Tesis sobre el tema "Sturm und Drang"

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.

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.

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.

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.

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.

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.

La découverte d’œuvres du Sturm und Drang et de la tendance sentimentale (allemande et anglaise) fut pour le jeune K. Ph. Moritz une expérience déterminante, aussi bien pour le développement de sa personnalité que pour ses débuts comme écrivain. Nous avons entrepris d’étudier les différentes « traces » laissées par cette littérature dans les écrits de l’auteur, ainsi que leur évolution, notamment dans le cadre d’une pratique de l’intertextualité transformant de simples « réminiscences » littéraires en procédés d’écriture maîtrisés, voire même en « tableaux poétiques ». Nous analysons tout d’abord la réception du Sturm und Drang et de la tendance sentimentale par Anton Reiser (« double » du jeune Moritz) comme lecteur, poète et spectateur, réception « mise en scène » par l’auteur dans son roman autobiographique Anton Reiser. Nous tentons ensuite de montrer comment Moritz, entre 1780 et 1790, prend de la distance avec « l’enthousiasme » caractérisant sa réception de jeunesse de ces courants, sur lesquels il pose désormais un regard « éclairé » et objectif, depuis son point de vue d’écrivain, de critique littéraire et de psychologue empirique des « Lumières tardives », rejetant l’outrance dans le tragique, critiquant la Schwärmerei et observant les « maladies de l’âme ». Enfin, nous consacrons notre dernière partie au point de vue « esthétique » depuis lequel Moritz considère certaines œuvres du « temps des génies » (particulièrement Les Souffrances du jeune Werther), qui trouvent également leur place dans la théorie littéraire de l’auteur (exposée dans plusieurs écrits publiés après son séjour en Italie, entre 1792 et 1794), et dans sa pratique de la description de paysages
To discover works from the Sturm und Drang (« Storm and stress ») movement and from the sentimental trend (German and British) was a determining experience to the young Karl Philipp Moritz, for the development of his personality as well as for the beginning of his career as a writer. The present study aims at researching the « traces » left by this literature in Moritz’ work, and their evolution, in particular through intertextuality, which transforms simple literary « reminiscences » into mastered literary techniques, even into « poetic pictures ». First we analyse the reception of the Sturm und Drang and of Sentimentalism by Anton Reiser (« double » of Moritz in his youth) as reader, poet and spectator, reception « represented » by Moritz in his autobiographical novel Anton Reiser. We then examine how the author, between 1780 and 1790, distances himself from his former « enthusiastic » reception of those literary trends: from now on, he considers them from his « enlightened » and objective point of view as a novelist, a dramatist, a critic and an empirical psychologist of the « Late Enlightenment », rejecting excesses in tragedy, criticising the Schwärmerei and studying the « diseases of the soul ». The last part of our study is devoted to the « aesthetic » point of view, from which Moritz considers some works from the sentimental trend and from the Sturm und Drang (in particular The Sorrows of the Young Werther), which have also found a place in the literary theory of the author (expounded in several writings published between 1792 and 1794, after Moritz’ stay in Italy) and in his pratice of landscape description

Der Ausgang des Romans Die Leiden des Jungen Werther (1774, von Johann Wolfgang von Goethe) wird beim ersten Anblick oft als tragische Folge einer unglücklichen und unerwiderten Liebe zu Lotte angesehen. In dieser vorliegenden Arbeit wird der weit erforschten Frage der Unvermeidbarkeit des Suizids im Werk eine alternative Deutung geliefert. Diese ist außerhalb des Romans angesiedelt, und zeigt, dass der Suizid schon in der Epoche angelegt ist.

O estilo de época Sturm und Drang, o primeiro movimento literário genuinamente alemão, surgido na segunda metade do século XVIII, possibilitou a emancipação literária da Alemanha e introduziu naquele país o conceito de gênio original. A partir da descoberta da obra do gênio inglês Shakespeare (possibilitada pelas traduções de Christoph Martin Wieland), os alemães se depararam com o modelo de revolução literária que necessitavam para instituir as bases da originalidade literária alemã. Pautando-se na estrutura dramática shakespeariana, Johann Wolfgang von Goethe e Friedrich Schiller elaboraram seus dramas de estreia, obras foco da presente pesquisa: Götz von Berlichingen e Os bandoleiros, respectivamente. O presente estudo propõe-se, por conseguinte, a analisar as obras supracitadas à luz da temática do gênio original. Mas, primeiramente, são observados os fatores (como a ascenção do romance inglês) e escritores (como Gothold Ephraim Lessing, Johann Jakob Bodmer, Johann Jakob Breitinger, Friedrich Gottlieb Klopstock, Johann Joachim Winckelmann, Wieland e Johann Gottfried von Herder) que colaboraram para a instituição da era genial na Alemanha
The Sturm und Drang period, the first literary style genuinely German, emerged in the second half of the 18th century, turned the literary emancipation of Germany possible and introduced in that country the concept of original genius. As from the discovery of the English genius Shakespeares works (enabled by Christoph Martin Wielands translations), the Germans came across the model of literary revolution they needed to establish the basis of Germans literary originality. Basing themselves on Shakespearean dramatic structure, Johann Wolfgang von Goethe and Friedrich Schiller worked out their first plays (works that are the focus of the present research): Götz von Berlichingen and The robbers respectively. The present thesis intends therefore to analyse the above-mentioned works, considering the concept of original genius. But foremost the factors (as much as the rise of the English novel) and writers (as Gothold Ephraim Lessing, Johann Jakob Bodmer, Johann Jakob Breitinger, Friedrich Gottlieb Klopstock, Johann Joachim Winckelmann, Wieland and Johann Gottfried von Herder) that cooperated for the establishment of the ingenious era in Germany are examined

This thesis deals with the short story “Wanderer, kommst du nach Spa ...” (1950) by the German author Heinrich Böll (1917-1985). The well-established interpretation of this famous short story is that it deals with the dismal fact that the Nazis ended the development of Western culture, which cumulatively had been on its way since Greek antiquity. In this paper another reading is proposed, namely that the short story sheds light on the influence of the Romantic era in Germany and that a certain interpretation and use of Romanticism provided some of the seeds to the obscure ideas of the Nazi era. Research on Böll´s early writings is presented. The notion of cultural memory is introduced. The intertextual connections between Bölls text and other texts are being uncovered. Most fruitful proves the connection between “Wanderer” and the poem “Der Spaziergang” (1795) by Friedrich Schiller (1759-1805) to be. “Wanderer” can be read as a satirical version of Schillers poem. Reasons for Böll to choose Schiller’s elegy as a target are discussed at length. A parable in the story, ”wie ein Gesicht eines Schlafenden” / like a face of a sleeping person, unfolds an undertext to the short story, a Catholic text. Jesus, the Holy Communion, prayers and the eternal cross are present. Wanderer can be read as a requiem over the young soldier. Further, the inability of the wounded soldier to connect to his surroundings is interpreted as a parallell to Germany at the end of the war; the Nazis had stolen the Heimat from the people and it was no longer possible to interpret the world as something you belonged to. While Heinrich Böll on the surface of the text tries to recapture the German language from its nazi-poisend condition, the protagonist within the text regains his identity by means of his own handwriting - a part of his language.

En redogörelse för hur begreppen förnuft och känsla har gestaltats i romanerna Robinson Crusoe samt Den unge Werthers lidanden
A report on how the concepts of reason and sentiment have been portrayed in the novels Robinson Crusoe and The sorrows of young Werther

The topic of infanticide has always been of interest in literature, from ancient to modern times. Both the legal situation and the social attitudes underwent change with time, changing with them the motives for infanticide. This topic is particularly important in the works of "Sturm und Drang", in an era where the subject of infanticide is abundantly present. This work showcases the changes in legal history, social developments, moral imagination and freedom. The analysis central to this paper is focused on selected works from Sturm und Drang and the idea of emerging freedom.