The starting point for this text is an interest in the self narratives addressed to another that take place in psychotherapeutic environments. Reading the book "The Sorrows of Young Werther" by Goethe, it becomes clear that this form of self expression, communicating one s innermost and most obscure feelings, was a feature exploited by the Sturm und Drang movement, and soon afterwards by the German Romantics too. Following this logic, we move to a psychoanalytical and sociological reading of suicide, seeking to better understand the different facets of this act, proposed by Goethe as a solution to passions misunderstood by eighteenth century German bourgeois society. Next, we approach the concept of self presented by Fichte as the basis for investigations into the relations between the self and its other. Here we trace the influence of the other on suicide, on Werther s letters and also in the constitution of the I through the "Mirror stage as a formative function of the self", by Jacques Lacan. From this we use Antonio Candido s studies to problematize Werther, Goethe and his public as characters in a game of mirrors. Werther's letters are an expression of his innermost being, and need confirmation, a response, from the other. This influence of and from the other is present in various contexts. / O presente trabalho parte de um interesse pelas narrativas de si a um outro que se dão no ambiente psicoterapêutico. Ao ler a obra Os Sofrimentos do Jovem Werther de Goethe, percebemos que essa forma de endereçar um discurso sobre si, expressando os sentimentos mais íntimos e obscuros, já era um recurso explorado pelo Sturm und Drang e logo depois pelo movimento romântico alemão. Neste sentido, passamos por uma leitura psicanalítica e sociológica sobre o suicídio, para melhor compreendermos as diferentes faces deste ato, que Goethe propõe como solução para uma paixão incompreendida pela sociedade burguesa alemã do século XVIII. Abordamos, então, o conceito de eu apresentado por Fichte como base das investigações da relação entre o eu e seu outro. Esta pesquisa investiga a influência do outro no suicídio, nas cartas de Werther e também na constituição do sujeito através do Estádio do espelho como formador da função do eu de Jacques Lacan. A partir disso, utilizando estudos de Antonio Candido, problematizamos Werther, Goethe e público como personagens de um jogo de espelhos. As cartas de Werther são uma forma de expressão do íntimo que necessita uma confirmação, um retorno por parte do outro. Essa influência advinda do outro está presente nos mais diversos contextos.

The theoretical thesis, which aims to find and compare different conceptions and interpretation of the life of Johann Wolfgang von Goethe. The interest of this thesis is centered on the interpretation of Goethe's relationship with his sister. Interpretation of the relationship of Goethe and his sister is based on two approaches, the psychoanalytic and historical approach. Psychoanalytic approach is represented by Sigmund Freud and Kurt Eissler, who offer interpretations of some aspects of the relationship of Goethe with his sister. Historical approach is represented by Richard Friedenthal and Astrid Seele. They submit biographical context of the poets life and also point to his relationship with his sister. On the basis of these sources are data analyzed within psychoanalytic theory. To explain Goethe's relationship with his sister is thinking about the form of their incestuous sibling relationship or oedipus complex.

No description available.

« 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.

No description available.

En redogörelse för hur begreppen förnuft och känsla har gestaltats i romanerna Robinson Crusoe samt Den unge Werthers lidanden / A report on how the concepts of reason and sentiment have been portrayed in the novels Robinson Crusoe and The sorrows of young Werther

No description available.

No description available.

Although numerous English literary translations of Johann Wolfgang von Goethe’s ‘nobility in suicide’ - themed, epistolary, psychological and therefore “untheatrical” (Atkins 1949) novel Die Leiden des jungen Werthers (1774) have been published – none of the resultant English stage translations have ever been described as faithful to the original. The various obstacles to the creation of a faithful translation for the English language stage were analysed. The first obstacle is caution by Christian playwrights regarding the proscribed theme of nobility in suicide. Related to this is the second obstacle; the fear of producing ‘imitative’ suicides, which have been labelled ‘The Werther Effect’ by sociologists (Phillips 1974). Other obstacles are form-related rather than theme-related and include the absence of an authoritative English literary translation and the difficulties in translating to the stage the psychological and epistolary novel. With reference to Goethe’s three–tiered model of translation (translated by Lefevere 1977) and cinema academic Geoffrey Wagner’s ‘Three modes of adaptation’ (Wagner 1975) this writer has attempted to write a ‘prosaic’, ‘transpositional’ and unaugmented stage translation by identifying and addressing each of the obstacles, the hypothesis being that if these obstacles were systematically addressed and overcome, then an English language stageplay closely equivalent in meaning to the prominent ideas, themes and form of the novel – that is, a work arguably faithful to the novel – could be created. The research lead to the resultant creation The Sorrows and Sufferings of Young Werther; a Stageplay which is submitted as the creative work component (30%) of the writer’s Master of Creative Arts thesis at the University of Melbourne, Australia, in September 2003.

This thesis investigates the intertextual links between The Sufferings of Young Werther by Johann Wolfgang Goethe, which was published originally in 1774, and Utrpení knížete Sternenhocha (The Sufferings of Prince Sternenhoch) by Ladislav Klíma. Their affinities remained unnoticed when the latter text was published for the first time in 1928, although the texts share topics as well as narrative strategies. In both texts, the presence of the beloved person is suplemented by writing, their bodies by a simulacrum. Goethe aestheticises the love suffering drawing on the sentimental tradition of the epistolary novel, whereas Klíma transforms it in his palimpsest employing manneristic techniques and parodies it by excessively thematising the body. In both cases is the writing of the heroes - work, but also fabrication of memory - works as an evidence and a constructed phantasm of their love, the only thing that survives its author in order to preserve the testimony of the love for the reader. The thesis is divided into two parts. The first part, called Convergence, show explicit as well as implicit links between the analysed texts. The second, called Divergence, contextualises both texts to find their position within several relevant theoretical categories, such as the fantastic, the gothic and mannerism....