Albrecht Haushofer wrote the Moabiter Sonette while confined in a Nazi prison in Berlin during the last months of World War II. His arrest resulted from his indirect involvement in the resistance movement which culminated with the July 20, 1944 attempt on Hitler’s life. From 1933 to his arrest Haushofer was directly and indirectly involved in work aimed at overthrowing Hitler’s regime and forming a new government. Through his father’s friend, Rudolf Heß, Haushofer was ‘inofficially’ appointed in 1933 to the Foreign Office under Ribbentrop. His effect on German government policies was however nil. In 1937 he left the Foreign Office and devoted himself to his professorial duties at the University of Berlin. His activities with the resistance movement under the leadership of Johannes Popitz began during these years. The failure of the July, 1944 coup led to the immediate arrest of all those who were in the least suspected. Haushofer fled to Bavaria where he successfully avoided detection and arrest until early December, 1944. He was murdered on April 23, 1945, by the Nazis. To a keen observer like Albrecht Haushofer the fact that Germany was doomed was a foregone conclusion and with his arrest he also realized that the chances of the own survival were slim. Alone in his prison cell he reflected on his life, his family and friends, his travels and his homeland. He brought these reflections to poetic expression in the Moabiter Sonette. They represent a poetic monologue, a poetic diary whose entries recall a variety of personal experience, memories and ideas. For the purpose of this investigation, the sonnets are divided into categories. In one category the sonnets reflect memories of family, friends, of homeland and far-reaching travels. His deeply felt despair over the total destruction of Germany, her lands as well as her tradition, constitutes a second category. Sonnets referring to his fellow prisoners as well as to those countless innocent people who suffered under the tyrannical, destructive hands of the Nazi regime are also included in the second grouping. His passionate longing for freedom forms yet another group. But most important of all are those sonnets which demonstrate the poet’s fundamental personal evolution, in which he comes to a new and deeper understanding of himself, and an eventual surmounting of his fears of death. From a point of suicide he rises, despite recurring despair, to a newly discovered inner peace and contentment in the face of certain death. It is this ‘becoming’ which speaks most loudly and most clearly out of the lines of the Moabiter Sonette. This thesis traces the historical events which lead up to Haushofer’s arrest and develops through the sonnets as well as Haushofer’s dramatic works, his ‘Weltanschauung.’ With this basic background the sonnets are interpreted from a ‘biographical’ standpoint. Apart from this historical, philosophical and biographical interpretation, the sonnets are investigated in regard to poetic form. A discussion is undertaken in order to ascertain why the poet chose the sonnet form as a means of expression. A comparison is made with earlier unpublished lyrical works in an attempt to underscore the sonnets from a standpoint of form and content and to trace Haushofer’s development as a poet. The final chapters of the thesis discuss Haushofer as a political poet and summarize my own thoughts and the thoughts of numerous critics regarding the worth of the sonnets as poetry and as a document of the so oft forgotten spirit which moved men like Haushofer to risk their lives for the belief that justice and freedom could and should prevail.

Am 7. Januar 1999 wäre Ján Albrecht 80 Jahre alt geworden. Sein gastfreundliches Haus in der zentral gelegenen Kapitulská (Kapitelgasse) Nr. 1 - einer der ältesten Gassen Bratislavas nahe am St. Martins- Dom - war offener und reger Treffpunkt von Musikern und Wissenschaftlern aus Bratislava und dem Ausland. Daß dort bereits seit Mitte 1998 eine Gedenktafel an Ján Albrecht und seinen Vater Alexander Albrecht erinnert, zeigt die Bedeutung, die Ján Albrecht als \"Institution\" für Bratislava hatte. Dieses Haus aus dem 18. Jahrhundert1, das sein Vater erworben hatte, blieb ungeachtet vieler Reisen der Dreh- und Angelpunkt des Weltbürgers Ján Albrecht, der in den Sprachen Slowakisch, Ungarisch, Deutsch und Französisch zu Hause war. Dieser kurze Aufsatz will an ihn als eine Persönlichkeit erinnern, die europäische Kulturen durch seine Lebensumstände wie auch durch den von ihm bewußt eingeschlagenen Lebensweg zutiefst verinnerlicht hatte und repräsentierte. Des weiteren soll versucht werden, eine erste Bestandsaufnahme seiner Veröffentlichungen vorzunehmen.

Thesis (doctoral)--Ludwig-Maximilians-Universität, München, (2000). / Includes bibliographical references (p. 306-348) and indexes.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2017-09-19T17:19:30Z No. of bitstreams: 1 marcelhenriquerodrigues.pdf: 12697503 bytes, checksum: 04ce4723cfc9d5771ced03f1196dc481 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-09-22T15:05:38Z (GMT) No. of bitstreams: 1 marcelhenriquerodrigues.pdf: 12697503 bytes, checksum: 04ce4723cfc9d5771ced03f1196dc481 (MD5) / Made available in DSpace on 2017-09-22T15:05:38Z (GMT). No. of bitstreams: 1 marcelhenriquerodrigues.pdf: 12697503 bytes, checksum: 04ce4723cfc9d5771ced03f1196dc481 (MD5) Previous issue date: 2017-02-23 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A temática dos símbolos e do esoterismo levou ao encontro com a enigmática gravura “Melencolia I”, de Albrecht Dürer. Por trás desta obra desvela-se uma surpreendente atmosfera renascentista em torno do tema da melancolia que, segundo pesquisas, fez com que médicos, filósofos e teólogos se detivessem por séculos no estudo deste humor. Historicamente estabelecida, a melancolia tornou-se um sintoma dos grandes intelectuais, aqueles eruditos que, na eterna busca pelo conhecimento e enfrentando as limitações da cognição humana em conhecer, caíram em estado de melancolia, ou na acídia, assim denominada a melancolia medieval. A grande importância dada ao melancólico levou Dürer a produzir “Melencolia I” como um tributo ao estado de ânimo que atingiu os grandes sábios. Mas, sua obra não é simples. A quantidade de símbolos expostos na gravura reflete uma outra realidade, a realidade esotérica. Partindo dessa compreensão e munido de uma compilação científico-bibliográfica, nossa pesquisa deseja abordar o caráter esotérico em “Melencolia I”. Assim, exploramos o contexto filosófico e religioso do Renascimento para compreender o ambiente intelectual que impulsionou a confecção da obra. O Neoplatonismo florentino, a grande confluência dos estudos humanísticos e o desabrochar do esoterismo, como a Alquimia e a Magia, foram elementos chave no contexto renascentista que, chegando à Alemanha, influenciaram Dürer a executar uma de suas mais famosas obras, a “Melencolia I”. Como resultado a pesquisa encontrou uma hermenêutica para a gravura a partir do contexto cultural em que a mesma foi produzida. Levamos em consideração os aspectos do esoterismo, tão enaltecidos e promulgados no período, sobretudo pelo Neoplatonismo de Florença. Também encontramos indícios de que alguns aspectos da vida e Dürer influenciaram a temática de “Melencolia I”. / The matter of symbols and esoterism led to the encounter with the enigmatic Albretch Dürer’s engraving “Melencolia I”. Behind this work, a surprising atmosphere from Renaissance is revealed surrounding melancholy which has been the subject of studies by physicians, philosophers and theologians for many years according to previous studies. Historically registered, melancholy became the symptom of the greatest erudite intellectuals who in search of science and defying the human limitations in learning often felt in the state of melancholy, or acedia, as it was denominated during the Middle Ages. On the one hand, given the importance paid to the “melancholic people” Albretch Dürer decided to work on “Melencolia I” as a tribute to the mood of the greatest savants. On the other hand, his piece of art is not unchallenging, for the amount of exposed symbols on the engraving reflects one another reality: the esotericism. Starting from this comprehension along with a scientificbibliographic compilation this research aims at approaching the esoteric side on “Melencolia I”. Thus, exploring the philosophic and religious context during the Renaissance in order to understand the intellectual environment which influenced Dürer’s engraving. In regards to that, Neoplatonic Florentine Academy was the most important confluence of humanistic studies during the rise of esotericism expressed in practices such as the Alchemy and Witchcraft that were key elements on the context of Renaissance which in Germany culminated in the influence on Dürer’s “Melencolia I”, one his most well-known and celebrated works. As a result, this research finally unveiled a hermeneutic related to the engraving from a cultural context in which it was conceived. Thus, it was taken in consideration the aspects of esotericism – highly praised and diffused during that period chiefly by the Neoplatonic Florentine Academy. There also evidence that some aspects of Dürer’s life might have been influenced by the theme of “Melencolia I”.

The capricious roman goddess Fortune is known for her strong power to influence or even decide the destiny of humans. In ancient Rome she was considered to be a good goddess, who brought the gifts of destiny and who also was seen as a possible ally. During the Middle Ages this position changed. Fortune was given two sides, a good and friendly one and a cruel impenetrable side. She was seen as one of God´s ministers and became an expression of divine providence. My purpose with this essay is to analyse three artworks of Fortune by Giovanni Bellini, Albrecht Dürer and Master MZ, but also some texts by the renaissance humanist Niccolò Machiavelli. When examining this representation I will try to determine the iconography of Fortune and see how or if the interpretations of her differs. The study has shown that the different representations of Fortune differ from one another of the artworks. However, there is one major resemblance that presents itself in each and every one of the artworks as well as in Machiavelli’s texts, the fact that Fortune is considered to be capricious. This attribute is frequent. In the works of art Fortune is depicted along with some kind of circular object like a ball or a sphere, a clear indication of instability. In Machiavelli’s texts Fortune is often, metaphorically or directly expressed, as capricious and unpredictable. According to Machiavelli, humans therefore have to be prepared, hold capability or virtù, to be able to resist her rapid changes. Like the humanist Machiavelli was it is likely that he represents the ancient view of Fortuna, although some medieval element cannot be omitted. Furthermore, in all of the selected works of art together, one can see elements of both an antique view of Fortuna as well as a medieval. Although the Renaissance was strongly influenced by ancient ideas and ways of life, it becomes clear that also some medieval features survived into the mindset of the Renaissance.

Th. doct.--Universität Bern, 1998. / Bibliogr. p. [479]-495. Index.

Texte remanié de: Diss.--Philosophisch-Historische Fakultät--Universität Bern, 2001. / Bibliogr. p. 622-650. Index.

Habilitationsschrift--Evangelisch-Theologische Fakultät--Bochum, 1999. / Bibliogr. p. 259-266. Index.

Texte remanié de: Habilitationsschrift--Philosophische Fakultät--Aachen--Rheinisch-westfälische technische Hochschule, 2004. / Bibliogr. p. 367-388.

Zugl.: Würzburg, Univ., Diss., 2005