Bibliografías temáticas / Sturm und Drang

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Literatura académica sobre el tema "Sturm und Drang"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 26 de abril de 2022

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Artículos de revistas sobre el tema "Sturm und Drang"

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Nisbet, H. B. y Manfred Wacker. "Sturm und Drang". Modern Language Review 84, n.º 2 (abril de 1989): 524. http://dx.doi.org/10.2307/3731656.

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Schreiber, Melvyn H. y Melvyn H. Schreiber. "Sturm und drang". Academic Radiology 1, n.º 1 (septiembre de 1994): 78–79. http://dx.doi.org/10.1016/s1076-6332(05)80791-3.

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Leidner, Alan C., Manfred Wacker y Bruce Kieffer. "Sturm und Drang". German Quarterly 61, n.º 2 (1988): 305. http://dx.doi.org/10.2307/406857.

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Hill, David, Ulrich Karthaus y Bruce Duncan. "Sturm und Drang. Epoche: Werk: Wirkung". Modern Language Review 97, n.º 1 (enero de 2002): 220. http://dx.doi.org/10.2307/3735676.

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Zammito, John H. "Herder, Sturm und Drang, and “Expressivism”". Graduate Faculty Philosophy Journal 27, n.º 2 (2006): 51–74. http://dx.doi.org/10.5840/gfpj20062724.

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Prendergast, G. C. "From Sturm und Drang to Zebrafish". Cancer Reviews Online Content 2008, n.º 6 (1 de junio de 2008): 11. http://dx.doi.org/10.1158/1935-620x.cro-08-0006.

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Sadelain, Michel y Isabelle Rivière. "Sturm und Drang over Suicidal Lymphocytes". Molecular Therapy 5, n.º 6 (junio de 2002): 655–57. http://dx.doi.org/10.1006/mthe.2002.0619.

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Remmert, Reinhold. "Complex analysis in “sturm und drang”". Mathematical Intelligencer 17, n.º 2 (marzo de 1995): 4–11. http://dx.doi.org/10.1007/bf03024890.

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García Vázquez, Milagros. "Sturm und Drang. El drama del genio y Shakespeare". Laocoonte. Revista de Estética y Teoría de las Artes, n.º 4 (21 de diciembre de 2017): 157. http://dx.doi.org/10.7203/laocoonte.0.4.11164.

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El objetivo de este artículo es exponer los vínculos existentes entre el arte dramático y el origen del movimiento literario alemán Sturm und Drang a partir de la propia denominación inspirada en el título de una obra teatral y de la figura de Shakespeare como prototipo del genio, siendo éste uno de los conceptos capitales en la poética de los componentes de dicho grupo literario. De este modo, las artes escénicas se presentan como marco para una de las corrientes de pensamiento estético que prepararán el terreno al Romanticismo, así como de uno de los grandes impulsos en el desarrollo del sujeto moderno, como es el Sturm und Drang.
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WADA, Akiyoshi. "1959—The Year of “Sturm und Drang”". Seibutsu Butsuri 50, n.º 2 (2010): 070–71. http://dx.doi.org/10.2142/biophys.50.070.

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Tesis sobre el tema "Sturm und Drang"

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Ottewell, Karen. "Lessing and the Sturm und Drang". Thesis, University of Cambridge, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.621841.

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Fleck, Christina Juliane. "Genie und Wahrheit der Geniegedanke im Sturm und Drang". Marburg Tectum-Verl, 2006. http://deposit.d-nb.de/cgi-bin/dokserv?id=2833709&prov=M&dok_var=1&dok_ext=htm.

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Ottewell, Karen. "Lessing and the "Sturm und Drang" : a reappraisal revisited /". Frankfurt am Main ; Bern ; New York [etc.] : P. Lang, 2002. http://catalogue.bnf.fr/ark:/12148/cb39070693j.

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Silva, Felipe Vale da. "Subjetividade e experiência em Die Leiden des jungen Werthers e Wilhelm Meisters theatralische Sendung de J. W. Goethe". Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8144/tde-06122012-145632/.

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A análise desenvolvida no presente trabalho lida com o peculiar acesso do jovem Goethe à questão da subjetividade enquanto uma problemática que, em tempos modernos, traz todo um conjunto de dilemas e contradições em si. O tratamento da participação do autor no que é chamado de discurso moderno da subjetividade se dá, primeiramente, através da identificação de sua apropriação crítica de códigos culturais que lhe foram contemporâneos (como o Pietismo e a Empfindsamkeit), e, em um segundo momento, pela análise detida de seus dois romances do Sturm und Drang. A presente análise confronta, sobretudo, certas categorias tradicionalmente empregadas pela historiografia literária com o fim de generalizar um único modelo antropológico supostamente compartilhado por autores do Sturm und Drang isto é, o modelo do Genie e do indivíduo autônomo pertencente a uma época de crescente ênfase no ideal burguês de Bildung. Não apenas Goethe não compartilharia o mesmo entusiasmo de seus contemporâneos pelo individualismo enquanto valor em si, como também seus dois retratos romanescos desse individualismo sugerem a experiência moderna do Eu como uma entidade potencialmente autodefinidora como um aparato conceitual insuficiente, uma noção permeada por pressuposições metafísicas enganadoras que poderia e deveria ser reconsiderada. O famoso caso trágico de Werther, o indivíduo titânico para o qual não há lugar possível no mundo, é exemplar de tal insuficiência, e o fato de que Goethe continua a lidar com a imagem do ser à procura de seu cerne mais íntimo no romance seguinte, Wilhelm Meisters theatralische Sendung, é tomado como prolongamento de sua participação no corrente discurso filosófico da subjetividade do final do século XVIII. Estes romances são aqui tomados, assim, como dois momentos distintos ainda que de certa forma complementares, ou ao menos coerentes em relação um ao outro do acesso goethiano à problemática.
The analysis developed in the present work deals with the peculiar way the young Goethe portrayed the experience of subjectivity as an issue which, in modern times, brings a whole set of dilemmas and contradictions within itself. The treatment of the author\'s participation in what is here called the modern discourse of subjectivity is developed, first off, through the identification of his critical appropriation of certain cultural codes contemporary to him (such as the Pietistic movement and the Empfindsamkeit), and, in a second moment, through a direct analysis of his two Sturm und Drang novels. The present analysis confronts, above all, certain categories that are traditionally employed by the German literary historiography with the ends of generalizing a single anthropological model supposedly shared by Sturm und Drang authors e.g., the model of the Genie and autonomous individual of an age of growing emphasis upon a bourgeois ideal of Bildung. Against this approach, my claim is that not only Goethe does not share the same enthusiasm held by his contemporaries toward individualism as a value in itself, as his two novelistic portrayals of it suggests the modern experience of the I as the potentially self-defining entity as an insufficient conceptual apparatus, a notion surrounded by deceitful metaphysical presuppositions which could and should be reconsidered. The well-known tragic case of Werther, the titanic subject to whom there could not be any space in the ordinary world, is exemplar of such an insufficiency, and the fact that Goethe continues dealing with the image of the self in search for his innermost core in his following novel, Wilhelm Meisters theatralische Sendung, is taken as a completion of his participation in the ongoing philosophical discourse of subjectivity of the late eighteenth century. These novels are taken, therefore, as two different moments even though they end up being somewhat complementary, or at least coherent in relation to each other of the Goethian access to this issue.
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Garces, Emília Helena. "O sturm und drang de Joseph Haydn: uma revisão da nomenclatura segundo as preceptivas setecentistas". Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/27/27157/tde-07032017-123107/.

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Esta pesquisa se concentra na discussão acerca da utilização da terminologia Sturm und Drang no que se refere o repertório de Joseph Haydn escrito nas cercanias da década de 1770. Este período das composições de Haydn tem sido considerado como parte do movimento precursor do romantismo, que na literatura é denominado Sturm und Drang. Entretanto, existem algumas inconsistências na incorporação desta nomenclatura na música de Haydn. Desta forma, através do exame de preceptivas do século XVIII, destacando o tratado escrito por Johann Mattheson, Der Vollkommene Capellmeister [O Mestre de Capela Perfeito ] de 1739, se pretende recuperar o universo de referências musicais do compositor austríaco e reavaliar as suas composições inseridas na categoria Sturm und Drang. Através da consideração sobre os argumentos daqueles que defendem a existência do Sturm und Drang musical, visamos neste trabalho, por meio do confronto das ideias, avaliar a adequação da utilização do termo ao contexto musical de Joseph Haydn.
This research concentrates in the quarrel regarding the use of Sturm und Drang terminology commonly used to define Joseph Haydn\'s repertoire composed around 1770. This period of Haydn\'s composition has been considered as part of the literatute movement known as Sturm und Drang. However, there are some inconsistencies in the incorporation of this nomenclature in music. In such a way, through the examination of treatises from the 18th century , detaching the treaty written by Johann Mattheson, in 1739, Der Vollkommene Capellmeister [The Perfect Chapel Master] , it is intended to understand the thoughts of this period in music and be able to infer about Haydn\'s composition. Thus, by means of the confrontation of the ideas between the scholars who defend the existence of the musical Sturm und Drang and the 18th century treatises, verify the legitimacy of Sturm und Drang terminology in Haydn\'s musical context.
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Silva, Felipe Vale da. "A ficção histórica de Goethe: do Sturm und Drang à Revolução Francesa". Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8144/tde-17032017-103011/.

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Este trabalho trata da ficção histórica de Goethe em duas fases de sua obra. Em primeiro lugar se ocupa do drama pioneiro do Sturm und Drang, Götz von Berlichingen (1773), para então se voltar às Revolutionsdichtungen conjunto de obras produzidas entre 1791 e 1803, período auge do Classicismo de Weimar, em que o autor emitiu juízos sobre diferentes fases da Revolução Francesa. Ao optar por tal tema, visou-se resgatar Goethe como um importante participante do debate histórico-filosófico que começa com os iluministas e culmina no pensamento político da Restauração. Por esse motivo a pesquisa se iniciou com uma busca dos antecedentes do drama histórico do Sturm und Drang, voltando a Gottsched e Lessing. Geralmente o desenvolvimento da ficção histórica do século XVIII é tomado como passivo em relação aos avanços da filosofia ilustrada, como se uma consciência histórica propriamente moderna houvesse aflorado em certos escritores a partir das leituras que fizeram de novas teorias da época. Contra tal suposição, defendeu-se que há na beletrística alemã da virada do século algumas formulações acerca da relação entre indivíduo e processo histórico que, antes de tudo, desafiaram o progressismo dos iluministas tardios, para os quais o advento da Revolução Francesa marcava o próximo passo no aperfeiçoamento da humanidade. Acompanhar o modo como a história foi tratada nas obras do Sturm und Drang até as do Classicismo de Weimar permite-nos, ademais, constatar a radical atualização da missão da cultura literária, que deveria então lidar com as emergências do presente. A literatura almejada naquele contexto deveria funcionar como uma contracorrente do senso comum e um veículo intelectual autônomo, capaz de erguer-se além das paixões partidárias e posicionar corretivos para as contradições contemporâneas. Tais corretivos traziam o diferencial de serem desvinculados das ciências, religião, cultura política ou sabedoria popular a nova arte deveria, assim, ser tomada como autônoma na medida em que podia cindir radicalmente com a cultura do presente em crise, tornando possível o surgimento de um ideal renovado de humanidade e de vida conjunta que a própria Revolução Francesa não foi capaz de concretizar. Aqui reside o que há de mais polêmico e moderno nas chamadas Revolutionsdichtungen e no Classicismo de Weimar como um todo.
The following research deals with Goethe\'s historical fiction in two distinct phases of his career. First off, it handles with the pioneering Sturm und Drang drama, Götz von Berlichingen (1773), and then with the so-called Revolutionsdichtungen a group of works produced between 1791 and 1803, the heyday of the Weimar Classicism, in which the author made judgments about different aspects of the French Revolution. In choosing such a theme, I expect to highlight the importance of Goethe in the historical-philosophical debate which ranges from the works of Enlightenment intellectuals to the political thinking of the Restauration. Thus, the research sets out with a quest for the predecessors of the historical drama of the Sturm Drang, coming across to figures like Gottsched and Lessing. The development of the historical fiction from the 18th century is commonly taken for granted as somewhat passive towards the advances of the Enlightenment philosophy, as if a properly modern historical consciousness had flourished in certain writers after the readings they made from contemporary theories. Against such a presupposition, I claim that in the German belletristic from the turning of the century one can find interesting formulations about the relation between individual and historical process which, above all, cast doubt on the progressism of late Enlightenment philosophers, to whom the advent of the French Revolution marked the next step toward an evolving mankind. Moreover, following the tracks of how history was portrayed from the Sturm und Drang to the Weimar Classicism allows us to verify a radical reformulation of the mission of literary culture, which thenceforth should respond to the emergencies of the present. The literature of that context should work against the common sense, being thus an autonomous cultural medium able to reach beyond the partisan leanings and offer correctives to contemporary contradictions. Such correctives would have the advantage of being independent of the sciences, religion, political culture or popular wisdom a new art therefore should be called autonomous inasmuch as it could split with the culture of a problematic present, allowing for the emergence of a renewed ideal of humanity and communitary life that the French Revolution itself was incapable of materializing. Therein lies what is most polemical and modern in the so-called Revolutionsdichtungen and in the Weimar Classicism as a whole.
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Carrdus, Anna Margaret Rosslyn. "The relationship of theory to practice in the work of three German poets : Martin Opitz (1597-1639), Gottfried August Bürger (1747-94) and Joseph von Eichendorff (1788-1857)". Thesis, Queen Mary, University of London, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.325083.

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Moura, Magali dos Santos. "A poiesis orgânica de Goethe: a construção de um diálogo entre arte e ciência". Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/8/8144/tde-09082007-141708/.

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O objetivo deste trabalho é promover um cotejamento entre as idéias estéticas e científicas de Goethe compreendidas entre o período do Sturm und Drang e o primeiro Classicismo (Frühklassik). Através dessa comparação é delineada a importância que a inter-relação entre arte e ciência desempenhou no desenvolvimento dos conceitos goethianos relativos a essas duas áreas de sua produção.
Nature is the starting point of Goethe in relation to science and art He feels united to the spirit of the creator from the moment he is involved with the natural and the perception of the presence of the divine in nature. When Goethe discovered his creative and intellectual capacities, he used them to create new forms and to further understand the world. Nature in its constant process of transformation gives rise to the creation of an art under the sign of metamorphosis, whose laws Goethe presents as Polarity (Polariãt) and Intensification (Steigerung). The art presented by Goethe is not a copy of nature as a simple formal element, but the reflection of the representation of nature\'s own laws. Thus both science and art integrate with each other and, consequently, they become interdependent. The art of Goethe is constructed from the dialogue between the world and the use of its capacity to create elaborating new forms; therefore, respecting the same laws which originate the natural world. This study presents the formation of goethian\'s organic poiesis created by the dialogue between art and science.
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Yount, Kathrine. "Franz Joseph Haydn’s Sturm und Drang Symphonic Minuets: Convention and Deformation in Form, Cadence, and Meter". Thesis, Université d'Ottawa / University of Ottawa, 2017. http://hdl.handle.net/10393/36035.

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Franz Joseph Haydn’s (1732-1809) Sturm und Drang years (1768-1773) are described by Mark Evan Bonds as a period of exploration or experimentation of compositional techniques. Based on this premise, this thesis provides in-depth analyses of twenty symphonic minuet movements from the composer’s Sturm und Drang period with the goal of illuminating how Haydn treated the conventionally constrained minuet form. In particular, I discuss how Haydn thwarted formal and rhythmic generic expectations by drawing on James A. Hepokoski and Warren Darcy’s concept of formal deformation. Using William E. Calpin’s theory of formal functions to approach issues of form and cadences, the thesis explores formal and cadential deviations from the Classical norm in aspects of the minuets’ intra-thematic structures, coda/codetta treatment, motivic homogeneity, harmony, and melody. My study also discusses aspects of hypermeter and metrical dissonance through metrical groupings, melodic fragments and dynamics to demonstrate a variety of techniques employed by Haydn to subvert metrical expectations in this dance form through models offered by David W. Beach, Ryan McClelland, and Floyd K. Grave. Finally, a study of the trios of the symphonic movements illustrates how Haydn engaged the middle portion of the movement to highlight the minuets’ deformations, either by normalizing or enlarging formal or metrical deviations. In sum, this thesis argues that Haydn’s creative deviations in the Sturm und Drang Minuet movements exemplify his search to transcend the conventional boundaries of a form heavily saturated in formal, harmonic, cadential, and rhythmic expectations.
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Pezzoli-Bonneville, Christine. "Vie intellectuelle et Lumières à Darmstadt entre 1700 et 1774 : baroque, empfindsamkeit et sturm und drang". Paris 4, 2000. http://www.theses.fr/1999PA040275.

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La ville Darmstadt connait un éclat littéraire éphémère entre 1770 et 1774. En 1770, Herder y rencontre sa future femme ainsi qu'un fonctionnaire, Merck, dont la grande intelligence lui fournit un nouveau correspondant de valeur. Merck se forme alors à la critique littéraire et découvre le monde de l'Empfindsamkeit puis du Sturm und Drang. Il entraine avec lui le petit groupe d'amis qui l'entoure. Le culte de l'Empfindsamkeit dans la ville culmine en 1771 avec la première publication d'un recueil d'odes de Kiopstock. En 1772, Merck et Goethe, qui se lient en partie grâce à Herder, diffusent leurs idées grâce aux annonces littéraires de Francfort qui deviennent pendant un an l'organe du Sturm und Drang. Poussé par Merck, Goethe publie également ses premières oeuvres. Certains ont ainsi suggéré à tort que Darmstadt préfigure ce qu'allait devenir Weimar par la suite. La landgrave caroline, tout en connaissant le développement de la littérature allemande, est en réalité imprégnée de culture française et est alors préoccupée par des problèmes dynastiques. Le bref rayonnement de Darmstadt provient de la rencontre de Merck avec Herder puis Goethe. Les textes laissés par Merck nous montrent un esprit caustique mais ouvert, tolérant et dénué de malveillance, contrairement à la réputation qui lui fut faite par la suite. Cette période de fermentation intellectuelle se clôt par le départ de Merck pour la Russie à la suite de la landgrave. Darmstadt retombe dans la grisaille. Une nouvelle période commence à son retour en 1774. Herder a rompu avec lui. Goethe a évolué et commence à s'éloigner. Merck se tourne vers les journaux à l'extérieur, comme vers la bibliothèque générale allemande, et surtout le mercure allemand à Weimar.
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Libros sobre el tema "Sturm und Drang"

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Ingo, Irsigler, ed. Sturm und Drang. Göttingen: Vandenhoeck & Ruprecht, 2010.

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Plachta, Bodo y Winfried Woesler, eds. Sturm und Drang. Berlin, Boston: DE GRUYTER, 1997. http://dx.doi.org/10.1515/9783110922288.

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Luserke-Jaqui, Matthias, ed. Handbuch Sturm und Drang. Berlin, Boston: De Gruyter, 2017. http://dx.doi.org/10.1515/9783050093239.

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Borries, Ernst von. Aufklärung und Empfindsamkeit: Sturm und Drang. München: Deutscher Taschenbach Verlag, 1991.

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Aufklärung, Empfindsamkeit, Sturm und Drang. 4a ed. Tübingen: Francke Verlag, 1991.

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1947-, Unglaub Erich, ed. Dramen des Sturm und Drang. München: Piper, 1988.

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Karthaus, Ulrich. Sturm und Drang: Epoche-Werke-Wirkung. München: Beck, 2000.

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Karthaus, Ulrich. Sturm und Drang: Epoche-Werke-Wirkung. München: Beck, 2007.

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Sturm und Drang: Epoche, Autoren, Werke. Darmstadt: WBG (Wissenschaftliche Buchgesellschaft), 2013.

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Dedert, Hartmut. Die Erzählung im Sturm und Drang. Stuttgart: J.B. Metzler, 1990. http://dx.doi.org/10.1007/978-3-476-03332-1.

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Capítulos de libros sobre el tema "Sturm und Drang"

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Dahnke, Hans-Dietrich. "Sturm und Drang". En Goethe Handbuch, 1024–28. Stuttgart: J.B. Metzler, 1998. http://dx.doi.org/10.1007/978-3-476-03656-8_135.

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Service, Robert. "Sturm und Drang". En Lenin: A Political Life, 122–39. London: Palgrave Macmillan UK, 1985. http://dx.doi.org/10.1007/978-1-349-05591-3_8.

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Kiβling, Walter. "Empfindsamkeit und Sturm und Drang". En Deutsche Dichtung in Epochen, 267–96. Stuttgart: J.B. Metzler, 1989. http://dx.doi.org/10.1007/978-3-476-98792-1_6.

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Qi, Shouhua. "“Sturm und Drang” (1897–1927)". En Western Literature in China and the Translation of a Nation, 29–86. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137011947_2.

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Jaeger, Michael. "Sturm und Drang in China". En Deutsch-chinesische Annäherungen, 49–64. Köln: Böhlau Verlag, 2011. http://dx.doi.org/10.7788/boehlau.9783412214340.49.

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Dedert, Hartmut. "Forschungsstand und Vorgehensweise". En Die Erzählung im Sturm und Drang, 1–6. Stuttgart: J.B. Metzler, 1990. http://dx.doi.org/10.1007/978-3-476-03332-1_1.

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Dedert, Hartmut. "Traditionen und Tendenzen". En Die Erzählung im Sturm und Drang, 7–35. Stuttgart: J.B. Metzler, 1990. http://dx.doi.org/10.1007/978-3-476-03332-1_2.

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Schmidt, Michael. "Klinger, Friedrich Maximilian: Sturm und Drang". En Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_7186-1.

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Valdez, Damian. "From Sturm und drang to Italy". En German Philhellenism, 151–79. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137293152_8.

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Dedert, Hartmut. "Jakob Michael Reinhold Lenz: Kritik und Konstruktion". En Die Erzählung im Sturm und Drang, 36–95. Stuttgart: J.B. Metzler, 1990. http://dx.doi.org/10.1007/978-3-476-03332-1_3.

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Actas de conferencias sobre el tema "Sturm und Drang"

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Pierella, Fabio, Henrik Bredmose, Martin Dixen y Amin Ghadirian. "Numerical Reproduction of the DeRisk Physical Model Tests on a Bottom-Fixed Foundation Exposed to Uni- and Multi-Directional Storm Sea States". En ASME 2021 40th International Conference on Ocean, Offshore and Arctic Engineering. American Society of Mechanical Engineers, 2021. http://dx.doi.org/10.1115/omae2021-65526.

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Abstract In this work, we compare the wave and loads statistics for two different sea states with a TP = 15.0[s] on a h = 33.0[m] depth, one with a 10-year return period (HS = 7.5[m]) and one with a 100-year (HS = 9.5[m]). For each sea state, a unidirectional and a multi-directional wave realization was measured experimentally and then reproduced numerically via a fully-nonlinear potential solver. The computed wave kinematics were used to calculate loads on a stiff cylinder with a diameter of D = 7.0[m], and compared with experiments. To perform a quantitative analysis, we extracted 30-minute maxima of the free surface elevation and in-line force, and fitted a Gumbel distribution via a Bayesian methodology. The analysis of the experiments showed that the extreme forcing on a stiff cylinder was larger in the 2D sea state than in the 3D sea state. As for the crest statistics, the 2D were higher than the 3D for the milder storm, while they were quite similar for the stronger storm, likely a consequence of the increased wave breaking, limiting the maximum achievable wave crests. The reproduction of the sea states and associated loads via a fully-nonlinear potential solver was overall able to predict the main trends. However, the 3D wave crests were overestimated for the milder sea state, probably due to a too soft breaking filter. The 2D forces for the larger sea state were on the other hand underestimated, likely due to the lack of a slamming load model. The analysis of the average wave shape leading to the extreme load events showed that in the experiments the extreme events are dominated by physics linked with the particle velocity, and hence in phase with the wave elevation signal, as drag loads, slamming loads and velocity-dependent free-surface intersection loads. On the other hand, in the simulations they are more inertia dominated, hence in phase with the kinematic acceleration signal.
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