Joseph von Eichendorff: 'Aus dem Leben eines Taugenichts'. Text, Materialien, Kommentar

1978 ◽  
Vol 73 (4) ◽  
pp. 950
Author(s):  
Anthony J. Harper ◽  
Carel ter Haar
Keyword(s):  
Joseph Von Eichendorff

Natura loquitur. Naturpoesie und emblematische Formel bei Joseph von Eichendorff

1971 ◽  
Vol 66 (1) ◽  
pp. 222
Author(s):  
Elisabeth Stopp ◽  
Alexander von Bormann
Keyword(s):  
Joseph Von Eichendorff

Ein anderer Pygmalion – Techniken der Kunstbelebung in Joseph von Eichendorffs Das Marmorbild, Oscar Wildes The Picture of Dorian Gray und Georg Heyms Der Dieb

2013 ◽  
Vol 48 (2) ◽  
Author(s):  
Julia Genz
Keyword(s):  
Twentieth Century ◽  
Eighteenth Century ◽  
Oscar Wilde ◽  
Main Issue ◽  
Crucial Point ◽  
Joseph Von Eichendorff ◽  
Picture Of Dorian Gray ◽  
Dorian Gray ◽  
Narrative Techniques

AbstractThe main issue of the Pygmalion myth is the vitalisation of an artificial woman. In Ovid’s Metamorphoses it is motivated by the intervention of Venus. This article deals with Pygmalion-like protagonists since 1800, in which the crucial point of vitalisation is no longer based on divine volition but on semiotic theories that Winckelmann, Lessing, Goethe and others used in the eighteenth century. In these cases, the protagonist’s perspective gives rise to the impression of vivification. The examples of Joseph von Eichendorff, Oscar Wilde and Georg Heym show that this shift also had an impact on the narrative techniques, for their concreteness allows the reader to retrace the vivification of the figures himself. In the twentieth century Georg Heym modernised the techniques of the eighteenth century by connecting them with associations of the new medium film. In the course of time the pygmalionic observer turns into a pygmalionic narrator, whose narration obtains with the aid of the reader an enormous vitality.

The Wilderness at Home

2021 ◽  
pp. 15-34
Author(s):  
Amanda Lalonde
Keyword(s):  
Music Culture ◽  
Ludwig Tieck ◽  
Joseph Von Eichendorff ◽  
At Home

Fanny Hensel’s songs on the theme of the German Romantic forest emphasize the transportive and emotive functions of music in Waldromantik (woods-romanticism) literature. In works by Joseph von Eichendorff and Ludwig Tieck, music announces the merging of the woods with the supernatural or the transcendent and also suggests human bewilderment or ecstasy in the midst of that experience. This chapter shows how, in “Morgenständchen” and the Anklänge cycle, Hensel accordingly centers her songs on the texts’ moments of sonic revelation, and creates a sense of expansiveness through harmonic adventurousness, dramatic ascents, textural juxtapositions, and musical allusions. Furthermore, these songs extend the worlds of their texts by providing glimpses of the unknown or by suggesting that domestic music performances are themselves implicated in the narrative. By enfolding distant realms into the home, these songs might be understood as subtly defying the gendered containment of domestic music culture.

Joseph von Eichendorff

1984 ◽  
Vol 57 (4) ◽  
pp. 660
Author(s):  
Oskar Seidlin ◽  
Christoph Wetzel ◽  
W. Fruhwald ◽  
F. Heiduk ◽  
H. Koopmann
Keyword(s):  
Joseph Von Eichendorff
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