Archetypen und das kollektive Unbewusste in hermann hesses Demian (1919) und in Urtrost (1924) von Áron Tamási. Ein Vergleich

The aim of the present article is to provide a comparative analysis between two important works of German and Hungarian literature on the background of the theory of Carl Gustav Jung’s theory of archetypes. Both works (the novel Demian by Hermann Hesse and the drama Erstwhile Solace [Ősvigasztalás] by Áron Tamási) approach the theme of the search for identity as well as for the absolute and the divinity, with the focus on the archetypes of the collective unconscious. Motifs such as androgyny, shadow or dream, the issue of polarity and unity form common points of contact between the two analysed literary works.

EL JUEGO DE LOS ABALORIOS: del Último Teorema de Fermat a los Solitones Ópticos

Siguiendo la idea del Juego de los Abalorios (de Hermann Hesse), en este trabajo investigamos qué relación existe entre el último Teorema de Fermat (UTF) y los solitones ópticos. Para encontrar esta relación examinamos los pasos principales que condujeron a la demostración del UTF, empezando por la conjetura de Taniyama-Shimura, y pasando por las contribuciones de Hellegouarch, Frey y Ribet, hasta llegar al trabajo de Wiles. Posteriormente examinamos algunas de las ecuaciones que describen a los solitones ópticos. De este análisis se desprende que las curvas elípticas constituyen el puente que relaciona ambos temas. Veremos, además, que las ecuaciones que describen solitones ópticos también podrían tener alguna relación con la criptografía. Finalmente veremos que los resultados encontrados en este trabajo nos permiten proponer 2 conjeturas que constituyen temas de investigación para el futuro. Following the idea of the Glass Bead Game (by Hermann Hesse), in this work we investigate what relation exists between Fermat´s Last Theorem (FLT) and the optical solitons. To find such a relationship we examine the principal steps which lead to the demonstration of FLT, starting from Taniyama-Shimura´s conjecture, then paying attention to the contributions of Hellegouarch, Frey and Ribet, and finally the work of Wiles. Then we examine some of the equations which describe optical solitons. From this analysis it follows that the elliptic curves constitute the bridge that connects both topics. Moreover, we will observe that the equations which describe optical solitons might also be related to cryptography. Finally, we will see that the results found in this communication permit us to propose 2 conjectures that constitute research topics for future works.

El juego de los abalorios: del Último Teorema de Fermat a los Solitones Ópticos

Siguiendo la idea del Juego de los Abalorios (de Hermann Hesse), en este trabajo investigamos qué relación existe entre el último Teorema de Fermat (UTF) y los solitones ópticos. Para encontrar esta relación examinamos los pasos principales que condujeron a la demostración del UTF, empezando por la conjetura de Taniyama-Shimura, y pasando por las contribuciones de Hellegouarch, Frey y Ribet, hasta llegar al trabajo de Wiles. Posteriormente examinamos algunas de las ecuaciones que describen a los solitones ópticos. De este análisis se desprende que las curvas elípticas constituyen el puente que relaciona ambos temas. Veremos, además, que las ecuaciones que describen solitones ópticos también podrían tener alguna relación con la criptografía. Finalmente veremos que los resultados encontrados en este trabajo nos permiten proponer 2 conjeturas que constituyen temas de investigación para el futuro. Following the idea of the Glass Bead Game (by Hermann Hesse), in this work we investigate what relation exists between Fermat´s Last Theorem (FLT) and the optical solitons. To find such a relationship we examine the principal steps which lead to the demonstration of FLT, starting from Taniyama-Shimura´s conjecture, then paying attention to the contributions of Hellegouarch, Frey and Ribet, and finally the work of Wiles. Then we examine some of the equations which describe optical solitons. From this analysis it follows that the elliptic curves constitute the bridge that connects both topics. Moreover, we will observe that the equations which describe optical solitons might also be related to cryptography. Finally, we will see that the results found in this communication permit us to propose 2 conjectures that constitute research topics for future works.

Music as a Universal Bond and Bridge Between the Physical and the Divine: Transcultural and Medieval Perspectives

This article accepts the challenge to reflect on the cultural history of music as a transcultural and universally human phenomenon, particularly in the medieval context. To what extent has music played the same or at least similar function in endless cultural contexts all over the world from the past to the present? We know for sure that music has always been present at all age groups, in all ethnic groups, among all genders, and throughout time. There have always been local, ethnic types of music (folklore), and universally accepted manifestations of music (esp. classical music). The emphasis here rests, after an extensive study of music in global cultural-historical terms, on comments about music in medieval philosophy, mysticism, and literature because here we discover fundamental notions about music being the medium to connect the individual with the cosmic harmony, hence with the divine. In literary texts, above all, music was identified as the critical expression of identity, love, and religion. Keywords: Transcultural music; classic music; music in cultural-historical terms; The Beatles; Martianus Capella; Boethius; Gottfried von Strassburg; Jörg Wickram; Hermann Hesse

Karl Barth’s Calvin: A Weimar Prophet

This chapter explores Karl Barth’s early reception of John Calvin at the time of his initial post-liberal engagement with classical Protestant authors. For Barth, the Genevan Reformer easily belonged in a pantheon of theologians that included Augustine, Thomas, Luther, and Schleiermacher. However, Barth’s Calvin was not antiquarian or historical but of thoroughly modern vintage, even romantic and modernist in certain respects. The chapter contends that Barth fashioned an image of Calvin in the tumultuous years of the Weimar Republic that was of thoroughly modern vintage. Although he immersed himself in primary sources, Barth’s presentation of the Reformer owed much to German romanticism as well as Weimar modernism, including such notable intellectuals as Hermann Hesse, Stefan Zweig, and Max Weber.

Modernidade e indeterminação em “O lobo da estepe”

Dada a posição excêntrica de Hermann Hesse dentro da literatura de língua alemã no século XX, quase como um “outsider” retrógrado, o objetivo do presente artigo é tentar situar O lobo da estepe (1927) nas discussões sobre a “modernidade literária”. Para esse fim, serão realizadas considerações que demonstram como o livro representa um sujeito no contexto do mundo moderno dos anos 1920 e como o romance adota uma estrutura multiperspectiva que reflete os novos modos de representação que começaram a ser explorados na forma literária moderna. Essa estrutura será analisada com base nas categorias narratológicas propostas por Genette (1995), apontando as três diferentes perspectivas sobre o protagonista Harry Haller presentes no livro: a do “Prefácio do editor”, “As Anotações de Harry Haller” e o “Tratado do lobo da estepe”. A partir da análise, discutir-se-á a possibilidade de entender os acontecimentos narrados nas “Anotações” como frutos da imaginação ou como depoimento autobiográfico do protagonista. No primeiro caso, o livro se encaixaria na categoria do realismo, no segundo, na literatura fantástica. Por fim, serão comparadas as diversas edições do livro – que apresentam diferenças significativas – de modo a evidenciar como a estrutura narrativa pode favorecer a classificação do romance como fantástico.

„Ich war als Neurotiker erkannt…“ Krankheit, Leiden und Schmerz bei Hermann Hesse

Der Beitrag geht dem Themenkomplex Krankheit-Leiden-Schmerz bei Hermann Hesse nach, indem er einen Überblick über einschlägige Texte des Autors bietet. Gefragt wird nach Relationen zwischen Krankheit, Genie und Kunst in Prosatexten wie Taedium vitae, Gertrud, Kurgast oder Der Steppenwolf teils in Bezug auf Hesses Biographie, teils auf zeitgenössische Diskurse über (psychische) Krankheit oder Heilung, wie sie etwa bei Nietzsche oder Freud vorgeprägt waren. Es werden auch Verbindungslinien zwischen Hesses Auffassung der Krankheit als psychogenen Phänomens und seinem Kunstverständnis verfolgt. Schließlich werden die von Hesse etwa im Kurgast oder im Steppenwolf dargestellten psycho-physiologischen Heilungsprozesse ins Auge gefasst.