Inaug.-Diss.--Heidelberg. / Vita.

Inaug.-Diss.--Göttingen.

Diss.--Philosophische Fakultät--Kiel--Christian-Albrechts-Universität, 1991. / Bibliogr. p. [17]-83. Index.

Diss.--Universität Essen, 1988.

Submitted by Andrea Hayashi (deachan@gmail.com) on 2016-06-22T17:53:43Z No. of bitstreams: 1 luciene-antunes-alves.pdf: 851670 bytes, checksum: 6f861d8c0ff4f652b3af3f8c01b46f44 (MD5) / Approved for entry into archive by Andrea Hayashi (deachan@gmail.com) on 2016-06-22T17:54:26Z (GMT) No. of bitstreams: 1 luciene-antunes-alves.pdf: 851670 bytes, checksum: 6f861d8c0ff4f652b3af3f8c01b46f44 (MD5) / Made available in DSpace on 2016-06-22T17:54:26Z (GMT). No. of bitstreams: 1 luciene-antunes-alves.pdf: 851670 bytes, checksum: 6f861d8c0ff4f652b3af3f8c01b46f44 (MD5) Previous issue date: 2014-05-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O objetivo deste estudo é analisar os conceitos de liberdade e de sujeito no Fausto de Goethe. Procuraremos circunscrever a possibilidade da ética no plano do amor, ressaltando as questões da sedução e do prazer, da dor, da angústia, do sacrifício e de outros sentimentos e outras ações importantes para a autonomia e a presença da personagem Gretchen. Examinaremos também as questões estéticas antigas e modernas intrínsecas à tragédia, bem como o contexto filosófico, político-social e histórico em que tal obra insere-se. / The aim of this study is to analyze the concept of freedom and subject in Goethe's Faust. We will circumscribe the possibility of ethics in the plane of love emphasizing the issue of seduction and of pleasure, pain, anguish, sacrifice and other feelings and actions which are important for the autonomy and presence of the character Gretchen. The research will examine also the questions about ancient and modern aesthetics intrinsic to the tragedy.

O trabalho examina a noção de formação (Bildung), central para a filosofia alemã em seu período clássico. A partir da análise de alguns dos aspectos centrais dessa idéia, notadamente relacionados à concepção simbólica da linguagem, propõe-se uma relação entre as obras de Goethe, Herder e Novalis, fazendo-se referências frequentes também à filosofia de Kant. O objetivo é mostrar como a idéia de formação é tecida por diferentes reflexões que percorrem e interligam os domínios da Natureza, da História e da Poesia. / The thesis proposes a study of the notion of Bildung as it appears in German philosophical thinking at the end of the 18th Century. Through the analysis of some of this ideas main aspects, notably those related to a symbolic conception of language, this work suggests the existence of a relation between the works of Goethe, Herder and Novalis, referring them frequently to Kants thought. The main purpose is to verify how the idea of formation is constructed by means of different reflections in which Nature, History and Poetry are seen as interconnected domains

No description available.

This thesis examines the dialogue between Carl Friedrich Zelter (1758-1832) and Johann Wolfgang von Goethe (1749-1832) on choral music and the role they envisioned for it within a national German repertory. The primary source for this examination is the voluminous correspondence between the two men, which spans almost 900 letters and over thirty years. In the correspondence, they discuss choral music both as an abstract and practical art. In addition, Zelter’s descriptions of concerts that he performed in and attended form a valuable record of musical life in Berlin in the early nineteenth-century. To show the importance of choral music within the correspondence, this thesis is divided into three parts: an examination of Zelter and Goethe’s engagement with (choral) music; their respective choral organizations; and two musical case studies that show the application of their discussions. The first segment allows for a fuller understanding of how choral music fit in Zelter and Goethe’s larger artistic endeavours. This context is especially important given their marginal musical legacies, which have contributed to the scholarly neglect of their discourse on choral music. The second segment examines Zelter’s work with the Berlin Sing-Akademie in detail, focussing on its performance practice, membership, and audience. This examination shows that contrary to the oft-repeated claim that the Sing-Akademie did not regularly perform in public until 1829, the chorus in fact sang for a wide audience on a regular basis from the early 1800s on. The third segment provides case studies on the music of J.S. Bach and G.F. Handel. Goethe and Zelter’s dialogue about the two composers is considered, along with their practical engagement with the repertoire. Further, the Sing-Akademie’s performance history of both composers is examined. In sum, this thesis demonstrates the central role of historical choral music in the correspondence of Goethe and Zelter; their interest in older German choral music is shown to have had a profound impact on the music performed by similar organizations across Germany.

This thesis examines the dialogue between Carl Friedrich Zelter (1758-1832) and Johann Wolfgang von Goethe (1749-1832) on choral music and the role they envisioned for it within a national German repertory. The primary source for this examination is the voluminous correspondence between the two men, which spans almost 900 letters and over thirty years. In the correspondence, they discuss choral music both as an abstract and practical art. In addition, Zelter’s descriptions of concerts that he performed in and attended form a valuable record of musical life in Berlin in the early nineteenth-century. To show the importance of choral music within the correspondence, this thesis is divided into three parts: an examination of Zelter and Goethe’s engagement with (choral) music; their respective choral organizations; and two musical case studies that show the application of their discussions. The first segment allows for a fuller understanding of how choral music fit in Zelter and Goethe’s larger artistic endeavours. This context is especially important given their marginal musical legacies, which have contributed to the scholarly neglect of their discourse on choral music. The second segment examines Zelter’s work with the Berlin Sing-Akademie in detail, focussing on its performance practice, membership, and audience. This examination shows that contrary to the oft-repeated claim that the Sing-Akademie did not regularly perform in public until 1829, the chorus in fact sang for a wide audience on a regular basis from the early 1800s on. The third segment provides case studies on the music of J.S. Bach and G.F. Handel. Goethe and Zelter’s dialogue about the two composers is considered, along with their practical engagement with the repertoire. Further, the Sing-Akademie’s performance history of both composers is examined. In sum, this thesis demonstrates the central role of historical choral music in the correspondence of Goethe and Zelter; their interest in older German choral music is shown to have had a profound impact on the music performed by similar organizations across Germany.

Abstract This thesis asks the question "Does the use of the words 'left' and 'right' (links / rechts), and their various lexical forms in Goethe‘s Wahlverwandtschaften constitute a systematic pattern which can be applied to interpret the novel as a whole?" It argues that to simply interpret the text on the basic semantic levels of these words—left indicating wrong and false, right indicating good and correct—would fail to reflect the complicated meanings and functions for each in the thematic content of the work. In addition to these two extremes, the 'middle' zone, the space between the two extremes, has an important function in the work and must be part of any broader interpretation. It combines both extremes, creates a neutral field, and also leads to a second important element, 'Gesetzmäßigkeit', roughly translated, 'systematization' which is crucial to an understanding of the novel as a whole. The thesis begins with an overview and discussion of research in German and English on the novel, narrowing its selection to the titles most pertinent to the present study, a necessary reduction given the vastness of extant research on Goethe and this novel. Using hermeneutic methodology based on Gadamer‘s theory, it then argues for and against the position of moral relativity with respect to the thematics of the novel at hand. The themes of morality, legality, and mirroring structures in society receive particular attention, so too Goethe‘s own position on these topics, as well as religion, which are reflected at least to some extent in the work, though the study goes well beyond that autobiographical level. For his lexical foundation, the author has investigated all occorrences of the words 'left' and 'right' in the novel, and their lexical variants, and has selected the most meaningful as the basis for detailed discussion. Still, all instances are offered to the reader in a separate appendix, if desired. The corpus analysis focusses on the main characters and passages relevant to them. After discussion of the research to date, an overview of the methodology, an outline of Goethe‘s position on morality, Christianity, and religion in general, and a detailed account of the presence of the words left and right and their variants in the novel, the thesis offers chapters on all of the main characters as well as a final one on peripheral figures, in each case analyzing the individuals within the context of the concepts left and right and their connotations. The conclusion (Fazit) summarizes its contribution to Goethe research and the new insights it offers with regard to Die Wahlverwandtschaften, namely, that the concepts of left and right do indeed form the basis of a structural pattern; that this has meaning in the moral, religious, and societal sense; and that it is basic to the notion of structural systematization in the work. It also goes further to suggest productive avenues for future research on this novel, including its connections to the work of Goethe‘s contemporary William Blake, Goethe‘s "Theory of Colours", and modern interpretations of the whole.