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Johann Wolfgang von Goethe’s West-östlicher Divan [West-Eastern Divan], which emerged from the author’s interest in love poems of the fourteenth-century classical Persian poet Hafez, was the inspiration for this thesis. The overwhelmingly negative appraisal of the first translation of Hafez’s entire Divan into German by Joseph Freiherr von Hammer Purgstall, which was used by Goethe in the composition of his own poems, sparked its research questions: How can the errors in Joseph von Hammer Purgstall’s translation of Hafez’s Divan be explained, and how did these inconsistencies affect Goethe’s understanding of Hafez’s poems? Despite contention about the accuracy of Hammer’s version of Hafez, the translation inspired Goethe, who, feeling so much affinity for Hafez as to call him his ‘twin brother’, soon began to write poetry imitating Hafez’s style in the process of cultivating his growing fascination for this classical Persian love poetry. The thesis draws connections between the Hafezian elements of the original Divan and their reproduction in Goethe’s cycle of poems by analyzing a selection of poems from Hammer’s translation, considering Hammer’s role as mediator, as well as comparing with these a selection of Hafez-inspired poems from Goethe’s West-östlicher Divan. To this end, chapter one sets Hafez into the historical and artistic context of Persian poetry and introduces the formal aspects of Hafez’s primary lyrical form, the ghazal. In this it focuses especially on technical aspects of rhyme and complicating elements such as the formal consideration of unity and the contextual consideration of mystical allusions. Further, this chapter familiarizes the reader with essential features of the linguistic and rhetorical peculiarities and traditions of the Persian language, as well as the dramatis personae of Hafez’s Divan. The analysis of Hammer’s translations in the second chapter demonstrates both his successful renderings as well as his occasional deviations from the original, while addressing the difficulties he faced in transferring the linguistic peculiarities of the original to the target language. It also reviews the extent to which Hafez’s philosophy remained intact in his version. The third chapter focuses on the poems of Goethe’s West-östlicher Divan in light of both Hammer’s translation and Hafez’s original. Taking about thirty poems into account, this chapter shows that Goethe’s mastery in composing Hafez-inspired poems gives the reading audience an understanding of the poetry of that classical Persian figure without needing to read or understand the original text and it argues that the poems of his West-östlicher Divan enliven Hafezian literary patterns in the minds of readers who know the Persian poet and make them understandable for the uninitiated westerner. The analysis further elucidates how Goethe overcame the weaknesses in Hammer’s version to reconstruct the fundamentals of Hafez’s message.

Johann Wolfgang von Goethe’s West-östlicher Divan [West-Eastern Divan], which emerged from the author’s interest in love poems of the fourteenth-century classical Persian poet Hafez, was the inspiration for this thesis. The overwhelmingly negative appraisal of the first translation of Hafez’s entire Divan into German by Joseph Freiherr von Hammer Purgstall, which was used by Goethe in the composition of his own poems, sparked its research questions: How can the errors in Joseph von Hammer Purgstall’s translation of Hafez’s Divan be explained, and how did these inconsistencies affect Goethe’s understanding of Hafez’s poems? Despite contention about the accuracy of Hammer’s version of Hafez, the translation inspired Goethe, who, feeling so much affinity for Hafez as to call him his ‘twin brother’, soon began to write poetry imitating Hafez’s style in the process of cultivating his growing fascination for this classical Persian love poetry. The thesis draws connections between the Hafezian elements of the original Divan and their reproduction in Goethe’s cycle of poems by analyzing a selection of poems from Hammer’s translation, considering Hammer’s role as mediator, as well as comparing with these a selection of Hafez-inspired poems from Goethe’s West-östlicher Divan. To this end, chapter one sets Hafez into the historical and artistic context of Persian poetry and introduces the formal aspects of Hafez’s primary lyrical form, the ghazal. In this it focuses especially on technical aspects of rhyme and complicating elements such as the formal consideration of unity and the contextual consideration of mystical allusions. Further, this chapter familiarizes the reader with essential features of the linguistic and rhetorical peculiarities and traditions of the Persian language, as well as the dramatis personae of Hafez’s Divan. The analysis of Hammer’s translations in the second chapter demonstrates both his successful renderings as well as his occasional deviations from the original, while addressing the difficulties he faced in transferring the linguistic peculiarities of the original to the target language. It also reviews the extent to which Hafez’s philosophy remained intact in his version. The third chapter focuses on the poems of Goethe’s West-östlicher Divan in light of both Hammer’s translation and Hafez’s original. Taking about thirty poems into account, this chapter shows that Goethe’s mastery in composing Hafez-inspired poems gives the reading audience an understanding of the poetry of that classical Persian figure without needing to read or understand the original text and it argues that the poems of his West-östlicher Divan enliven Hafezian literary patterns in the minds of readers who know the Persian poet and make them understandable for the uninitiated westerner. The analysis further elucidates how Goethe overcame the weaknesses in Hammer’s version to reconstruct the fundamentals of Hafez’s message.

This dissertation is devoted to the stage history of Goethe’s Faust I in Imperial Russia with the goal of initiating academic discussion of this previously ignored topic. The significance of this study lies not only in the fact that it enlarges our comprehension of the play’s treatment in the Russian context, but more importantly in its direct implications for earlier studies of Russian literature in relation to Goethe’s Faust. The dissertation records analytically dramatic productions of the play before 1917 and provides a bibliography of their production, performance and reception processes. The central premise of the dissertation is that theatre is a social phenomenon, informed by the contemporary setting in which it is produced and received. With this in mind, five distinctive adaptations are investigated with the goal of identifying the peculiarities of the play’s treatment and highlighting the influences of the socio-historical factors surrounding it. In particular, this study considers the dependence of the adaptation on contemporary theatrical conventions and explores the relationship between theatre, culture and the state in Imperial Russia. It argues that a successful adaptation of Goethe’s Faust I in Imperial Russia was delayed until the flourishing of ‘directorial theatre’, which in turn opened new possibilities for future theatrical explorations of the play. The analysis describes strategies of cultural appropriation and affirms the conformity and sensitivity of theatre to the state.

This dissertation is devoted to the stage history of Goethe’s Faust I in Imperial Russia with the goal of initiating academic discussion of this previously ignored topic. The significance of this study lies not only in the fact that it enlarges our comprehension of the play’s treatment in the Russian context, but more importantly in its direct implications for earlier studies of Russian literature in relation to Goethe’s Faust. The dissertation records analytically dramatic productions of the play before 1917 and provides a bibliography of their production, performance and reception processes. The central premise of the dissertation is that theatre is a social phenomenon, informed by the contemporary setting in which it is produced and received. With this in mind, five distinctive adaptations are investigated with the goal of identifying the peculiarities of the play’s treatment and highlighting the influences of the socio-historical factors surrounding it. In particular, this study considers the dependence of the adaptation on contemporary theatrical conventions and explores the relationship between theatre, culture and the state in Imperial Russia. It argues that a successful adaptation of Goethe’s Faust I in Imperial Russia was delayed until the flourishing of ‘directorial theatre’, which in turn opened new possibilities for future theatrical explorations of the play. The analysis describes strategies of cultural appropriation and affirms the conformity and sensitivity of theatre to the state.

Nosso estudo busca apresentar as etapas da formação do método morfológico de Goethe: do nascimento de sua empreitada em relação às ciências naturais, ainda ligado ao signo de Espinosa, até a tentativa de formação de um método que se pretendesse objetivo. Dada a sua intenção de estudar as formas e as formações do mundo orgânico o poeta se viu confrontado com as etapas de desenvolvimento do olhar, para depois lançar-se numa investigação acerca do espírito, devido à distância existente entre nós e os fenômenos. Da viagem à Itália, onde Goethe aprendeu a respeitar as formas da natureza de uma maneira despojada da ligação afetiva da subjetividade, até seus últimos anos, Goethe nunca abandonou a intenção de abordar os seres vivos, mas o processo de formação do método morfológico se formulou como um organismo que gera sempre novas formas de se buscar conhecer a natureza como algo que, como ele mesmo descreveu, ela é vida e desenvolvimento desde um centro desconhecido até uma desconhecível periferia. Neste caminho intentou uma abordagem simbólica da natureza e de suas formas: como a natureza não é algo que possamos evocar como um mundo secreto que se apresente imediatamente nas nossas representações, temos de encontrar o caminho de abordagem dos entes particulares ligados ao universal e como ponto de contração do caminho morfológico.Este não é um método acabado; trata-se, antes, de um método que se encontra em perpétuo fazer. / This study aims to present the steps of Goethes Morphological method, from its birth in relation to the natural sciences, still linked with the sign of Spinoza, to the trial of forming an objective method. As his intention was to study the forms and the formation in the organic world, the poet has found himself in confrontation with the stages of the development from seeing, and afterwards in an investigation of the spirit in terms of the distance that exists between us and the phenomenon. From the Italian journey, when Goethe learned to respect the forms in its nature without linking them with the subjectivity, to his last years of life, Goethe never gave up the intention of an approach to the natural beings. But this process was formulated as an organism, searching new forms to try to know the nature as something as he described, that acts it is life and development from an unknown center to an unknowledgeable boundary. In this way he tried to figure out an attempt to a symbolic knowledge of the world of nature and its forms, as nature is not a thing that we can evoke as an open secret, or as a thing that presents itself directly in our forms of representing. We need to find a way that attempts to these particularities and this is the concentrating point of the goethean´s morphological way. As can be seen, it is not a made method, instead, it is a method in perpetual making.

Nosso estudo busca apresentar as etapas da formação do método morfológico de Goethe: do nascimento de sua empreitada em relação às ciências naturais, ainda ligado ao signo de Espinosa, até a tentativa de formação de um método que se pretendesse objetivo. Dada a sua intenção de estudar as formas e as formações do mundo orgânico o poeta se viu confrontado com as etapas de desenvolvimento do olhar, para depois lançar-se numa investigação acerca do espírito, devido à distância existente entre nós e os fenômenos. Da viagem à Itália, onde Goethe aprendeu a respeitar as formas da natureza de uma maneira despojada da ligação afetiva da subjetividade, até seus últimos anos, Goethe nunca abandonou a intenção de abordar os seres vivos, mas o processo de formação do método morfológico se formulou como um organismo que gera sempre novas formas de se buscar conhecer a natureza como algo que, como ele mesmo descreveu, ela é vida e desenvolvimento desde um centro desconhecido até uma desconhecível periferia. Neste caminho intentou uma abordagem simbólica da natureza e de suas formas: como a natureza não é algo que possamos evocar como um mundo secreto que se apresente imediatamente nas nossas representações, temos de encontrar o caminho de abordagem dos entes particulares ligados ao universal e como ponto de contração do caminho morfológico.Este não é um método acabado; trata-se, antes, de um método que se encontra em perpétuo fazer. / This study aims to present the steps of Goethes Morphological method, from its birth in relation to the natural sciences, still linked with the sign of Spinoza, to the trial of forming an objective method. As his intention was to study the forms and the formation in the organic world, the poet has found himself in confrontation with the stages of the development from seeing, and afterwards in an investigation of the spirit in terms of the distance that exists between us and the phenomenon. From the Italian journey, when Goethe learned to respect the forms in its nature without linking them with the subjectivity, to his last years of life, Goethe never gave up the intention of an approach to the natural beings. But this process was formulated as an organism, searching new forms to try to know the nature as something as he described, that acts it is life and development from an unknown center to an unknowledgeable boundary. In this way he tried to figure out an attempt to a symbolic knowledge of the world of nature and its forms, as nature is not a thing that we can evoke as an open secret, or as a thing that presents itself directly in our forms of representing. We need to find a way that attempts to these particularities and this is the concentrating point of the goethean´s morphological way. As can be seen, it is not a made method, instead, it is a method in perpetual making.

Thesis (PhD (School of Public Management and Planning))—-Stellenbosch University, 2008. / The aim of the study is to develop an appropriate Organisational Development (OD) approach to optimise the capacity of Community-Based Organisations (CBOs) and promote Community and Civil Society Development. The following research question is examined: In what ways can OD be a suitable approach to build the capacity of CBOs and thus have an impact on Community and Civil Society Development? The study is motivated by current development challenges in South Africa1 and the role civil society can play to represent citizens’ interests in relation to state and market2. As part of civil society, CBOs are generally recognised as pivotal stakeholders in the South African development context3, but are in reality marginalised and unable to assert themselves in the development sector. Furthermore Development Theory shows that theorists have in the recent past increasingly advocated for ‘democratisation of development’, enabling previously marginalised people to participate in development processes and therefore gain power over these. Although not widely practised reality yet, ‘People centred’ and ‘Participatory development’ as bottom-up and endogenous versions of development are being promoted as sustainable development paradigms. They emphasise the importance of building capacity of civil-society organisations4. OD as an approach to development and capacity building collaborates with the goals of a people centred development and the strengthening of civil society organisations, and is “in line with several participative approaches to development”5. It is, however, relevant to cultivate a “new development practitioner”, who is competent to facilitate capacity-building processes, which will meaningfully impact at the grassroots level6. The study is guided by a postmodern philosophy and stems from a phenomenological as well as transformative approach by applying a Goethean phenomenology, Action Research, Grounded Theory, Complexity Theory and various qualitative research methodologies, such as case study work with three CBOs; and semi-structured interviews with CBOs, community leaders, OD practitioners and academics. Furthermore the research includes a sociological examination of the current development context and paradigms, and their impact in post Apartheid South Africa. During the research, findings were engaged with by a discussion forum. The research findings included the discussion of themes, which emerged through the Grounded Theory approach: ∗ CBO capacity, by examining how capacity is interpreted at a CBO level in relation to inherent capacities; ∗ Leadership, and the role of pioneer leaders in CBOs; and ∗ Relationships, within CBOs as well as with their broader environment. These themes were understood as relevant when aiming to develop CBO capacity as well as engaging with the broader capacity development sector. Further, principles and approaches for OD at a CBO level are proposed, which are ultimately related through their view of organisations as complex social systems, their emphasis on learning, and the critical examination of power asymmetries. It is intended that this study contributes to development practice concerning CBO development within and beyond South Africa. Ultimately the study aims to influence current development paradigms and contribute to an enabling development context and the building of a strong and proactive civil society.

Submitted by FABRICIO MESQUITA DE ARO null (farotransmidia@gmail.com) on 2016-12-14T14:39:43Z No. of bitstreams: 1 Distorções-Elásticas-no-Cinema-Digital-de-Alexandr-Sokurov.pdf: 4048829 bytes, checksum: 607a1b260496bee0c99b0555423dc805 (MD5) / Approved for entry into archive by Felipe Augusto Arakaki (arakaki@reitoria.unesp.br) on 2016-12-19T17:36:29Z (GMT) No. of bitstreams: 1 aro_fm_me_bauru.pdf: 4048829 bytes, checksum: 607a1b260496bee0c99b0555423dc805 (MD5) / Made available in DSpace on 2016-12-19T17:36:29Z (GMT). No. of bitstreams: 1 aro_fm_me_bauru.pdf: 4048829 bytes, checksum: 607a1b260496bee0c99b0555423dc805 (MD5) Previous issue date: 2016-10-27 / O presente trabalho pretende elucidar os mecanismos que negaram a perspectiva linear por meio da distorção da imagem no cinema de Alexandr Sokurov. A partir da teoria da Dobra de Deleuze e dos preceitos da Perspectiva Inversa de Pável Floriênski, serão analisadas obras pictóricas, que vão do Barroco, passando pela Bauhaus, chegando até Francis Bacon. Tais obras entrarão em sintonia com a filmografia de Sokurov utilizando o termo da “distorção elástica”, pressupondo um deslocamento não-espacial e temporal-não-linear através da análise fílmica e estética das obras. A adaptação de Fausto de Goethe realizada pelo cineasta russo em 2012, será o elemento condutor ao elucidar o trânsito imagético do suporte analógico para o digital e suas potencialidades estéticas de subversão à perspectiva linear. / The present work intends to elucidate the mechanisms that denied the linear perspective inherited from Ancient Greece and emphasized in the Renaissance period, to undergo the process of distortion of this mechanism of representation. From the theory of Deleuze's Dobra and the precepts of the Inverse Perspective of Pável Floriênski, will be analyzed pictorial works, ranging from the Baroque, passing by the Bauhaus, reaching Francis Bacon. Such works will be in tune with the filmmaking of the Russian filmmaker Alexandr Sokurov using the term "elastic distortion", presupposing a non-spatial and non-linear displacement through the filmic and aesthetic analysis of works. Goethe's Faust's adaptation by the Russian filmmaker in 2012 will be the driving element in elucidating the imaginary transit from analog to digital support and its aesthetic potential from subversion to linear perspective.