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Die Goldene Bulle Politik - Wahrnehmung - Rezeption
Die Goldene Bulle Politik - Wahrnehmung - Rezeption Band II Herausgegeben von Ulrike Hohensee, Mathias Lawo, Michael Lindner, Michael Mcnzel und Olaf B. Rader Akademie Verlag MICHAEL NIEDERMEIER Goethe und die Goldene Bulle' Als mich Michael Lindner von der Arbeitsstelle der Monumenta Germaniae Histo- rica bat, aus Sicht des Goethe-Forschers einen Beitrag zu Johann Wolfgang von Goethe und seinem Verhältnis zur Goldenen Bulle beizusteuern, war ich zunächst zögerlich. Sicher, so meinte ich mich zu erinnern, hat Goethe in seinen Lebenser- innerungen auch - unter anderem - etwas zur Goldenen Bulle geschrieben. Nach einiger Zeit wurde mir allerdings klar, dass den Historikern der MGH als den Ken- nern der Goldenen Bulle Goethe in diesem Zusammenhang weit öfter begegnet war als mir, ja so muss man eingestehen, der Goethe-Forschung insgesamt. Freilich gibt es im Goethe-Wörterbuch einen Verweis über "Bulle, siehe Goldene Bulle", um dann im Wortartikel "golden" einen eigenen - freilich nur knappen - Eintrag zu erhalten.' Erstaunlich ist jedoch, dass mir in der fast unübersehbaren Goethe- Literatur kein einziger eigenständiger Aufsatz zum Thema begegnete und selbst in den diversen Goethe-Handbüchern nicht einmal ein eigener spezieller Artikel. Im Vorwort der von Wolfgang D. Fritz besorgten Monumenta-Ausgabe.' wird hingegen ausdrücklich Goethes Schilderung der Frankfurter Königswahl Josephs ]1. 1764 in ,Dichtung und Wahrheit' angeführt als Beleg für die Tatsache, dass der Geltungs- bereich der Goldenen Bulle zumindest für das Zeremoniell der Königswahl und das Kurfürstenkolleg noch bis 1806 Geltung besaß. Es zeigte sich, dass Historiker Goethe als eine verlässliche Quelle gebrauchten, während die spezielle germanisti- sche Goethe-Forschung auf den ersten Blick eher wenig beizutragen hat.4 Die leicht überarbeitete Schriftfassung des Vortrages behält den Vortragsgestus bei. -
Beyond Autonomy in Eighteenth-Century and German Aesthetics
10 Goethe’s Exploratory Idealism Mattias Pirholt “One has to always experiment with ideas.” Georg Christoph Lichtenberg “Everything that exists is an analogue to all existing things.” Johann Wolfgang Goethe Johann Wolfgang Goethe made his famous Italian journey in the late 1780s, approaching his forties, and it was nothing short of life-c hanging. Soon after his arrival in Rome on November 1, 1786, he writes to his mother that he would return “as a new man”1; in the retroactive account of the journey in Italienische Reise, he famously describes his entrance into Rome “as my second natal day, a true rebirth.”2 Latter- day crit- ics essentially confirm Goethe’s reflections, describing the journey and its outcome as “Goethe’s aesthetic catharsis” (Dieter Borchmeyer), “the artist’s self-d iscovery” (Theo Buck), and a “Renaissance of Goethe’s po- etic genius” (Jane Brown).3 Following a decade of frustrating unproduc- tivity, the Italian sojourn unleashed previously unseen creative powers which would deeply affect Goethe’s life and work over the decades to come. Borchmeyer argues that Goethe’s “new existence in Weimar bore an essentially different signature than his pre- Italian one.”4 With this, Borchmeyer refers to a particular brand of neoclassicism known as Wei- mar classicism, Weimarer Klassik, which is less an epochal term, seeing as it covers only a little more than a decade, than a reference to what Gerhard Schulz and Sabine Doering matter-o f- factly call “an episode in the creative history of a group of German writers around 1800.”5 Equally important as the aesthetic reorientation, however, was Goethe’s new- found interest in science, which was also a direct conse- quence of his encounter with the Italian nature. -
Goethes Weltansichten
Goethes Weltansichten Auch eine Biographie Bearbeitet von Wolf von Engelhardt 1. Auflage 2007. Buch. vi, 378 S. Hardcover ISBN 978 3 7400 1239 7 Format (B x L): 15,5 x 23,5 cm Weitere Fachgebiete > Literatur, Sprache > Literaturwissenschaft: Allgemeines > Einzelne Autoren: Monographien & Biographien Zu Inhaltsverzeichnis schnell und portofrei erhältlich bei Die Online-Fachbuchhandlung beck-shop.de ist spezialisiert auf Fachbücher, insbesondere Recht, Steuern und Wirtschaft. Im Sortiment finden Sie alle Medien (Bücher, Zeitschriften, CDs, eBooks, etc.) aller Verlage. Ergänzt wird das Programm durch Services wie Neuerscheinungsdienst oder Zusammenstellungen von Büchern zu Sonderpreisen. Der Shop führt mehr als 8 Millionen Produkte. 1. Frühe Ahnung FürdieAnsichtenüber Gott, Menschenwelt und Natur, welche Kindheit und Jugend Goethes bestimmten, steht als wichtigste Quelle die Autobiographie Dich- tung und Wahrheit zur Verfügung, die die ersten 26 Jahre seines Lebens umfaßt. Der 62jährige begann sie im Jahre 1811 aufzuzeichnen und setzte diese Arbeit bis in sein letztes Lebensjahr 1832 fort. Für die Benutzung dieser Quelle wird zu berücksich- tigen sein, daß dieses Werk die Geschichte von Kindheit und Jugend so darstellt, wie diese Jahre dem Chronisten noch präsent waren, insoweit er vergangenes Erleben und Geschehen durch das Studium schriftlicher und mündlicher Quellen rekon- struieren konnte, und wie er diese Zeit seines Lebens im Lichte der späten Jahre in die Zusammenhänge der eigenen Biographie und des Zeitgeschehens zu stellen wünschte. Von Büchern allgemeinen Inhalts, aus denen sich die Weltansicht des Knaben nährte, hob der Chronist im Ersten Buch von Dichtung und Wahrheit folgende Werke hervor: Der OrbispictusdesAmosComenius,1 das bis in das 19. Jahrhundert verbreitete Schulbuch, unterrichtete über die Realia der sichtbaren Welt. -
Goethe the Musician and His Influence on German Song Transcript
Goethe the Musician and his influence on German Song Transcript Date: Friday, 20 June 2008 - 12:00AM GOETHE THE MUSICIAN AND HIS INFLUENCE ON GERMAN SONG Professor Richard Stokes It has become fashionable to label Goethe unmusical. In April 1816 he failed to acknowledge Schubert's gift of 16 settings of his own poems which included such masterpieces as 'Gretchen am Spinnrade', 'Meeresstille', 'Der Fischer' and 'Erlkönig'. He did not warm to Beethoven when they met in 1812. He preferred Zelter and Reichardt to composers that posterity has deemed greater. And he wrote in his autobiography,Dichtung und Wahrheit : 'Das Auge war vor allen anderen das Organ, womit ich die Welt erfasste' ('It was through the visual, above all other senses, that I comprehended the world') - a statement which seems to be confirmed by his indefatigable study of natural phenomena and his delight in art and architecture, in seeing. Lynceus's line at the end of Faust , 'Zum Sehen geboren, zum Schauen bestellt' ('I was born for seeing, employed to watch') has an unmistakably autobiographical ring. Goethe was, above all a visual being, an Augenmensch,. He was also, from his earliest days in Frankfurt, intensely musical. His father brought a Giraffe, an upright Hammerklavier, for 60 Gulden in 1769, played the lute and flute and occasionally made music with friends - there is an amusing passage in Dichtung und Wahrheit which describes his father playing the lute,"die er länger stimmte, als er darauf spielte" ("which he spent longer tuning than playing")! His mother, who was more artistic, played the piano and sang German and Italian arias with great enthusiasm. -
Goethe's Urfaust and the Enlightenment
Goethe’s Urfaust and the Enlightenment: Gottsched, Welling and the “Turn to Magic” By Copyright 2014 James Michael Landes Submitted to the graduate degree program in Germanic Languages and Literatures and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ________________________________ Chairperson Professor Leonie Marx ________________________________ Co-Chairperson Professor Frank Baron ________________________________ Professor Maria Carlson ________________________________ Professor William Keel ________________________________ Professor Per Øhrgaard Date Defended: 10 March 2014 The Dissertation Committee for James Michael Landes certifies that this is the approved version of the following dissertation: Goethe’s Urfaust and the Enlightenment: Gottsched, Welling and the “Turn to Magic” ________________________________ Chairperson Professor Leonie Marx ________________________________ Co-Chairperson Professor Frank Baron Date approved: 10 March 2014 ii Abstract The Urfaust, composed in the early 1770s, is the first draft of Johann Wolfgang von Goethe’s (1749-1832) masterpiece, Faust, Teil I (1808). While this early draft is relatively unexamined in its own right, an examination of this work in the context of its original creation offers insights into Goethe’s creative processes at the time in relation to the Enlightenment poetic debates of the eighteenth century, through which literary critics, such as J.C. Gottsched (1700-1766) attempted to define the rules by which poetic construction should operate. In examining the Urfaust, one can see how Goethe’s poetic aims transcended those of the Enlightenment debate, going far beyond the Enlightenment critics of Gottsched, such as J.J. Bodmer (1698-1783) and J.J. Breitinger (1701-1776) in making the case for additional room for the fantastic in poetic construction. -
Goethe and the Dutch Interior: a Study in the Imagery of Romanticism
Goethe and the Dutch Interior: A Study in the Imagery of Romanticism URSULA HOFF THE ANNUAL LECTURE delivered to The Australian Academy of the Humanities at its Third Annual General Meeting at Canberra on 16 May 1972 Australian Academy of the Humanities, Proceedings 3, 1972 PLATES PLATEI J. C. Seekatz, The Goethe Family in Shepherd's Costume (1762). Weimar Goethc National Museum PLATE2 A. v. Ostade, Peasants in an Interior (1660). Dresden Gallery PLATE3 Goethe, Self Portrait in Iris FraiFrt Romn (c. 1768). Drawing, Weimar Goethe National Museum PLATE4 J. Juncker, The Master at his Easel (1752). Kassel Gallery PLATE5 F. v. Mieris the Elder, The Connoisseur in the Artist's Studio (c. 1660-5). Dresden Gallery PLATE6 D. Chodowiecki, Werlher's Roam. Etching, from The Wallrrf-Richartz Jahrbuch, Vol. XXII, fig. 79 PLATE7 G. Terhorch, 'I'Instruction Patemelie1 (1650-5). Rijksmuseum, Amsterdam PLA~8 G. F. Kersting, The Embroidress (1811). Webar Kunstsammlungen PLATE9 J. H. W.Tibein, Goethe from the back lookinp out of a Window over Rome (c. 1787). Weimar Goethe National Museum PLATE10 G. F Kersting, Man Writing by a Window (1811). Weimar Kunstsammlungen PLATE11 G. F. Kersting, Reader by Lamplight (1811). Weimar Kunstsamdimgen PLATE12 G. F. Kersting, C. D. Friedlrich in his Studio (1811). Hamburg Kunsthalle PLATE13 Vincent van Gogh, Bedroom at Arles(188g). Chicago Art Institute The author gratefully acknowledges the kind assistance of the above galleries and museums for permission to reproduce photographs of works from their collections as plates in this paper. Australian Academy of the Humanities, Proceedings 3, 1972 HE theme of this paper is taken from the history of romantic art. -
Dämonische Texturen. Der Durchkreuzte Wunsch in Goethes Wilhelm Meisters Wanderjahren
CORNELIA ZUMBUSCH Dämonische Texturen. Der durchkreuzte Wunsch in Goethes Wilhelm Meisters Wanderjahren „Der alternde Goethe“, so stellt Fritz Mauthner nicht ohne Ironie fest, „liebte die Worte Dämonen und dämonisch.“ Insbesondere im Gespräch mit Ecker- mann habe sich sein „Aberglaube an freundlich gesinnte Dämonen [...] gern und oft redselig“ geäußert: je höher ein Mensch, desto mehr stehe er unter dem Einfluß der Dämonen; Raphael, Mozart, Napoleon, auch Lord Byron, werden dämonisch genannt; das Dämonische werfe sich gern an bedeutende Figuren; in einer klaren prosaischen Stadt, wie Berlin, fände es kaum Gelegenheit sich zu manifestieren (1831). Sehr drollig ist es, wenn die subalternen Freunde mit einer Art von Echolalie Goethes Greisenworte wiederholen, und z.B. Eckermann eine kleine Abhandlung über das Dämonische zum besten gibt.1 Das Material für seine Bemerkungen zu Goethes Greisenstil und Eckermanns Echolalie findet Mauthner in den Gesprächen Eckermanns mit Goethe aus dem Jahr 1831. Diese Unterhaltungen werden parallel zur Überarbeitung des Schlussteils von Dichtung und Wahrheit geführt, in dem Goethe mehrfach auf das Dämonische zu sprechen kommt. Den Auftakt zum zwanzigsten und letz- ten Buch seiner Autobiographie, die von der Zeit zwischen seiner ersten Schweizer Reise und dem Aufbruch nach Weimar erzählt, bildet ein Passus, in dem Goethe die Erzählung des eigenen Lebens zum Bildungsroman formt. Man habe „im Verlaufe dieses biographischen Vortrags umständlich gesehn, wie das Kind, der Knabe, der Jüngling sich auf verschiedenen -
From Idyll to Exile: the Transformed Self in the Early Works of Johann Wolfgang Von Goethe
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 1995 From Idyll to Exile: The Transformed Self in the Early Works of Johann Wolfgang von Goethe Elizabeth Powers The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1442 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] INFORMATION TO USERS This manuscript has been reproduced from the microfilmmaster. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely afreet reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. -
The University of Chicago a Philosophy to Live By
THE UNIVERSITY OF CHICAGO A PHILOSOPHY TO LIVE BY: GOETHE‘S ART OF LIVING IN THE SPIRIT OF THE ANCIENTS A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF GERMANIC STUDIES BY GEORGINNA ANNE HINNEBUSCH CHICAGO, ILLINOIS DECEMBER 2018 Table of Contents List of Abbreviations....................................................................................................................... v Acknowledgements ....................................................................................................................... vii Introduction ..................................................................................................................................... 1 Goethe and Ancient philosophy .................................................................................................. 6 Philosophy as an Art of Living: Making the most of life ........................................................ 10 Art & Science as a Goethean Art of Living .............................................................................. 18 Introduction of Chapters ........................................................................................................... 19 Chapter 1 Ancient Philosophy as an Art of living........................................................................ 26 Central Claim & Methodology ................................................................................................. 29 Outline of this chapter .............................................................................................................. -
Essay Review Romantic Life and Science
ANNALS OF SCIENCE Vol. 62, No. 3, July 2005, 377–385 Essay Review Romantic Life and Science ROBERT J. RICHARDS, The Romantic Conception of Life: Science and Philosophy in the Age of Goethe. Chicago: The University of Chicago Press, 2002. xix + 587 pp., 5 plates $35.00 (cloth) $20.00 (paper). ISBN 0-226-71210-9 (cloth). Reviewed by E. P. HAMM, Science and Technology Studies Program, School of Analytic Studies and Information Technology, York University, Toronto, Ontario M3J 1P3, Canada Romance has for some time been a term of dubious associations. In the seventeenth century, Thomas Burnet decried those critics who would call his Theory of the Earth a ‘Philosophik Romance’; in the eighteenth century, Buffon did just that, and before too long, his theory of the Earth was the subject of the same epithet. By 1780, the early days of the era of Romanticism (so early that it was not yet being called that), Goethe, an admirer of Buffon’s theory, commented with delicate irony: perhaps Buffon really had ‘written a Romance . for it is only by means of the Romance that the worthy public learns of extraordinary things’.1 Burnet’s ‘Romance’, Buffon’s ‘roman’ and Goethe’s ‘Roman’ refer to fanciful tales of military prowess and chivalry. Soon, a group of people close to Goethe would claim this word for themselves, and since that time there has been learned debate about the meaning of Romanticism. In everyday speech, there is more agreement: to say someone has a ‘romantic’ view of the French Revolution, or the lives of indigenous peoples, or international relations, or most anything else serious, amounts to saying the view will not stand up to criticism, is not well-founded, is a fantasy. -
Goethes Faust 1St Edition Pdf, Epub, Ebook
GOETHES FAUST 1ST EDITION PDF, EPUB, EBOOK Johann Wolfgang von Goethe | 9780385031141 | | | | | Goethes Faust 1st edition PDF Book Relevant discussion may be found on the talk page. Weight: 6. Help Learn to edit Community portal Recent changes Upload file. Add to Basket Used. Sort by title original date published date published avg rating num ratings format. Free shipping. Price sticker residue to front end page. More information about this seller Contact this seller 2. Dichtung und Wahrheit Italian Journey. Wellbery Introduction. Eliot, Charles W. Fine trade paperback. More refinements More refinements Published by Penguin Volume 1. As Faust reflects on the lessons of the Earth-spirit, he is interrupted by his famulus , Wagner. He joins his assistant Wagner for an Easter walk in the countryside, among the celebrating people, and is followed home by a poodle. Luxury Edition. Cyrus Hamlin. First edition, first printing. About this Item: Heritage, New York, Unclipped jacket. Gretchen is no longer subject to the illusion of youth upon Faust, and initially does not recognize him. Collectible Paper Ephemera. Fausto Kindle Edition. Gretchen discovers that she is pregnant, and her torment is further increased when Faust and Mephistopheles kill her enraged brother in a sword fight. Fair creasing and sunning to spine as well. Published by W. In contrast to Faust, Part One , the focus here is no longer on the soul of Faust, which has been sold to the devil , but rather on social phenomena such as psychology , history and politics , in addition to mystical and philosophical topics. First Edition; First Printing. This scene is generally considered to be one of the finest in the play. -
Faust Part 1 by Johann Wolfgang Von Goethe</H1>
Faust Part 1 by Johann Wolfgang Von Goethe Faust Part 1 by Johann Wolfgang Von Goethe Prepared by David Reed [email protected] or [email protected] Faust Part 1 by Johann Wolfgang Von Goethe INTRODUCTORY NOTE JOHANN WOLFGANG VON GOETHE, the greatest of German men of letters, was born at Frank fort-on-the-Main, August 28, 1749. His father was a man of means and position, and he personally supervised the early education of his son. The young Goethe studied at the universities of Leipsic and Strasburg, and in 1772 entered upon the practise of law at Wetzlar. At the invitation of Karl August, Duke of Saxe-Weimar, he went in 1775 to live in Weimar, where he held a succession of political offices, becoming the Duke's chief adviser. From 1786 to 1788 he traveled in Italy, and from 179' to 1817 directed the ducal theater at Weimar. He took part in the wars against France, 1792-3, and in the following year began his friendship with Schiller, which lasted till the latter's page 1 / 334 death in 1805. In 1806 he married Christiane Vulpius. From about 1794 he devoted himself chiefly to literature, and after a life of extraordinary productiveness died at Weimar, March 22, 1832. The most important of Goethe's works produced before he went to Weimar were his tragedy "Gotz von Berlichingen" (1773), which first brought him fame, and "The Sorrows of Young Werther," a novel which obtained enormous popularity during the so-called "Sturm und Drang" period. During the years at Weimar before he knew Schiller he began "Wilhelm Meister," wrote the dramas, "Iphigenie," "Egmont," and "Torquato Tasso," and his "Reinecke Fuchs." To the period of his friendship with Schiller belong the continuation of "Wilhelm Meister," the beautiful idyl of "Hermann and Dorothea," and the "Roman Elegies." In the last period, between Schiller's death in 1805 and his own, appeared "Faust," "Elective Affinities," his autobiographical "Dichtung und Wahrheit" ("Poetry and Truth"), his "Italian Journey," much scientific work, and a series of treatises on German Art.