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The transition from the 18th to the 19th century saw significant contributions to the advancement of weather and climate sciences. Proposed interpretations of nature showed the influence of the philosophical ideas of the time. Authors such as Kant, Laplace, and Humboldt developed their theories on nature, which evolved the concepts of environmentalism of the time. In this context, Goethe published different writings on the importance of nature and its constituent elements, including the atmosphere, which merited the writing of a treatise on meteorology with novel ideas on atmospheric dynamics. With an exquisite education, Goethe developed his work in a cultural and scientific context -Weimar-propitious to promoting the arts and sciences. He participated in the activities of the Jena Circle and played an active role in the political life of the time. Goethe's contributions to the theory of nature and the understanding of atmospheric issues established a necessary intellectual link between Kantian idealism and the scientific empiricism practiced by Humboldt in the first decades of the 19th century. This work analyses the cultural and social context in which Goethe's ideas on nature developed and, in particular, on atmospheric aspects whose study and interpretation marked the life of the German polymath. [ABSTRACT FROM AUTHOR]

Copyright of ANIAV: Revista de Investigación en Artes Visuales is the property of Universidad Politecnica de Valencia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

El mito de Fausto se origina a partir del texto que Johann Wolfgang von Goethe publica en 1808; antes de que aparezca la segunda parte, y todavía en vida del escritor, su obra es ya famosa y comienza un amplio recorrido de versiones, que se centran fundamentalmente en los ámbitos musical y escénico. Eugène Delacroix (Francia, 1798-1863) la convierte en 1828 en obra visual con la publicación del libro de artista donde interpreta en 17 litografías las escenas que más le interesan. Miquel Barceló (Felanitx, 1957) emprende el mismo reto en 2018. Realiza 72 acuarelas que, tras la lectura visual comparada, reflejan las coincidencias emocionales o espirituales de ambos creadores, algo que se manifiesta en el marcado paralelismo que mantienen sus trayectorias. La lectura comparada de ambas propuestas visuales permite concluir cómo sus diferentes planteamientos artísticos se alían y complementan.

Goethe's first drama written in the wake of the French Revolution, Der Groß-Cophta, has garnered little favor from audiences and scholars since its first publication. This essay argues that Goethe's comedy inverts fundamental dramaturgical conventions of tragedy, revealing a social and political world in collapse. It shows that patterns of literary figuration first articulated in Der Groß-Cophta extend across several of Goethe's literary engagements with revolutionary tumult. Confidence men and narratives of lost innocence emerge as crucial elements in Goethe's diagnosis of the disintegration of ethical life responsible for the demise of the ancien régime. [ABSTRACT FROM AUTHOR]

The essay argues that Lessing's Nathan der Weise, Goethe's Iphigenie auf Tauris, and Mozart's and Schikaneder's Die Zauberflöte—products of a slightly dilated decade (1779–91)—realize a single morphological type. The analysis of this dramatic morphology starts out from a functional component within the dramatic action of all three works: the enchanting power of the image. From this point de départ, it is possible to disclose the morphological structure of dramatic action variously concretized in the surface manifestations of the plays. The three masterpieces of the Enlightenment theater can thus be shown to share a dramatic project that is here understood as the mimesis of therapeutic action. [ABSTRACT FROM AUTHOR]

The basis of the concept of intertextual approach, intertextual relationship, intertextual reading method, intertextual understanding, intertextual criticism method and intertextuality, which is used with titles such as intertextuality, can be traced back to the first written texts. The idea that a text cannot be independent from another text, and the discussions that started with the idea that there are some relations between texts, have made this concept one of the methods of criticism by evaluating it under a scientific view in the last century. The aim of this study is to compare Faust, one of the theatrical works of English literature written in the 16th century and written by Christopher Marlowe, and the rewriting of Faust by Johann Wolfgang von Goethe, a writer from a different culture, by using the data of comparative literary science with the method of intertextual criticism [ABSTRACT FROM AUTHOR]

The article examines the process that led to the erection in 1871 of the monument to Friedrich Schiller in the Gendarmenmarkt in Berlin. In the twelve years that passed between the conception of the monument and the unveiling, the project was dogged by disputes about its legitimacy and the form it should take. The undercurrent of these disputes was political, reflecting tensions between liberal and conservative opinion in the period. After tracing the history of the project, the article concludes with broader reflections on the place of public monuments in the commemorative culture of our own time. [ABSTRACT FROM AUTHOR]

In this essay, Goethe's early historical plays, Götz von Berlichingen, published in 1773, and Egmont, published only in 1787, are compared. So far, scholarly work has not recognized enough of the differences between both works. Goethe's intellectual development from the young Storm and Stress writer of Götz to the publication of Egmont fourteen years later has not been considered sufficiently. Goethe's development is clearly reflected in his protagonists' deeds and intentions. Goethe's Götz fights predominantly for his own rights and his family. Egmont aims higher; he is more concerned with the welfare state of society and reflects on political issues Götz is unable to consider. Moreover, Goethe takes, in both cases, poetic license to create a different picture of his protagonists' failures than historical sources provide. This finally leads to the introduction of the term preclassic to differentiate between Götz and Egmont. [ABSTRACT FROM AUTHOR]

Both Wilhelm Meisters Lehrjahre and Great Expectations suggest the possibility of individual growth and formation leading to maturity and fulfilment, but in each case the hero's development is problematic. Progress is not linear; it is marked by detours and is threatened or undercut by elements of stasis when time – and life – seems to stop, but equally the hero's development seems to depend on these moments of stasis. In Wilhelm Meisters Lehrjahre a number of characters close to Wilhelm, primarily female characters, demonstrate an inability or refusal to engage with life that may be associated with sickness, introversion or the inability to manage past trauma – or indeed the transcendence offered by art and beauty. In Great Expectations Pip's development as a moral person is undercut by his illusion that the deathly Miss Haversham has plans to provide him with the wealth and social status to put him on a level with Estella. His social advancement as 'a gentleman' thus hinders his true development as a moral person and produces a temporary moral stasis. Nevertheless, in both novels the female characters associated with stasis play an essential part in setting the hero on a course that promises positive development and self-fulfilment. In the end, though, neither author is entirely able to resolve the tensions within their idea of development, which seems to run counter to the idea of stasis but also, somehow, to require it: correspondingly, the endings of both novels are open and uncertain. [ABSTRACT FROM AUTHOR]

Peter F.Schmid's sequel to Goethe's Faust imagines Faust's 'inner world' and his aspiration to become a psychotherapist of the whole of humankind who saves the world from evil. It is argued that Schmid's Faust is a literary text that provides a sidelong glance at psychotherapy since it offers a vision of reality that is primarily a dynamic, dialogical and intersubjective process, which leads to shifts in shared meanings. First, I discuss the nature of Faust's transformation in both Goethe's and Schmid's versions of Faust. Second, I refer to Schmid's characterization of Faust's 'inner world' and the challenges he faces in becoming a psychotherapist. Third, I discuss the dialectics of mutual tension, in particular, of affinity and alienation, in the relationship between Faust and Mephistopheles, the devil. Fourth, I compare Goethe's and Schmid's concepts of evil and the extent to which they reflect an inherent aspect of the human condition. Finally, I discuss their understanding of the spiritual dimension of Faust's transformation in which he attempts to transcend his limitations as a human being and engage relationally in a process of becoming. [ABSTRACT FROM AUTHOR]

While popularly known for his works of literature and poetry, Johann Wolfgang von Goethe viewed his lesser-known scientific pieces as his most enduring achievement. I will argue that Goethe's unique scientific methodology is informed by a metaphysical commitment to a form of Platonism and that Goethe provides an intriguing alternative paradigm that unifies science, philosophy, theology, and ethics. I begin by demonstrating how Goethe's concept of the Urphänomen offers a Platonic conception of natural beings. I then briefly outline how this alternative scientific approach ultimately derives from his Platonic commitments. Next, I demonstrate the ethical and spiritual implications of Goethean science, establishing that Goethe's approach bridges the divide between our scientific endeavors and spiritual formation. There is, then, a continued relevance for Goethe in conversations regarding ecological ethics and our perception of nature. [ABSTRACT FROM AUTHOR]

Since the late 18th century, an organismic perspective has been contrasted with a mechanistic perspective. In the former, the whole dominates the parts, while in the latter, the parts dominate the whole. An organismic perspective further sees wholes as self-directed processes of progressive formation (Bildung) rather than as static configurations or forms (Gestalten). In sum, the organismic perspective focuses on living, developing, and interconnected wholes, in contrast to mechanical causality. This article explores the roots of the organismic perspective in Johann Wolfgang von Goethe's scientific work (esp., his morphology), follows its influence through the 19th century, and highlights intersections within 20th-century psychology, particularly Heinz Werner's organismic–developmental theory. Some key commonalities are a focus on the primacy of the whole, processes over products, the genetic method, (dis)continuities and transitions in development, the primordial unity of the senses, and the making of developmental comparisons. The organismic approach can be used today to revitalize our understanding of the dynamic constitution of culture and mind. [ABSTRACT FROM AUTHOR]

This essay underscores the importance of seeking refuge in literary aesthetics by arguing that Goethe's concept of world literature was formulated in compensation for the shock of military defeat, political collapse, and foreign occupation. The refugee became a figure of identification in Goethe's writing in the 1790s and his Orientalist Nachdichtungen. The Goethean mode of reading distant literatures entails identifying with other writers who are often already marginalized within their own cultures. This manner of engaging with non-European texts refuses to establish a pantheon of great works precisely because it relies on a writerly interest in rediscovering one's own identity by reading foreign literature from a position of insecurity and weakness. The goal of reading is always the reconstruction of the self through a strange text. With its eagerness to establish a monumental cultural figure, the nineteenth and early twentieth-century canon marginalized precisely those unGerman texts in which Goethe most effectively dismantled his own authorial status. Only with the demise of colonial empires and the defeat of Nazi Germany did a more modest, anti-hegemonic mode of reading remerge. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Language & Literary Studies / Folia Linguistica & Litteraria is the property of Journal of Language & Literary Studies / Folia Linguistica & Litteraria and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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Copyright of Antik Tanulmanyok is the property of Akademiai Kiado and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Can joy be as philosophical in literature as melancholy? The article is devoted to this question. In discussing the issue, the author focuses in particular on the 18th century and Johann Wolfgang Goethe’s novel The Sorrows of Young Werther. The publication of this novel and its reception can be considered as a turning point in the history of so-called high literature, which from then on will generally favor melancholy as the central existential human experience, and as the most philosophical one.

Goethe hat 1827 in seiner Überarbeitung des Originalmanuskripts vom Helena-Akt in Faust II das Leben, das Schicksal und die Persönlichkeit von Helena erweitert und ihr Würde und Menschlichkeit verliehen. Inzwischen befasste sich Goethe mit der Lektüre der klassischen chinesischen Literatur, was zur Schaffung von seinem Werk Chinesisches führte. Goethe stattete die klassischen Schönheiten mit einem vergleichbaren Schicksal und ähnlichen ästhetischen Eigenschaften aus wie die Helena. In seiner Rekonstruktion von Helena und den chinesischen klassischen Schönheiten schwächte Goethe deren nationale literarische Identität und betont die Universalität der Menschheit. Die Tatsache, dass der Helena-Akt schließlich zu einer ästhetischen Tragödie wird, die die allgemeine menschliche Situation widerspiegelt, ist im Wesentlichen auf die Perspektive der Weltliteratur zurückzuführen, die Goethe in seinen späteren Jahren im Zuge der Aufarbeitung des klassischen Ideals entwickelte.

İntihar kavramı neredeyse yazılı tarihten bugüne bilinen bir kavram olup önleyici çalışılmasına karşın artışı durdurulamamıştır. Bu çalışmada intihar kavramı çok yönlü olarak Genç Werther’in acıları kitabı çerçevesinde incelenmeye çalışılmıştır. İntiharın oluşum sürecinde biyo-psiko-sosyal bir çok faktör etkili olmaktadır. Bunlar genetik, sosyal öğrenme, endokrinoloji, yaklaşımlar ve risk faktörleri olarak belirtilmektedir. İntihar her dönemde ilgi çekici ve dinamiği güncel bir konu olduğu için yapılan çalışmalara sık karşılaşılsa da doküman analizi ile yapılan çalışma sayısının kısıtlı olduğu gözlenmiştir. Romanın başkarakteri olan Werther intihar sürecinde literatür bulguları ile benzer olan pek çok faktörden etkilenmiştir. Bu faktörler; dürtüsellik, sosyal öğrenme, cinsiyet, yaş aralığı, umutsuzluk, hayatın anlamını sorgulama, öfke ve saldırganlık, bilişsel çarpıtmalar, yetersiz iletişim becerileri, dini inançlar ve acıdan kaçınma şeklinde sınıflandırılabilmektedir. Werther intihar eyleminde bulunmadan önce intihar düşünceleri ve denemesinde bulunmuştur. Birçok intihar eyleminde bulunan bireyler gibi veda mektubu yazmış ve geride kalanlar için iyi dileklerde bulunmuştur.

Walter Benjamin called Felix Noeggerath (1885-1960) the “universal genius” or simply “genius.” In his 1916 treatise “Synthesis and the Concept of System in Philosophy,” Noeggerath offered a reading of Kant’s concept of synthesis in an original and radical manner. He dares to confront thought with the incommensurability of atheoretical Being. The linkage between logic and incommensurability is what he calls rationalism. In contradiction to this claim, any attempt to exclude atheoretical Being from the realm of logic is anti-rationalism. Noeggerath elaborates on this in a penetrating discussion and modification of epistemological positions, especially those of the Marburg School and Hermann Cohen. Noeggerath constructs a notion of the philosophical system with the help of Kant’s three tables of transcendental judgements, categories, and principles in the Critique of Pure Reason. Each of these tables is known to contain 12 individual elements in four groups of three each. For the systematic division, the third group under the title “Relation” is decisive. Noeggerath assigns one systemic part to each kind of relation: “For it is to be connected: the categorical relation with ethics, the hypothetical with logic, and the disjunctive with aesthetics.” As a result the classical sequence, beginning with logic, is changed. “The order of the limbs is: a) ethics, b) logic, c) aesthetics.” In Noeggerath’s logical outline, specific mathematical concepts of meta-geometry play a decisive role. According to him, philosophy can resemble their preciseness in building a viable concept of the infinite. The prerequisite is that philosophy does not itself behave mathematically but proceeds along its own path in critical distance to the “specialized, act-kindred thinking” of the mathematician.

RESUMO Este ensaio enfoca o poema “A máquina do mundo”, de C. Drummond de Andrade, no contexto da literatura mundial, aproximando-o em especial do Fausto de Goethe. O ensaio também discute algumas facetas da resistência que, em reflexões teóricas de Alfredo Bosi, pode emanar do gênero lírico. Nessa perspectiva, o poema é ainda relacionado a duas devastadoras catástrofes ecológicas na história recente do Brasil, causadas por uma corporação contra a qual a biografia do poeta registra longo embate.

The article discusses a curious case of the reception of Goethe in Russia in the late 19th century — the first translation of “Conversations with Goethe” (1891), authored by D.V. Averkiev and commissioned by A.S. Suvorin. Taking the expectations of the implicit reader into account had made his newspaper and publishing house one of most successful Russian enterprises by the turn of the century. It also aligned with Averkiev’s Kulturträger attitude, both as a writer who introduced the public to the culture and everyday life of old Russia and as a translator who familiarized it with the achievements of Western European literature and science. In his translation Averkiev utilized an intermediate text, namely É. Delerot’s translation of the “Conversations” into French. He transferred not only its structural features, but also the skeptical opinion of Eckermann’s personality expressed by C.A. Sainte-Beuve in his letter to G. Charpentier. By reducing the original text, extending his translation with materials from Goethe’s correspondence and recollections about him, Delerot corrected the “wrong” genre of the source text — with the ideal seen in J. Boswell’s book on S. Johnson. Averkiev retained the essential features of the intermediate text, but complemented it with his own article as well as footnotes bringing the text closer to Russian understanding. He expanded some footnotes into detailed comments on the history of literature and theatre, which he specialized in. Having emerged in the depths of a fading culture, Averkiev’s translation anticipated the future explorations of Russian modernism, whose representatives studied the personality of Goethe via his translation and quoted the German writer’s conversations in his interpretation.

Confusion, effroi, destruction, asservissement, ces caractéristiques du méchant sont largement développées dans le théâtre de Goethe. Nous distinguons trois aspects du méchant dans trois œuvres théâtrales de Goethe : le méchant animal magique, le méchant manipulateur et le méchant pitoyable. Le Satyros de la farce éponyme, un hybride sauvage, utilise la confusion des sens pour soumettre le peuple à ses désirs libidineux. Dans Faust, Méphistophélès est envoyé par le diable pour conduire Faust à la damnation. Le comte Rostro du Grand Cophte illusionniste, impliqué dans l’affaire du collier de la reine, manipule ses adeptes lors de mises en scènes grandioses. Au-delà des apparences, le poète sait entretenir une riche ambiguïté qui révèle la vision théâtralisée élargie d’un tout morphologique.

Este ensayo comenzó con mi encuentro con la pintura de Hishida Shunsō, quien fue contemporáneo de Nishida Kitarō y de su amigo de la infancia, el erudito y esteta de múltiples talentos Fujioka Sakutarō. Tenía curiosidad por saber si había un hilo conductor en estas mentes creativas, mientras respiraban el Zeitgeist del período Meiji. El tío de Nishida (en la ley), y más tarde su suegro, Tokuda Tagayasu, se formó en el estilo de pintura occidental. Nishida desarrolló su apreciación del proceso creativo artístico a través de él. Esta familiaridad finalmente floreció en su filosofía del arte y la producción de cosas. El experimento de Goethe de desarrollarse como artista a los cuarenta años (ver su Viaje por Italia) explica la "diferenciación y desarrollo" de la noción de "experiencia pura de Nishida. Fujioka Sakutarō reconoció el talento inusual de Hishida Shunsō, un artista relativamente desconocido en ese momento. Shunsō era un pintor de mentalidad analítica que experimentaba con todo tipo de materiales y técnicas pictóricas, convencido de que el arte (la pintura, en su caso) era trasladar la "imagen mental" del artista al lienzo. El hilo invisible que recorrió a Nishida, Fujioka y Shunsō, el Zeitgeist del período Meiji, fue un espíritu intelectual de apertura, una actitud progresista que abrazó con entusiasmo el mundo global, al mismo tiempo que mantenía conscientemente la tradición. Nishida, Fujioka y Shunsō persiguieron una nueva forma de experimentar el mundo, cultivando conscientemente una "nueva sensibilidad para las ideas" (lumen mentis), mientras que los pintores se esforzaron por capturar la "calidad de la luz" (lumen) y el aire.

In exploring the relationship between the artist and ethics this extended paper compares the role of the two protagonists, Lotte and Goethe, in Mann's novel, with particular reference to the concepts of 'Wiederholung' and recreation. The statement 'Aber aus Küssen werden keine Kinder' serves as a leitmotiv, treating Lotte's 'Menschlichkeit' with specific reference to her 'Weiblichkeit' in comparison to Goethe's artistic 'Lebenserneuerung aus dem Geist'. Mann's work on this novel will be discussed within the framework of German fascism, experienced mainly during his exile in America. A shorter form of this paper was given at the annual conference of the Association of German Studies in Nottingham (5th to 7th September 2022). [ABSTRACT FROM AUTHOR]

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Copyright of RumeliDE Journal of Language & Literature Research / RumeliDE Dil ve Edebiyat Araştırmaları Dergisi is the property of RumeliDE Uluslararasi Hakemli Dil & Edebiyat Arastirmalari Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Māori writer Pei Te Hurinui Jones's biography of a famous nineteenth-century composer was published serially in the government magazine Te Ao Hou and then in 1961 as Puhiwahine: Māori poetess. The final section of the biography is written in dramatic form: the author is interrupted at his desk by the "ghost of Goethe," who, it had been rumored, was the father of Puhiwahine's husband. Following other genealogies—especially those connected to the origins of comparative literature—we might say Goethe's ghost had already "enter[ed]" this place. In 1886, Irish scholar Hutcheson Macaulay Posnett arrived in Auckland with his freshly printed book Comparative Literature, drawing on work by, among others, Goethe. Responding to Pacific studies scholar Teresia Teaiwa's argument that "more often than not ... the Pacific is not brought to the table as an equal partner in any conversation about the nature of humanity or society," the article considers how, and on what terms, Te Hurinui's reckonings with Goethe might be held alongside Posnett's. Ultimately, drawing attention to these two very different "entries" of Goethe provides an opportunity to reckon with the current and potential relationship between comparative literature, Indigenous literary studies, and the Pacific. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Social Sciences Institute / Sosyal Bilimler Enstitüsü Dergisi is the property of Bingol University / Rectorate and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This is a tale of two thinkers across time and space who have been read together but in conventional ways as representing the meeting of the East and the West. I propose instead a different relationship between them, that of hidden relays and realizations, in which one who comes later receives and actualizes a potential in the writings of the one earlier but in implicit ways to avoid the political and theological pitfalls of his times. To draw out this line of transmission requires me to offer a different reading of a famous poem by the one who comes later than that usually proffered. The tale starts with the poet and philosopher Muhammad Iqbal visiting the Mosque of Cordoba during a sojourn at Spain in 1933 and writing a lyrical poem (ghazal) of the same name to mark the event. The poem, widely considered a great work, has been well plumbed for its formal qualities and for the themes with which Iqbal has long been associated, such as a new appreciation of the Muslims' past and harkening to Muslims of the future. If we take into consideration that Iqbal was an avid reader of philosophy and poetry, with an attraction to German thought, then his engagement with the writings of the eighteenth-century thinker Goethe provides a way to rethink the Muslim present within the poem. It becomes a space of possibility for Muslims, historical ruins, and poetical verse, which is neither about bemoaning a lost caliphate nor anticipating Muslim becoming but about Muslim participation in nature as natural beings. [ABSTRACT FROM AUTHOR]

The article presents a comparative analysis of I.V. Goethe’s “The Word to Young Poets” („Ein Wort für junge Dichter,“ 1833) and the article written in connection with A.M. Gorky death by the theorist of Marxist aesthetics D. (G.) Lukács “The Liberator” („Der Befreier,“ 1936). The subject of the analysis is Lukách’s interpretation of the ‛liberator’ concept used by Goethe in relation to his own work. Lukács, who chose this keyword from Goethe’s paper as the title of his own article, tries within the framework of the theme set by Goethe about the liberating mission of the writer to prove the validity of applying the theses of the German classic in the era of proletarian art. In the course of the undertaken analysis, the author of the article comes to the conclusion about the selectivity of Lukács’s approaches to research material. That was dictated by the specificities of the functional-target settings the author of “The Liberator,” dedicated not just to a great writer per se, but to the classic of socialist realism, was guided by. Therefore, Lukács’s interpretation of Goethe’s text isn’t based on a comprehensive analysis of the German classic and the Soviet writer views on a given topic, but is limited to the juxtaposition of iconic semantic constants that are embedded in the word “liberator,” important for Lukács in terms of their relevance to Gorky’s personality and work.

In this essay, Goethe’s early historical plays, Götz von Berlichingen, published in 1773, and Egmont, published only in 1787, are compared. So far, scholarly work has not recognized enough of the differences between both works. Goethe’s intellectual development from the young Storm and Stress writer of Götz to the publication of Egmont fourteen years later has not been considered sufficiently. Goethe’s development is clearly reflected in his protagonists’ deeds and intentions. Goethe’s Götz fights predominantly for his own rights and his family. Egmont aims higher; he is more concerned with the welfare state of society and reflects on political issues Götz is unable to consider. Moreover, Goethe takes, in both cases, poetic license to create a different picture of his protagonists’ failures than historical sources provide. This finally leads to the introduction of the term preclassic to differentiate between Götz and Egmont.

While popularly known for his works of literature and poetry, Johann Wolfgang von Goethe viewed his lesser-known scientific pieces as his most enduring achievement. I will argue that Goethe’s unique scientific methodology is informed by a metaphysical commitment to a form of Platonism and that Goethe provides an intriguing alternative paradigm that unifies science, philosophy, theology, and ethics. I begin by demonstrating how Goethe’s concept of the Urphänomen offers a Platonic conception of natural beings. I then briefly outline how this alternative scientific approach ultimately derives from his Platonic commitments. Next, I demonstrate the ethical and spiritual implications of Goethean science, establishing that Goethe’s approach bridges the divide between our scientific endeavors and spiritual formation. There is, then, a continued relevance for Goethe in conversations regarding ecological ethics and our perception of nature.

O presente trabalho parte de um interesse pelas narrativas de si a um outro na obra “Os Sofrimentos do Jovem Werther”. Constata-se a pertinência das relações entre o narrador e o destinatário da escrita, relações estas que serão abordadas ao longo do texto. A base norteadora é a temática do “outro em si” no romance acima mencionado. Esta escolha parte da investigação sobre a necessidade de um interlocutor na escrita sobre si. Por isso, situa-se as características do “gênero” epistolar como forma de escrita, bem como a importância das cartas na época: meio de comunicação e estratégia de aproximação entre as pessoas. Ao tratar das escritas de si a partir do método epistolar, chega-se ao gênero autobiográfico. Este consiste em um narrador que conta sua história, revive e permite ver-se no papel, no imaginário. A escrita, assim, aparece como um lugar onde o eu que escreve sobre si ao mesmo tempo necessita da referência de um outro. A escrita de si é um meio de se ver de fora a partir de dentro, sendo que o dentro e o fora partem do mesmo ponto. Com tudo isso, o objetivo do trabalho é investigar como se dá a permanente influência do outro sobre o personagem Werther, tanto na escrita de si como na constituição do eu. As cartas de Werther são uma forma de expressão do íntimo que necessita uma confirmação por parte do outro. Essa influência advinda do outro está presente nos mais diversos contextos.

El presente trabajo saca a la luz la valiosa investigación que José Guillermo Montes Cala, catedrático de Filología Griega de la Universidad de Cádiz, estaba llevando a cabo en el momento de su muerte, a la vez que se avanza en dicho estudio. En él se detalla con precisión de qué modo Luis Cernuda halló la cita de Goethe que encabeza Ocnos y le sugirió el título para su primera colección de poemas en prosa.

This paper seeks to describe and provide context for the translator John Anster's rendering of a couplet from the Prelude in Goethe's Faust. Anster's translation of a portion of Goethe's drama was published in 1820, making him the first English translator of a number of large extracts from the text. The couplet is of interest because it has become notable in English and is often used to inspire and motivate readers. Yet when we compare Anster's version to the original German, we see a very free rendering, one that brings up intriguing questions about the nature of translating poetry. We also see that Anster has been frequently criticized for straying too far from Goethe's lines. A close comparison of Anster's translation to Goethe's passage containing the couplet serves to illuminate how Anster's rendering diverges from the original. Lawrence Venuti's theoretical approach that describes a type of translation he calls "the poet's version" (2011) provides a useful framework for understanding some of the issues raised by this particular translation. By delving into Anster's rendering of this memorable quotation, we gain insight into the early history of translating Faust into English, the phenomenon of rendering poetry into another language, and the life of this particular couplet long after Anster's time. [ABSTRACT FROM AUTHOR]