Zugl.: Toruń, Nikolaus-Kopernikus-Univ., Diss.

Thesis (doctoral)--Universität, Heidelberg, 2004. / Includes bibliographical references.

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From Introduction: In his influential treatise, Concerning the Spiritual in Art, Wassily Kandinsky refers to Goethe's "prophetic remark" made in connection with the relationship between the arts in which Goethe had asserted that "painting must count this relationship her main foundation". Kandinsky went on to say that Painting in his day stood "at the first stage of a road by which she abstraction of composition". I will, according to her thought and arrive own possibilities, make art an finally at purely artistic What he seems to have been suggesting is that form, colour and sound are differentiated expressions of a unifying spiritual content, that this spiritual content lives also somehow in the human soul and that it is the new task of the artist to awaken original creativity from out of this spirit by working consciously in creative empathy with the laws implicit in form, colour and sound. The extent to which this view of creativity is indebted to Goethe is only fully realised when it is discovered how closely Kandinsky's writings on colour recapitulate his. In an unpublished essay: Goethe's Theory of Colours : Its relation to some aspects in . the history of Art, Michael Grimly argues that not only Kandinsky in Germany but also Chevreul, the colour-theoretician who was, in France, the leading light, in a technical sense, both of Delacroix and of the Impressionists simply repeats in his writings on Colour many of the ideas that Goethe had already formulated.

Trata-se aqui de uma pesquisa intercultural e interdisciplinar envolvendo teatro e literatura em que foram aproximados os romances Os anos de aprendizagem de Wilhelm Meister (1795-6), de Johann Wolfgang von Goethe (1749-1832), e Grande Sertão: Veredas (1956), de João Guimarães Rosa (1908-1967), por meio de uma ideia de formação desenvolvida a partir da relação entre Bildung e uma tradição intelectual brasileira de ensaios de formação. Aliaram-se a esse estudo as teorias sobre o Teatro de Aprendizagem de Bertolt Brecht (1898-1956). Esse aparato teórico é utilizado para analisar uma oficina teatral baseada em uma adaptação de Grande Sertão: Veredas, oficina realizada em diversos locais do Brasil e da Europa entre 2004 e 2006. Através do desenvolvimento e aprofundamento de elementos estéticos e teóricos presentes nessa oficina, intitulada atores da violência atores do diálogo, juntamente com a análise de sua recepção, buscou-se entender e organizar essa experiência cênica com vistas à proposição de um método pedagógico. / This text is the result of an intercultural and interdisciplinary research involving theater and literature in which an approach has been made between the novels Wilhelm Meister Apprenticeship (1795-6), by Johann Wolfgang von Goethe (1749-1832), and Grande Sertão: Veredas (1956), by João Guimarães Rosa (1908-1967), using the formation concept developed from the relationship between Bildung and the Brazilian intellectual tradition of formation essays. Bertolt Brecht (1898-1956) theories about his Learning Theater have been allied to this study. This theoretical apparatus is used to analyze a theatrical workshop based on a Grande Sertão: Veredas adaptation. This workshop was performed in several places in Brazil and Europe between 2004 and 2006. Through the development and deepening of theoretical and aesthetic elements presented in this workshop, with the title actors of violence actors of dialogue, along with the analysis of its reception, we sought to understand and organize this theatrical experience targeting the proposition of a pedagogical method.

« Je n’ai plus de prières si ce n’est pour elle, mon imagination entière ne prend forme qu’autour d’elle et le monde qui m’entoure n’existe que par elle. » Avec ces mots, Johann Wolfgang von Goethe décrit l'amour et les Leiden des jungen Werthers qui deviennent un succès mondial. Pour Anne Louise Germaine de Staël, le protagoniste est le représentant de l’amour unique, puisque exceptionnel, Charles François Dominique de Villers admire sa « Sehnsucht, Ahndung, Schwärmerei » et c’est Stendhal qui nomme le phénomène de l'amour allemand pour la première fois concrètement comme « Amour à la Werther qui ouvre l’âme à tous les arts ». En souhaitant présenter à leur pays natal un modèle complémentaire, ou même, comme Villers, une alternative à la conception française de l’amour, ils transfèrent l’idéal « romantique » de Werther sur son auteur et sur tousles Allemands. Mais peut-on se contenter de dire que Villers, Mme de Staël et Stendhal se sont mépris sur Goethe et son ouvrage ? Cette interprétation s’opposerait aux objectifs de ce projet de recherche francoallemand,d’illustrer à l’aide de l’Amour à la Werther le « commerce des idées » entre 1770 et 1840 dans lequel« toutes les nations proposent leurs marchandises. » Les malentendus provoqués par ces efforts de médiation sont la partie essentielle des transferts culturels. Ils prouvent à Goethe après tout « qu’il est lui-même, à son corps défendant, un romantique » et à l’auteure de la présente thèse, que l’amour ne se laisse pas nationaliser et que les stéréotypes comme, par exemple, la frivolité des français et la profondeur des allemands, atteignent leur limite avec ce phénomène. / “Ich habe kein Gebet mehr, als an sie; meiner Einbildungskraft erscheint keine andere Gestalt als die ihrige,und alles in der Welt um mich her sehe ich nur im Verhältnisse mit ihr“. With these words Johann Wolfgang von Goethe characterizes the deep sentiment of a heartfelt love in his Leiden des jungen Werthers, which became aworldwide success. For Anne Louise Germaine de Staël the protagonist is the representative of a unique love,Charles François Dominique de Villers admires Werther’s “Sehnsucht, Ahndung, Schwärmerei“, and Stendhal isthe first who specifies the phenomenon of the German love as “Amour à la Werther qui ouvre l'âme à tous lesarts.” In trying to bring forward a model of a supplement, or even, like Villers, of the substitute of the Frenchconcept of love to their native country, these authors assign the “romantic” ideal of Werther to his author and,moreover, to all Germans. However, does it suffice to say that Villers, de Staël and Stendhal havemisunderstood Goethe and his work? With their interpretation of Werther’s love, those authors offer an interesting example of “geistiger Handelsverkehr” between different European countries, i.e. the considerableinteraction between various cultures at the end of the 18th and the beginning of the 19th century. Themisunderstandings, which are caused by these efforts of the intercultural mediation, are an essential part of theinteraction. They prove to Goethe after all, “dass er selber, wider Willen, romantisch ist.“ And to the author ofthis thesis they prove that love cannot be perceived within the borders of nations, and that it cannot simply bebroken down to stereotypes such as the frivolous Frenchman or the profound German.

Die Ausstellung „Color continuo 1810 – 2010 System und Kunst der Farbe“ der SLUB und der AltanaGalerie der TU Dresden erinnert an die Wirkung der Farbenlehre Goethes. Die TU Dresden besitzt einen große historische Farbstoffstammlung. Goethe und Runge forschten zur Farbenlehre, und Schopenhauer arbeitete in der Königlichen öffentlichen Bibliothek in Dresden, um Goethes Farbenlehre zu vollenden. Die Ausstellung würdigt diese Arbeiten und stellt sie in einem gedruckten Katalog vor.

Thesis (MMus (Music))-- Stellenbosch University, 2010. / ENGLISH ABSTRACT: This thesis explores the Faust legend and its musical manifestations since the 19th century. The objective is to provide a thorough background to the legend, before drawing up an account of compositions inspired by the Faust legend. Firstly, the origin of the legend is investigated, followed by a brief summary of the most important literary works on the subject of Faust. This is followed by a comprehensive outline of the story as told by Johann Wolfgang von Goethe, and then the most significant compositions inspired by the legend are discussed. A short section containing comparisons of the compositions and the conclusions of the study appears at the end. The legend tells the story of Faust, a scholar, philosopher and alchemist in search of divine knowledge, power and pleasure. Faust encounters the devil and makes a pact with him in which he agrees to surrender his immortal soul, if the devil can satisfy Faust’s thirst for knowledge and grant him the experience of true happiness. The Faust legend is a very popular theme among composers and artists. One of the reasons for the success of the Faust legend is its universal appeal. This has led to various composers using the material as the basis for their works. Goethe’s version of the legend has proven to be the most popular source for composers. To produce a composition that attempts to capture the drama in its entirety, including its psychological and spiritual elements, is not feasible. Works centred on a smaller section, scene or character from Goethe’s Faust were often more successful than the larger operatic compositions. Like all great universal ideas, the Faust legend lends itself to an abundance of interpretations. Similarities between works are rare. Each composer who made use of the Faust legend interpreted it subjectively, which has produced many unique and varied compositions. / AFRIKAANSE OPSOMMING: In hierdie studie word die Faust legende, soos wat dit in verskeie musikale komposisies van die 19de eeu uitgebeeld is, ondersoek. Die doel van die studie is om ‘n lys van werke wat deur die Faustlegende geïnspireer is, saam te stel. Die tesis ondersoek die oorsprong van die legende en gee ‘n kort opsomming van die mees prominente litirêre werke met die Faustlegende as onderwerp. Daarna volg ‘n uiteensetting van die storielyn soos vertel deur Johann Wolfgang von Goethe. ‘n Lys, bestaande uit gesaghebbende Faust komposisies, word ingesluit en laastens volg vergelykings en gevolgtrekkings uit die studie. Die legende vertel die verhaal van Faust, die professor, filosoof en alchemis op soek na kennis, mag en plesier. Faust tree in gesprek met die duiwel en gaan met hom ‘n ooreenkoms aan om sy siel prys te gee in ruil vir kennis en ware geluk. Die Faust legende is sekerlik een van die mees gewilde literêre onderwerpe vir gebruik deur komponiste en kunstenaars. Die universaliteit van die legende dra by tot die gewildheid daarvan en om gebruik te word as onderwerp in toonsettings. Goethe se weergawe word meestal ingespan as bron van inspirasie. Om die volle omvang van die drama, met al sy sielkundige en geestelike elemente in ‘n komposisie vas te vang, is feitlik onmoontlik. Soos die meeste groot universele werke, word Faust op verskillende maniere geïnterpreteer. Gevolglik is daar min ooreenkomste tussen die verskillende toonsettings. Elke komponis se interpretasie van die legende is uniek.

My dissertation, titled Hanging-Together: Kant, Goethe, and the Theory of Aesthetic Modernism, observes that many of the composers, artists, and writers working in the early twentieth century developed theories of aesthetic coherence (Zusammenhang) that contradict the canonical interpretation of the period in terms of discontinuity and fragmentation. I show that the modernists drew on Goethe’s morphology in order to conceive of the inner coherence of the work of art as neither an aggregate (in which the parts precede the whole), nor as a system (in which an idea of the whole precedes its parts), but as a morphological nexus of formal variations. My thesis is that aesthetic modernism negates the ‘outer coherence’ of the work of art in order to reveal its ‘inner coherence,’ and that this morphological concept of inner coherence does not entail the totalizing ideal maintained by the poetic and aesthetic tradition from Aristotle to Kant. I develop this argument over the course of five chapters: the first examines Kant’s concept of systematic unity; the second focuses on Goethe’s critical response to Kant’s philosophy of nature; while the last three trace Goethe’s morphology through the theoretical reflections of a modernist composer, painter, and writer—Arnold Schönberg, Wassily Kandinsky, and Alfred Döblin. What emerges is a theory of aesthetic modernism that takes into account the historical specificity of the period without reducing its significance to the ‘break’ it supposedly effects with tradition.

by Liu Hoi-ying April. / Thesis submitted in: December 2003. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2004. / Includes bibliographical references (leaves 111-113). / Abstracts in English and Chinese. / Preface --- p.i-v / Introduction --- p.1 / Chapter 1. --- Chapter one: The History of the Romantic Lied --- p.7 / Chapter 2. --- Chapter two: Literature Review --- p.24 / Chapter 3. --- Chapter three: Lieder Analyses --- p.46 / Chapter 4. --- Chapter four: Summary and Conclusion --- p.100 / Chapter 5. --- Selected Bibliography --- p.110 / Chapter 6. --- Appendix A: Statistics / Chapter - --- Table w: Lieder set by Schubert from 1811-1828; statistical information on setting method (strophic vs through-composed) --- p.113 / Chapter - --- Table x: Schubert's Lieder settings from 1811-1828 of Goethe's poems; statistical information on setting method (strophic vs through-composed) --- p.114 / Chapter - --- Table y: Chronological statistical analysis for setting method (strophic vs through-composed) and related poet for all Schubert's Lieder from 1811-1828. --- p.115 / Chapter - --- Table z: Loewe's strophic Lieder settings collected in Max Runze's edition4 --- p.124 / Chapter 7. --- Appendix B: English Translation of Goethe's poems --- p.127