of his works including: The Use of Bodies, Creation and Anarchy, Pilate and Jesus, The Kingdom and the Glory, Homo Sacer, The Signature of All Things, Stanzas, The End of the Poem, Potentialities, Karman, Adventure and Infancy and History. Crucially, the last five reference Goethe’s Faust directly. Thus, this paper seeks to remedy the relative lack of explicit engagement and demonstrate the strong, clear and persistent influence of Goethe’s Faust that underpins Agamben’s signature philological and philosophical approach to literarily explicating law’s foundational riddles. Agamben’s Homo Sacer, project – it must be recalled – quite accidentally began in part as a direct response to the legalistic justifications for the 1990–91 Gulf War. The present discussion seeks to demonstrate that Goethean influence ironically enough through a close examination of both Faust’s and Agamben’s attempts at partially translating a biblical phrase: ‘in the beginning was the word’.
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50

Grüne, Matthias. "»Aus Trümmern von Daseyn und Ueberlieferung sich eine Zweyte Gegenwart verschaffen« – Das Sesenheim-Erlebnis bei Ludwig Tieck, August Ferdinand Näke und Johann Christoph Freieisen". Internationales Archiv für Sozialgeschichte der deutschen Literatur 44, n.º 2 (8 de noviembre de 2019): 489–511. http://dx.doi.org/10.1515/iasl-2019-0024.

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Abstract In the second and third parts of Dichtung und Wahrheit (From My Life: Poetry and Truth), Johann Wolfgang von Goethe portrays his liaison with Friederike Brion, a daughter of a pastor in the Alsatian town Sesenheim (as spelled in Goethe’s writing, actually: Sessenheim). Although the text was published 40 years after the events, and even though Goethe’s depiction is noticeably fictional, enthusiastic readers subsequently travelled to the real venues of the narrative in order to search for hidden traces of the love affair. In fact, the unclear status of truthfulness and accuracy of the narrative, as well as the distance in time, seem to have further stimulated the readers in their endeavor. This cultural tourism results in autobiographical (August Ferdinand Näke), fictional (Ludwig Tieck), and auto-fictional (Johann Christoph Freieisen) travel stories. In these texts, as this article will show, past events are not only uncovered and examined for conservatory purposes. Additionally, for one, the performative reenactment and literary adaption of Goethe’s idealistic and idyllic love story serves to preserve and uphold a certain image of the writer in these texts and to defend this image against alternative reception perspectives. For another, these appropriations of Goethe’s biographical episode articulate distinct and new concepts of individuality and identity. These texts of the so-called “Friederiken-Literatur” (‘Friederike Literature’) have significantly shaped the perception of Goethe’s text ever since.
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