Frankfurt (Main), Universiẗat, Diss., 2001.

Thesis (M.M.) Florida State University, 2004. / Advisor: Jane Piper Clendinning, Florida State University, College of Music. Title and description from dissertation home page (viewed 7-9-07). Document formatted into pages; contains 126 pages. Includes biographical sketch. Includes bibliographical references.

Diss.--Philosophischen Fakültät--Münster--Universität Münster, 1997. / Notes bibliogr. Bibliogr. p. 449-480.

Zugl. Kurzfassung von: Chemnitz, Techn. Univ., Diss., 2008

Thesis (Ph.D.)--Boston University. / From the time he first became known in America two contrasting attitudes toward Goethe have been discernible. There was on the one hand a rejection of the poet on moral and political grounds, and opposing this an appreciation of the humanist, poet, and last universal man. In general the pre-Civil War period shows a decline in the puritanic standard of judging literature and a growing appreciation of Goethe's central importance. Of the two substantial studies of the poet in the postCivil War period, von Grueningen deals with the attitude toward him as reflected in periodicals , and Pochmann's contribution, while encyclopedic in scope, does not attempt critical evaluation. The present investigation undertakes to explore the reaction toward Goethe of a representative group of writers in the genteel tradition. This term, coined by Santayana and widely adopted, is used here to characterize the attitude toward culture prevailing in America from 1865 to 1912. It is marked by a failure to reflect the national background, by moral timidity, cultural nostalgia, and an insistence on decorum in artistic expression. Its salutary influence lies in its transmission of the European cultural heritage. Much of Goethe's influence during this time was in the field of literary criticism. Lowell saw him as the last of the great humanists and as the successor of the major poets of the West. He adopted the poet's canons of criticism and often his judgments on specific works. Howells, less inclined to accept him in toto as a literary and critical model, commended chiefly his theory of the novel, and repudiated his personal morality. Of the minor critics, Whipple praised him with undiscriminating vagueness, Stedman adopted many of his critical criteria, while Mabie went farthest toward providing a complete picture of the poet. Woodberry, the youngest of the group, while acknowledging Goethe's importance in modern thought, held strong reservations as to his personal character and his ideal of self-culture.[TRUNCATED]

This thesis seeks to explain the reasons behind Johann Wolfgang von Goethe's critical response to the French Revolution, and to identify his broader political views. It casts Goethe as a reform-minded conservative, who strove to advance civilisation and law-abiding liberty, and deplored tyranny, whether of the few or of the many. He deemed the Revolution politically and socially destructive, as it countered Enlightenment values of reason, tolerance, independent thought, and self-cultivation. While acknowledging the faults of the traditional ruling elite of the monarchy and aristocracy, Goethe also recognised the inherently flawed nature of human beings. This led him to support modest changes to redress specific grievances, rather than to overturn an entire political system in the utopian hope of realising a vice-ridden 'brotherhood of Man'. The fictional works indicate an author who favoured clearly definable freedoms over an abstract 'universal' freedom, who believed that BÃ1⁄4rger should develop their intellect and find an occupation best suited to their personal attributes, and that the most temperate and politically astute among them should influence government by co-operating with aristocrats. Goethe also portrays the fall of the ancien régime as largely self-inflicted, presenting many selfish and gullible courtiers, and incompetent kings. He appears to lament its demise, however, and not wish for a repeat in Germany, as the insurgent Bürger-dominated and/or republican regimes seem even more reckless. The advocates of 'liberté, égalité, fraternité' generally come across as perilously naïve or fraudulent, often using altruistic rhetoric to conceal egocentric and vindictive aims. The best cure for a flagging regime is (sometimes considerable) reform, not revolution. Political power should be treated with humility and self-restraint, and the relationship between rulers and subjects should be as intimate as possible. Above all, no part of the social hierarchy should suffer oppression from another, and people should be free to express various opinions, and criticise their government. For Goethe, the Revolution thwarted such principles.

Submitted by ANA CAROLINA LOPES COSTA null (ccarolinalopes@yahoo.com.br) on 2016-03-22T20:27:48Z No. of bitstreams: 1 TESE versão definitiva1.pdf: 2986415 bytes, checksum: df8bf4c6d6f4724c4883bc11add73559 (MD5) / Approved for entry into archive by Ana Paula Grisoto (grisotoana@reitoria.unesp.br) on 2016-03-23T13:22:09Z (GMT) No. of bitstreams: 1 costa_acl_dr_sjrp.pdf: 2986415 bytes, checksum: df8bf4c6d6f4724c4883bc11add73559 (MD5) / Made available in DSpace on 2016-03-23T13:22:09Z (GMT). No. of bitstreams: 1 costa_acl_dr_sjrp.pdf: 2986415 bytes, checksum: df8bf4c6d6f4724c4883bc11add73559 (MD5) Previous issue date: 2016-02-01 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Este trabalho tem por objetivo um estudo de convergências entre a crítica, a poesia e o método de tradução de Haroldo de Campos. Para tal, propomos a plagiotropia, enquanto conceito de sua crítica, como um vórtice que possibilita diálogos entre os princípios construtivos de sua poesia e de seu método de tradução, articulando, assim, uma proposta que aborda as três frentes de sua produção. A plagiotropia, com o caractere da obliquidade, configura-se como o diferencial, o particular que singulariza os processos de releitura da tradição praticados por Campos. O nosso trabalho divide-se em dois blocos capitulares. Em cada um destes, a discussão foi articulada de maneira que gire em torno do diálogo entre a plagiotropia e uma porção da obra de Haroldo de Campos. No nosso primeiro bloco capitular, “A transgressão luciferina: a tradição vira serpente”, temos uma discussão teórica sobre o que é a plagiotropia, e quais são os caracteres que a configuram. No segundo, “O voo das letras e o pacto do tudo torto: lendo as frestas da tradução”, inspirados por uma leitura metafórica do pacto de Fausto com Mefistófeles, como o pacto do artista com a transgressão, exploramos a poiesis diabólica em Goethe, a relação da obliquidade com a desautomatização, etc., e com conceito de tradução como “transluciferação”. Nosso último capítulo traz um estudo plagiotrópico da tradução das duas cenas finais de Fausto II, de Goethe, vertidas sob a égide da transcriação, por Haroldo de Campos. / Este trabajo tiene como objetivo un estudio de convergencia entre la crítica, la poesía y el método de traducción de Haroldo de Campos. Para lo cual se propone, la plagiotropia como concepto de su crítica, como un vórtice que posibilita diálogos entre los principios constructivos de su poesía y de su método de traducción, articulando así, una propuesta que aborda los tres frentes de su producción. La plagiotropia, con el carácter de oblicuidad, se configura como el diferencial, como el particular que singulariza los procesos de relectura de la tradición practicados por Campos. Este trabajo se divide en dos blocos capitulares. En cada uno de ellos, la discusión fue articulada de manera tal, que gire en torno del dialogo entre la plagiotropia y una porción de obra de Haroldo de Campos. En nuestro primero bloco capitular, “La transgresión luciferina: la tradición se transforma en serpiente”, tenemos una discusión teórica sobre lo que es la plagiotropia y cuáles son los caracteres que la configuran. En el segundo “El vuelo de las letras y el paquete de todo torcido: leyendo las rendijas de la raducción", inspirado por una lectura metafórica del pacto de Fausto con Mefistófeles, como el paquete del artista con la transgresión, exploramos la poiesis diabólica em Goethe, la relación de la oblicuidad com la desautomatizacion, etc., y con conceptos de traducción como "transluciferación". Nuestro último capítulo trae un estúdio plagiotrópico de la traducción de las dos escenas finales de Fausto II, de Goethe, vertidas sobre la égida de transcreación, por Haroldo de Campos.

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Para compreender o Fausto de Sokúrov, o crítico deve levar em conta que percebemos nele, a priori, um diálogo com a pintura e com o teatro, evidentemente. Não se trata apenas de referências, ou intertextos, pois o filme está impregnado de elementos iconográficos e de metáforas, de modo que, ao analisar a obra, é necessário atentar para as sutilezas dos símbolos que são apresentados ao longo do filme. E, mais, a tessitura da narrativa oferece características próprias da poesia. Sendo assim, dir-se-ia que há uma construção próxima à prosa poética, que encontramos na literatura de muitos autores. O objetivo, portanto, desta pesquisa será evidenciar que, a partir de uma interpretação livre, Sokúrov pôs em relevo não só os aspectos poético-literários, mas também incluiu e destacou impressionantes imagens pictóricas, que são mais que meras indicações intertextuais com a pintura de grandes mestres, a saber: Hieronymus Bosch (1450-1516), Lucas Cranach (1472-1553), Herri met de Bles (1510-1555 ou 1560), Albrecht Altdorfer (1480-1538), Pieter Bruegel (1525-1569), Rembrandt Harmenszoon van Rijn (1606-1669), David Teniers, o Jovem (1610-1690), Johannes Vermeer (1632-1675) e Caspar David Friedrich (1774-1840). Com o recurso da imagem e do discurso cinematográfico, salientou as antíteses dos estados de alma, que oscilam, no filme, entre o grotesco e o sublime, o belo e o bizarro, o iluminado e o sombrio, o prazer e a dor, a fé e a ciência, a ordem e o caos, a humildade e a arrogância, apenas para citar alguns aspectos presentes no poema trágico de Goethe. / In order to comprehend Sokurov´s cinematographic version of Goethe´s Faust we must remember that a dialogue with painting is evident besides that with theatre, of course. This is not due only to references or clear \"intertexts\", but also to the appropriation of painters´styles. This is a help for the construction of a poetic narrative, instead of a plain one. Our search aims to put in evidence that Sokurov is bent to the poetic aspects of Goethe´s Faust, much more than the narrative ones, and is helped by the manners and the paintings of Hieronymus Bosch (1450-1516), Lucas Cranach (1472-1553), Herri met de Bles (1510-1555 ou 1560), Albrecht Altdorfer (1480-1538), Pieter Bruegel (1525-1569), Rembrandt van Rijn (1606-1669), David Teniers, the Young (1610-1690), Vermeer (1632-1675) and Caspar David Friedrich (1774-1840). With such a help, Sokurov uses his cinematographic resources to put in evidence antithesis of human soul that he sees in Goethe´s Faust, such as lust and saintity, the grotesque and the sublime, the beauty and the bizarre, the enlightened and the darkened, the pleasant and the painful, the faithful and the unfaithful, the ordered and the chaotic. Deciding to tread the way of poetry, Sokurov marks the cinematographic art with a narrative that is a poetic hommage to painting and a dreadful vision of the world.

Esta pesquisa propõe-se investigar o romance Os anos de aprendizado de Wilhelm Meister, de Johann Wolfgang von Goethe (1749-1832), publicado em 1796. Nosso objetivo é realizar, com a análise do romance, uma reconstrução sociológica da noção de formação do indivíduo expressa na obra, articulando-a com o processo de emeregência da noção moderna de liberdade individual. Para tanto, recorre-se a três conceitos-chave do pensamento de Georg Simmel: o conceito de cultura, individualismo quantitativo e individualismo qualitativo. Ao relacionar o enredo do romance com as transformações na estrutura social ocorridas nos séculos XVIII e XIX, as quais são analisadas a partir dos conceitos de Simmel, nosso objetivo é esclarecer a visão de modernidade que se apresenta na obra de Goethe, bem o seu potencial crítico relativo à questão da liberdade individual. / This research aims to investigate the novel Wilhelm Meisters Apprenticeship by Johann Wolfgang von Goethe (1749-1832), published in 1796. Our goal is to build, with the analysis of the novel, a sociological reconstruction from the idea of individual self-cultivation which the novel express and articulate this idea with the process of construction of the modern individual freedom ideal. To perform that, this research uses three key-concepts from Georg Simmel: the concept of culture, quantitative individualism and qualitative individualism. By relating the novels story with the changes of the social structure in the XVIII and XIX centuries, our objective is to clarify the vision of modernity from Goethes novel, as well explore its critical potential on the subject of individual freedom.