West-Östlicher Divan: Eigenhändige Niederschriften, Vol. I; Vol. II. Johann Wolfgang von Goethe and Katharina Mommsen.

1997 ◽  
Vol 28 (4) ◽  
pp. 253-254
Author(s):  
Martin Bidney
Keyword(s):  
Johann Wolfgang Von Goethe

Şarlatan Yolcusu ve Göç Edebiyatı: Çatışma Modeli bağlamında bir okuma

2018 ◽  
Vol 5 (2) ◽  
pp. 175-184
Author(s):  
Onur Kemal Bazarkaya
Keyword(s):  
Johann Wolfgang Von Goethe ◽  
German Literature ◽  
Scientific Discourse ◽  
Friedrich Schiller ◽  
Migration Literature ◽  
Modern Times ◽  
Christoph Martin Wieland ◽  
Conflict Model ◽  
Ideal Standards ◽  
And Migration

Orta Çağdan hemen sonra gelen Yeni Çağın başlarındaki bilimsel tartışmalarda şarlatanlar çok büyük bir önem taşırdı; çünkü o dönemde söz sahibi olan bilim insanları onları olumsuz örnekler olarak görür ve bu olumsuzlukları kullanarak bilim için ideal ölçütler saptarlardı. Bilimde bu şekilde “negatif figür” (Hole Rößler) olarak gösterilen şarlatanlar, edebiyatta daha çeşitli ve kompleks biçimlerde ortaya çıkmakta, hatta kimi zaman karizmatik kişilikler olarak tasvir edilmektedir. Bu durum özellikle şarlatan figürünün yoğun bir şekilde sahnelendiği Alman Edebiyatında 18. yüzyılın sonlarında, 19. yüzyılın başlarında görülmektedir. Aynı zamanda söz konusu devirde yazılmış eserlerdeki şarlatanların neredeyse hiçbirinin yerleşik yaşam insanı olmadığı göze çarpmaktadır. Bitmeyen yolculukları gibi bu bağlamda sürekli kıyafet değiştirmeleri ve rol yapmaları da onların kişiliklerine esrarengiz bir hava katmaktadır. Bu çalışmada, Christoph Martin Wieland, Friedrich Schiller ve Johann Wolfgang von Goethe’ye ait eserlerdeki şarlatan karakterinin farklı işlevleri irdelenecektir. Çalışmanın sonucunda şimdiye kadar gözardı edilmiş şarlatan figürüyle birlikte Göç Edebiyatı kapsamındaki araştırmalara yeni bir bakış açısı kazandırmak hedeflendirmektedir.ABSTRACT IN ENGLISHCharlatan Traveller and Migration Literature: A Reading with the Conflict Model At the beginning of modern times, charlatans emerged as of great importance to the scientific discourse of those spokesmen of the scholar community who use them as negative examples and thus define ideal standards for their profession. Charlatans were seen as “negative figures” (Hole Rößler) in science; however, the way they were judged in literature was more complex and varied, and, in some texts, they even seem congenial and charismatic. This phenomenon can be noticed in German literature especially around 1800 when the charlatan figure is used very often. Moreover, it is conspicuous that charlatans in literary depictions of this period generally have no home and travel around constantly. Furthermore, the fact that they change their clothing and camouflage permanently offers to their identity a mysterious dimension. In the field of studies designated as ,Literature and Migration’, this paper aims to provide interpretative perspectives and, in this respect, examines the issue concerning the poetic functions of charlatan travellers as rendered textually in a number of relevant passages chosen from the works of Christoph Martin Wieland, Friedrich Schiller, and Johann Wolfgang von Goethe. 

Afterword: Whose Culture? Whose History? Whose Music?

2011 ◽  
pp. 549-561
Author(s):  
Michael P. Steinberg
Keyword(s):  
Johann Wolfgang Von Goethe ◽  
Middle Eastern ◽  
The West ◽  
The World

This article discusses the West-Eastern Divan Orchestra, a musical group composed of various musicians from Palestine and other Middle Eastern countries. They show how music is a thing of the world, through their performances of works by various composers, such as Johann Wolfgang von Goethe. The article takes a look at the double agenda of the Divan, its pedagogical transformations, and their translations, techniques, and use of melancholy.

"Zarte Empirie"

Janus Head ◽  
2005 ◽  
Vol 8 (1) ◽  
pp. 58-76
Author(s):  
Daniel C. Wahl ◽  
Keyword(s):  
Johann Wolfgang Von Goethe ◽  
Scientific Work ◽  
Way Of Knowing

This paper explores the 'delicate empiricism' proposed by Johann Wolfgang von Goethe. Goethe's scientific work provided an alternative epistemology to that of conventional science. The author discusses the Goethean way of knowing. Particular emphasis is given to the changed understanding of process, form and participation that results from employing the epistemology expressed by Goethe. A methodology for Goethean science is introduced and its applications and their implications are explored. Goethe's "zarte Empirie" — his delicate empiricism - legitimises and organizes the role of imagination, intuition and inspiration in science. It may contribute significantly to the emerging participatory and holistic worldview, and to providing knowledge that is in tune with nature. This paper explores how and why.

Anthology of Goethe Songs

10.31022/n023 ◽  
1994 ◽  
Keyword(s):  
Eighteenth Century ◽  
Johann Wolfgang Von Goethe ◽  
Art Music ◽  
Ferruccio Busoni ◽  
Late Eighteenth Century ◽  
Late Eighteenth ◽  
German Art ◽  
History Of ◽  
Voice And Piano

Few poets have had so profound an influence on the history of German art music as Johann Wolfgang von Goethe. Since the late eighteenth century, over seven hundred of his poems have been set by nearly six hundred composers as lieder for voice and piano. This anthology gathers twenty-two such settings, in a wide variety of styles, by composers ranging from Goethe's friend Carl Zelter to Hans von Bülow, Ferruccio Busoni, and Othmar Schoeck.

Anschauung and the Archetype

Janus Head ◽  
2005 ◽  
Vol 8 (1) ◽  
pp. 254-270
Author(s):  
Malte C. Ebach ◽  
Keyword(s):  
Johann Wolfgang Von Goethe ◽  
Comparative Biology ◽  
The Future

Comparative biology is afield that deals with morphology. Johann Wolfgang von Goethe recognised comparative biology, not as a passive science obsessed with counting similarities as it is today, but as an active field wherein he sought to perceive the inter-relationships of individual organisms to the organic whole, which he termed the archetype. I submit that Goethe's archetype and his application of a technique termed the Anschauung are rigorous and significant ways to conduct delicate empiricism in comparative biology. The future of comparative biology lies in the use of the Anschauung to communicate the archetype as a set of inter-relationships of homologues that we perceive intuitively. In this essay I present how the extension of our own intuitive perception forms the foundations of a method for seeing and discovering the archetype in comparative biology.

“A History of Man and His Desire”: Ferruccio Busoni and Faust

2017 ◽  
Vol 41 (2) ◽  
pp. 151-179
Author(s):  
Erinn Knyt
Keyword(s):  
Twentieth Century ◽  
Detailed Analysis ◽  
Johann Wolfgang Von Goethe ◽  
Christopher Marlowe ◽  
Dark Side ◽  
Ferruccio Busoni ◽  
Dance Suite ◽  
History Of ◽  
Alter Ego ◽  
The Devil

Relying on knowledge of Karl Engel's edition of the Volksschauspiel, Karl Simrock's version of the puppet play, Gotthold Lessing's Faust fragments, and versions of the Faust legend by Christopher Marlowe and Johann Wolfgang von Goethe, among others, Ferruccio Busoni crafted his own hybrid libretto that depicts a mystical and broadminded Faust. Busoni's music reflects the richness of Faust's mind, combining heterogeneous timbres, forms, and styles. Busoni juxtaposes a Gregorian Credo, Palestrina-style choral settings, a reformation hymn, a Baroque instrumental dance suite, an organ fantasia, recitatives, a lyrical ballad, and orchestral variations, with impressionistic symphonic writing, and experimental passages. While stylistic heterogeneity can be heard throughout many of his mature instrumental and vocal works, Busoni also used this heterogeneity in a descriptive way in Doktor Faust to characterize Faust. At the same time, Busoni sought to write “a history of man and his desire” rather than of a man and the devil. It is Faust's own dark side, rather than the devil, that distracts him and prevents him from completing his greatest work. With Kaspar removed from the plot, Mephistopheles, who as spirit is not always distinct from Faust the man, becomes Faust's alter ego. This duality is expressed musically when Faust assumes Mephistopheles's characteristic intervals. Although Busoni's incomplete Doktor Faust, BV 303, has already been studied by several scholars, including Antony Beaumont, Nancy Chamness, and Susan Fontaine, there is still no detailed analysis of Busoni's treatment of Faust. Through analyses of autobiographical connections, Busoni's early settings of Faustian characters, and the text and music in Doktor Faust, with special attention on the Wittenberg Tavern Scene that has no precedent among the versions of the Faust legend, this article reveals Busoni's vision of Faust as a broadminded, and yet conflicted character, shaped idiosyncratically to convey Busoni's personal artistic ideals. In so doing, the article not only contributes to ongoing discourse about Doktor Faust, but also expands knowledge about ways the Faust legend was interpreted and set musically in the early twentieth century through intertextual comparisons.

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