Mettere in questione l’ornamento attraverso un approccio morfologico al visibile

The paper investigates the question of the ornament starting from a parallelism between biological- architectural ornaments and decorative-artistic ones. The element of innovation and the emergency of the ornament allow to consider images as if they were living organisms and to highlight their becoming through new forms. Starting from a morphological point of view, from Johann Wolfgang von Goethe to the contemporary morphology, the ornament is strictly connected to the dynamics of forms and to a particular approach to the visible. The ornamental dynamics, according to the binomial form-function, open the dimension of the visible to new perspectives and foreshadow potentially infinite changes. The essay analyzes the consequences in the production of visible forms and in the attribution of meanings, but also the political function of images, with particular reference to the idea of an economy of visible forms.

EL AMOR, LA BELLEZA Y EL ‘ETERNO FEMENINO’ EN EL FAUSTO DE GOETHE A TRAVÉS DE LOS HEROICOS FURORES DE GIORDANO BRUNO Y LA HYPNEROTOMACHIA POLIPHILI DE COLONNA

Este artículo analiza la presencia simbólica del amor, la belleza y el ‘eterno femenino’ en la tragedia Fausto de Johann Wolfgang von Goethe a través de la hermenéutica comparativa con dos textos fundamentales del Renacimiento, De los heroicos furores de Giordano Bruno y la Hypnerotomachia Poliphili de Colonna. La tesis de partida es que los tres amores de Fausto, Margarita, Helena y la Mater Gloriosa, son en realidad una representación simbólica de los tres aspectos fundamentales del alma (físico, psicológico y espiritual) que también podemos encontrar en estos dos textos por su conexión con la tradición neoplatónica.

Quintilian in Europe from the Eighteenth to the Twentieth Century

This chapter offers a panoramic view of the significant and diverse reception of the Institutio from the eighteenth to the twentieth century in Europe. A central figure on the European continent in the eighteenth century was the pedagogue and rhetorician of Belles Lettres Charles Rollin (1661–1741), who stressed the importance of the Institutio for education, but who also claimed that it is too long and needs to be abridged in order to be useful for Rollin’s time. Other major figures who used Quintilian’s ideas on pedagogy and the vir bonus or aspects of his rhetorical theory in various ways are the Italian G.B. Vico (1668–1744), the Scotsmen Hugh Blair (1718–1800) and George Campbell (1719–1796), the Irishman Gilbert Austin (1753–1837), the Germans Friedrich Andreas Hallbauer (1692–1750), Johann Andreas Fabricius (1696–1769), Johann Matthias Gesner (1691–1761), who produced a critical edition of the Institutio, and Johann Christian Gottsched (1700–1766). Johann Wolfgang von Goethe (1749–1832) is discussed to show how his education in rhetoric through Quintilian informed his views on poetry. For the nineteenth and twentieth century, the work of five German scholars is discussed to highlight the importance of the Instutito in classical and literary studies and in philosophy: Richard Volkmann’s Die Rhetorik der Griechen und Römer (1885), Ernst Robert Curtius’s Europäische Literatur und lateinisches Mittelalter (1948), Heinrich Lausberg’s Handbuch der literarischen Rhetorik (1960), Hans-Georg Gadamer’s Wahrheit und Methode (1960), and Otto Seel’s Quintilian oder die Kunst des Redens und Schweigens (1977).

O Divã de Goethe no Brasil: Uma Dança da Poesia, Harmônica no Tumulto

Este ensaio enfoca o mais amplo ciclo lírico de Johann Wolfgang von Goethe sob o ensejo da publicação, em 2020, de sua primeira tradução integral em português, assinada por Daniel Martineschen: Divã ocidento-oriental (Estação Liberdade). Posição de destaque nas considerações sobre os procedimentos mobilizados pelo tradutor ocupam os poemas “Anelo abençoado” (Livro do Cantor”), também traduzido por Manuel Bandeira, e “Gingo biloba” (Livro de Zuleica”). Nesse contexto, o ensaio recorre ainda à tipologia tripartite sobre a arte da tradução que Goethe esboçou no texto em prosa (“Notas e ensaios para uma melhor compreensão do Divã”) que acompanha os 12 livros de poemas. Por fim procurou-se relacionar o Divã à concepção goethiana de Literatura Mundial (Weltliteratur), na qual entraram também canções “brasileiras” em língua tupi.

El imaginario mítico del Fausto de Goethe

This article vindicates the mythical character of the Faustian tragedy of Johann Wolfgang von Goethe by relating its plot configuration with the hero’s symbolic itinerary. For this, the mythical structures predetermined by Gilbert Durand, Lévi-Strauss and Joseph Campbell are taken as a basis. In the first two sections Faust is diachronically compared with the mythical figure of the hero, and in the next two sections, each part of the work is related in a synchronic and specific way to the proper mythemes of the hero myth.

Goethe’s “Welt” poet in Bengal: The Influence of World Literature on Jibanananda Das and other Bengali Poets of the 1930s-40s

This study aims to establish a link between the concept of “Weltliteratur” or World Literature, in terms of the free movement of literary themes and ideas between nations in original form or translation, and the Bengali poets of the thirties and forties who actively translated French and German poets. It identifies Johann Wolfgang von Goethe's (1749-1832) concept of World Literature as a vehicle for the Kallol Jug poets. Johann Wolfgang von Goethe introduced the concept of “Weltliteratur” in a few of his essays in the first half of the nineteenth century to describe the international circulation and reception of literary works in Europe, including works of non-Western origin. My emphasis will be on Jibanananda Das (1899-1954) arguably the most celebrated poet in Bengali literature who was well versed in the contemporary Western Canons of Poetry. Jibanananda’s defamiliarization of the rural Bengal Landscape, his use of exotic foreign images owe a debt to contemporary European poets. Interestingly, Jibanananda had reviewed an English translation of German author Thomas Mann’s novel “Dr Faustus’ for a Bengali magazine “Chaturanga”. In the Bengali review he states that despite prevalent misconceptions (some critics considering the novel to be superior to the original Faust epic by Goethe) Goethe’s Faust was the first text to capture the hope, despair and crisis in the modern world and articulate it in such a manner that “true” literature of the age was created in its new light. In Jibanananda’s estimation, Thomas Mann deserves credit for treating the Faust legend in a unique and creative way.

Why Was Goethe the ‘Patron Saint of German Jews’? Reconsidering a Central Topic of George L. Mosse’s Oeuvre 30 Years Later

George L. Mosse belongs to the extremely productive generation of scholars to whom we owe fundamental insights into general and German-Jewish contemporary history. They fled Hitler in childhood and adolescence and received their academic training not in the country and language of their birth, but in exile. In the context of this generational experience, this essay explores the very real and symbolic significance that Johann Wolfgang von Goethe had for this generation throughout their lives. poet “It argues that the poet and his works deeply shaped émigré self-perception, in which one opposed the notion that the hyphen between “German-Jewish” indicated any separation.”. For George L. Mosse, as well as for many of his fellow historians in exile, Goethe was therefore the symbol of the own, the inner, not the acquired knowledge of others. It was a cosmopolitan, almost Jewish Goethe who was defended even after the catastrophe, because culture was not conceived in the fateful category of limited national property.

Rise of the Scene-and-Summary Novel

From the middle to the end of the eighteenth century, two figures above all serve as focal points for the development of a nascent theory of pacing in European literature: Henry Fielding and Johann Wolfgang von Goethe. In Fielding one encounters a notion of “prosai-comi-epic” pace that is light, centrifugal, and sprawling but opposed to another tendency that is more solemn, centripetal, and grave. Goethe, in his correspondence with Friedrich Schiller, is concerned with epic and drama: he and Schiller begin to distinguish between those two genres in terms of pace. What one can perceive in the intersection of such discourses is a formation, within novelistic fiction, of several axes of narrative movement that lead to the formation of units like scene and summary. If this seems like a straightforward path toward the nineteenth-century realist novel, one must pause and consider the aspects of romance that are embedded in novel pacing. Here, they appear as westering, world entry, and wandering.