Joseph von Eichendorff. Poemas em tradução

Joseph von Eichendorff nasceu em 1788 e faleceu em 1857. Na historiografia da literatura de expressão alemã, Eichendorff se encontra entre as mais importantes vozes do Romantismo, ao lado de escritores como Novalis, Ludwig Tieck, Clemens Brentano, Adelbert von Chamisso ou Wilhelm Müller. A presente tradução apresenta vinte poemas de Eichendorff, todos eles canônicos e com uma recepção intensa no espaço cultural de língua alemã. A tradução não recria a estruturação formal dos poemas, optando por uma versão literal dos textos. Sem a riqueza das rimas e sem a estruturação rítmica, a tradução perde uma dimensão central da estética de Eichendorff, mas a despeito dessa perda talvez possa contribuir para um primeiro acesso a seus poemas e para a intensificação de sua recepção. Muitos de seus poemas falam de solidão, fragmentação ou falta de pertencimento, mas também de afirmação existencial no contato com a beleza da natureza e do mundo.

Romanticism: Characteristics, Themes and Poets

This paper examines about Romanticism or Romantic era, themes and some famous writers, poets and poems of romantic era. Romanticism is one of the repetitive topics that are connected to either creative mind, vision, motivation, instinct, or independence. The subject frequently condemns the past, worries upon reasonableness, disconnection of the essayist and pays tribute to nature. Gone before by Enlightenment, Romanticism brought crisp verse as well as extraordinary books in English Literature. Begun from England and spread all through Europe including the United States, the Romantic development incorporates well known journalists, for example, William Wordsworth, Coleridge, Keats, Lord Byron, Shelley, Chatterton, and Hawthorne. ‘Romantic’ has been adjusted from the French word romaunt that implies a story of Chivalry. After two German scholars Schlegel siblings utilized this word for verse, it changed into a development like an epidemic and spread all through Europe. Romanticism in English writing started during the 1790s with the distribution of the Lyrical Ballads of William Wordsworth and Samuel Taylor Coleridge. Wordsworth's "Preface" to the subsequent version (1800) of Lyrical Ballads, in which he portrayed verse as the spontaneous overflow of powerful feelings", turned into the statement of the English Romantic development in verse. The first phase of the Romantic movement in Germany was set apart by advancements in both substance and artistic style and by a distraction with the mysterious, the intuitive and the heavenly. An abundance of abilities, including Friedrich Hölderlin, the early Johann Wolfgang von Goethe, Jean Paul, Novalis, Ludwig Tieck, A.W. what's more, Friedrich Schlegel, Wilhelm Heinrich Wackenroder, and Friedrich Schelling, have a place with this first phase. The second phase of Romanticism, involving the period from around 1805 to the 1830s, was set apart by a reviving of social patriotism and another regard for national roots, as bore witness to by the accumulation and impersonation of local old stories, people songs and verse, society move and music, and even recently disregarded medieval and Renaissance works. The resuscitated recorded appreciation was converted into creative composition by Sir Walter Scott, who is frequently considered to have imagined the verifiable novel. At about this equivalent time English Romantic verse had arrived at its peak in progress of John Keats, Lord Byron, and Percy Bysshe Shelley.

The Wilderness 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.

Tannengrund und Wald

Artikelbeginn:[English title and abstract below] In Ludwig Tiecks Die Elfen (1812) und E.T.A. Hoffmanns Das fremde Kind (1817) nehmen Naturräume eine zentrale Position ein. Insbesondere der Wald ist als ein Kindheitsraum besetzt, der ambivalent konnotiert ist. Im Wald können sich die kindlichen Figuren fernab der Eltern autonom bewegen, dennoch geht diese Raumaneignung auch mit bedrohlichen Erfahrungen einher, die die aufstörenden Ablösungsprozesse in der Kindheit verdeutlichen. Into the WoodsConstructions of Fragile Childhood in Ludwig Tieck’s Die Elfen and E.T.A . Hoffmann’s Das fremde Kind In Die Elfen (1812) by Ludwig Tieck and Das fremde Kind (1817) by E.T.A. Hoffmann, natural spaces occupy a central position in terms of the spatial semantic field of the texts. As a narrative element, they fulfil complex functions that go beyond the mere spatial dimension. The forest, in particular, is rendered as a childhood space with ambivalent connotations and functions. Although the childlike figures can move autonomously within the forest – far away from their parents – this spatialisation is nevertheless accompanied by threatening experiences that reflect the disturbing process of detachment from childhood. This article examines the spatial construction of Hoffmann’s and Tieck’s texts by rereading both literary fairy tales from a topographical perspective in order, on the one hand, to trace the spatial semantic order (Yuri Lotman) and interstices (Michel Foucault) and, on the other, to discuss the associated notions of childhood. It also seeks to make recent German-language research on Romanticism, which has been informed by cultural studies, productive for children’s and young adult literature research. The idea of Romantic childhood as a utopia must, in the wake of the work of Detlef Kremer and Andreas Kilcher, be differentiated and brought into line with current research on Romanticism.

Shakespeare-Ausgaben der Deutschen Shakespeare-Gesellschaft: 1867 bis zur Jahrhundertwende

The article discusses the various German Shakespeare editions produced by the Deutsche Shakespeare-Gesellschaft (German Shakespeare Society) between its foundation in April 1864 and the end of the 19th century. The society’s eclectic editorial output ranged from a critical edition in 12 volumes (1867–1871), through multi-volume editions for the theatre and for German families (1870–1878), to a cheap one-volume edition (1891). All these editions were based on the Shakespeare translations of August Wilhelm Schlegel and Ludwig Tieck and his circle (Dorothea Tieck and Wolf Heinrich Friedrich Karl Graf von Baudissin), published by the Reimer Publishing House in Leipzig. The editors corrected, revised, expurgated, or even replaced these versions with their own new translations in order to meet the various needs and requirements of their consumers.

Romantic Fungi and Other Useless Things: Arnold, Tieck, Keats

The following study centres on the motif of the mushroom in romantic poetry, discussing the questions of meaning, use, and indeterminacy that it raises. By analyzing the work of Matthew Arnold, Ludwig Tieck, and John Keats, the article outlines a particular field of semiosis, initially sought out in the border zone between natural and artificial. Importantly, however, each of the examples also actualize a disturbance in that field, suggestive of a poetic capacity beyond the dictum of functionality and efficacy. The investigation furthermore documents a fixation with detail, attempting to theorize its allure with the aid of Roland Barthes and his concept of the ‘third meaning’. Connecting the affective ‘sting’ of the detail with the question of poetic non-function, the study ultimately proposes that a concern for the reading and writing body might fill the space of meaning vacated by poets such as Tieck and Keats.