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Goethe had a complex and evolving relationship with the nobility, for reasons which can in part be inferred from his biography. This thesis, however, is primarily concerned with examination of relevant texts, and is largely confined to the years before the journey to Italy in 1786. The first three chapters cover the period before his arrival in Weimar. This is followed by an account of the relevant works from the first Weimar decade (1775-1786), with some biographical detail. The main weight has fallen on Wilhelm Meisters theatralische Sendung, a text which is still sometimes undervalued, and has a rather limited bibliography. It is naturally a more direct reflection of his social attitudes than the three major plays associated with the decade, which however have been given separate, more cursory treatments in the three final chapters. General themes include the emergence of Goethe from immature, or at least inherited, stereotypes of the nobility, first towards an attempted alliance between it and the ‘Genie’ of the Sturm und Drang, and then to a more detailed critique made possible by personal experience. The final phase (final, that is, within the limited time frame) was the formation and development of an internal ideal of nobility with an increasingly tenuous relationship with social and political reality. Goethe’s picture of nobility as performance and presentation of self is considered, and its links, for the non-noble author, with theatre and theatrical role performance. Other recurring themes include court manners and their value, both inherently and as an analogue of the heightening which for Goethe was essential to art, court life as a paradigm of social life in general, and the related subject of flight from society.

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It has often been stated that sea poetry, that is to say literature in which the sea and sea faring find poetic expression, first makes its entry into German literature in the year 1826. The prominent position of the sea and of ships in nineteenth century poetry requires no proof. There is not yet in existence, however, a comprehensive study of the part played by the sea in the corpus of German literature as a whole. The present dissertation represents an attempt to marshal and characterise the materials for such a work.

The thesis is concerned with three main problems: (1) The derivation of Hoelderlin's conception of the Poet from the Renaissance tradition (2) The problems inherent in Hoelderlin's conception of the Poet (3) The relationship between Hoelderlin's conception of the Poet and the style of his poetic works. These questions are treated chronologically in their respective relevance to each stage in Hoelderlin's development. The first part of the thesis is devoted to the poet's early poetry, his novel "Hyperion", and his aesthetic theory as reflected in the various versions of that novel and in the philosophical fragments; the second part deals with the drama "Empedokles" and the mature poetry. For the purpose of this essay, however, it seems more practicable to abandon the purely chronological order and to discuss separately each of the three problems mentioned. (1) Hoelderlin's conception of the Poet is based on the Greek Vates and the biblical Prophet. The importance of the classical and biblical traditions for Hoelderlin as well as the extent to which he was influenced by Klopstock and other German contemporaries have been stressed again and again; but the significance of the tradition linkng the centuries between antiquity and the 18th century has been neglected. This thesis attempts to fill the gap and to show that Hoelderlin's conception of the Poet is inconceivable without the gradual change in the cultural pattern brought about by the Renaissance. It it in the Renaissance that art (with philosophy) takes over part of the function formerly fulfilled by religion, that the inspired individual rather than the institution of the Church becomes the mediator between God and men, that the national community emerges from the international society of the Middle Ages, and that a transformation of the classical and Christian heritage takes place. All this is reflected in the Renaissance conception of the Poet as Vates and Prophet, who interprets history and brings a divine message to his people. From Boccaccio to Scaliger this conception occurs in all major Italian Renaissance works on poetic theory. Ronsard, as the first modern Poet-Vates, introduces it in France. In England Sidney expounds similar views, later to be realized in the personality and work of Milton. In Germany it is Hoelderlin's Suabian compatriot Weckherlin who emulates the example of Ronsard, while Opitz sums up the typical contemporary view of poetry in his standard German Renaissance Poetics. A century later Gottsched and Herder go back to Opitz for their interpretation of the sacred mission of poetry. The young Klopstock is influenced by Gottsched as well as by Milton. He, Herder, Schiller and the Suabian poets, humanists and pietists, hand on the tradition to Hoelderlin. The idea, however, that the Poet is a Prophet would not be understandable without certain philosophical conceptions which were also developed by the Renaissance. Plato's theory of the "furor poeticus", commented on and interpreted in a neo-platonic way by Marsilio Ficino, is taken over by Ronsard and Opitz and blends with Giordano Bruno's and Shaftesbury's re-interpretation of neo-platonism and these influences join with Leibniz's monadology to shape German aesthetics in the 18th century. The conceptions then current reach Hoelderlin through Herder, Schiller, and Jacobi's book on Spinoza, which contained extracts from Bruno and Leibniz. Thus for Hoelderlin - as for his generation - God is the supreme artist, Beauty the very essence of the universe, the human soul a spark of the divine, and the Poet, according to Shaftesbury "a second maker", creates, like God himself, through the Word, the sacred Logos. These philosophical concepts both supplement and contradict Hoelderlin's view of the Poet as a Vates and Prophet. Equipped with the Renaissance heritage Hoelderlin arrives in Jena, the centre of German classicism and the cradle of romanticism. The impact of Kant, Fichte, Goethe, Schiller and Schelling on Hoelderlin and the reflection in his own philosophical writings of his contacts with these leading figures of contemporary letters are discussed in a separate chapter. In Hoelderlin's aesthetic theory the Renaissance conception of the Poet has been developed up to the point where it passes into romanticism. In this, Hoelderlin's place in German literature corresponds to that of Goethe. It is true, there is a vast difference which critics have rightly stressed. It is, however, one of the advantages of seeing Hoelderlin in the light of the Renaissance tradition that, in spite of differences, he appears as the contemporary of Goethe, the chief representative of the belated German Renaissance. Just as Hoelderlin's conception of the Poet goes back to the Renaissance, so do many of his poetic themes, such as the parallels between Christ and Hercules, Christ and Bacchus, the invitation to the Greek Muses to visit Germany, the praise of the vernacular, his approach to nature and geography, etc. (2) Hoelderlin's conception of the Poet is full of problems. They become first manifest in "Hyperion". The hero of this novel, a reflection of Hoelderlin himself, is the Poet, who in sublime visions sees divine Beauty, and the Vates who wants to free his people and rebuild Greece. As Vates he fails. He attributes his failure to the fact that the age is not ripe for his idealism, but it is also due to the conception of the Poet-Vates itself. As a Poet Hyperion delights in the very act of experiencing life in its joyful as well as tragic aspects, life revealing itself to him as a rhythmic whole which he calls Beauty and which is but the projection of the rhythm of human emotions into the universe. But the universe does not obey the laws of the human heart, nor does history; a "theocracy" cannot be founded on Beauty as Hyperion believes; his gift for experiencing deeply the joys and woes of life does not enable him to rebuild a new society - in short the Poet's vision does not prove to be the message of a Vates and Prophet. In the moment when, at the end of the novel, Hyperion is at the height of his poetic powers, he knows least how to serve his fellow men. In "Empedokles" the problem of the Poet's function appears somewhat differently. The hero of the drama represents the highest form of genius the poet can conceive. He combines the "Genie" of the Storm and Stress period, Schiller's aesthetic artist, the mystical mediator between God and men, the Greek Titan, and it is also suggested that he is a kind of Christian saviour. This symbol of everything Hoelderlin worshipped in man has to die. It is in the various motivations of the death of Empedokles that Hoelderlin presents the problematical nature of genius. The most interesting point is the question of the guilt of genius. Empedokles is guilty of what is described in the thesis as pseudo-mystical approach to the Gods. The pseudo-mystical experience becomes linked with the problem of language, the very instrument of the Poet. In order to re-establish the right relationship between himself and the Gods, Empedokes has to die. But as he prepares for death he is once again re-united both with his people and with the Gods. It is at the expense of his life that he is allowed to be the Prophet who delivers a divine message unto his people. The end suggests that genius can be both, and almost at the same time, the culprit and the redeemer, a conception which Hoelderlin's theory of tragedy tries to justify. As regards the drama itself we are left with one the one hand the glorification of genius and on the other the dangers, the guilt, the tragic fate that go with genius. The problem of genius is also the main theme of Hoelderlin's mature poetry. It is by singing of genii that he evokes the vast panorama of his later elegies, odes and hymns.

Hugo von Hofmannsthal, Austrian poet, dramatist, and essayist (1874-1929), published with the Insel-Verlag from its inception in 1901 until his death. This work examines Hofmannsthal's relationship with his publisher Anton Kippenberg (1874-1950). The author was drawn to the Insel-Verlag initially through his association with its founders, Alfred Walter Heymel and Rudolf Alexander Schröder, who published the short-lived periodical Die Insel. Known for its emphasis on aesthetics, the magazine set a tone that became characteristic for the firm. As a poet, Hofmannsthal found the climate beneficial and the audience of the Insel-Verlag receptive to his early lyrical works and certain other writings outside the mainstream of his later production. Under Anton Kippenberg's direction, these works were assured careful attention to detail; typeface, binding, illustrations, and all aspects of the physical book were designed to harmonize with its contents, enabling Hofmannsthal to present his writings in a format which did his creations honor. Hofmannsthal published four categories of material with the Insel-Verlag: his early lyrical works; republications issued as deluxe editions; reprints of selected texts in the inexpensive but elegantly designed Insel-Bücherei, and other Insel publications such as the Insel-Almanach or Inselschiff; and introductions and essays composed in his role as editor of compilations appearing under the Insel imprint. Hofmannsthal showed a great awareness of the Insel's particular Verlagsprofil in his selection of texts issued under its signet. Anton Kippenberg brought financial stability, business-like organization, and sound aesthetic judgement to the Insel-Verlag, creating an atmosphere in which Hofmannsthal's works could thrive. Early in his association with the Insel-Verlag, Kippenberg advanced a program which echoed many of Hofmannsthal's concerns and thus further solidified their relationship. Kippenberg proposed to give a book the design and format appropriate to its contents, to serve world literature, to expand the market for these titles without sacrificing quality to economics, and to support a select group of contemporary authors. Hofmannsthal's association with publisher Anton Kippenberg was a complex and often stormy one. United through shared goals, the two men worked to achieve a relationship mutually beneficial to each, one in which both the reputation of the individual and that of the firm were enhanced by their cooperation.

Introduction : Ces dernières années, les auteurs se sont attachés à créer une théorie générale de la problématique de la relation d’aide afin de mettre en évidence l’importance de la place occupée par les familles auprès du sujet âgé souffrant de la maladie d’Alzheimer. Il peut toutefois être intéressant de replacer l’aidant dans sa singularité de sujet affecté par d’autres questionnements que ceux relatifs à l’aide, afin de déterminer les facteurs influençant son vécu. Problématique : Dans quelle mesure la personnalité, les représentations du vieillissement, le lien de parenté et la qualité des relations passées vont influencer le vécu du rôle d’aidant principal d’un parent ou conjoint âgé en perte d’autonomie psychique, que ce dernier réside à domicile ou en institution ? Objectifs : Dans un premier temps, ce travail a pour objectif, d’établir les relations entre les différentes dimensions du vécu de l’aidant familial (difficultés, satisfactions et stratégies). Il se propose ensuite d’étudier l’influence sur ce vécu du lien de parenté et de l’entrée en institution d’une part, et de la personnalité (modèle en Cinq dimensions) et des représentations de la vieillesse d’autre part. Méthodologie : Pour ce faire, nous avons mené une étude auprès de 113 participants, dont 80 enfants et 33 conjoints. La première moitié accompagnait un proche à son domicile, la seconde en institution. Dans une première partie de l’étude, les participants ont rempli un questionnaire sociodémographique accompagné d’échelles évaluant la qualité des relations passées (QRASA), le fardeau (ZBI), les difficultés (CADI), satisfactions ressenties (CASI) et stratégies utilisées (CAMI) dans la relation d’aide, la personnalité (NEO PI-R) et la dépression (BDI). Dans un second temps, dix-sept participants ont été vus en entretien semi-directif afin d’appréhender qualitativement leur expérience d’aidant, les relations qu’ils entretiennent avec la personne accompagnée ainsi que leurs représentations de la vieillesse. Résultats : Les résultats de cette étude montrent que les difficultés, satisfactions ressenties et stratégies utilisées dans la relation d’aide sont liées entre elles, créant un équilibre nécessaire pour que l’aidant familial puisse investir son rôle. Cet équilibre est influencé aussi bien par des facteurs situationnels (lieu de résidence de la personne malade), relationnels (qualité des relations avec la personne accompagnée) que personnels (personnalité et représentations liées au vieillissement). Conclusion : Les implications en termes d’accompagnement et de prévention auprès de cette population sont discutées. / Introduction: Over the past years, authors have proposed a general theory of the caregiving relationship in order to highlight the importance of the place occupied by the families, who have an elderly relative suffering from Alzheimer's disease. However, it may be interesting to consider the caregiver with all his specificities, and as an individual affected by other problems than only the caregiving. We wonder to what extent the personality of a caregiver, the representations of the ageing process, the family relationship and the quality of the past relationships can influence the experience of caregiving. The studied caregivers were children or spouses of a patient losing his psychic autonomy, living at home or in an institution. Methods: We realized a study with 113 subjects (80 children and 33 spouses of an Alzheimer’s patient). Half of the patients were living at home and the other half in an institution. First, all caregivers filled a socio-demographic questionnaire and different clinical scales, assessing: the quality of the passed relationships (QRASA) ; the burden (ZBI) ; the difficulties (CADI ), satisfactions (CASI ) and strategies they used (CAMI) in the caregiving situations ; the personality (NEO PI-R) and the depression (BDI ). Second, 17 subjects have been seen in a semi-structured interview in order to qualitatively assess their experience of the caregiving, the past and present relationship they have with their parent or spouse. Results: The results of this study showed that the difficulties, the satisfactions which are experienced, and the strategies which are used in the caregiving relation are linked together. A balance between these variables is required for the family caregiver to invest his role. This balance is influenced by situational factors (the place where the patient lives), relational factors (the quality of the present and past relationship with the patient) as well as personal factors (personality and representations linked to the ageing process). Conclusion: The implications in terms of support and prevention for this population of caregivers are discussed.