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Modern Language Review, 2022
:Goethe's essay 'Nachlese zu Aristoteles' Poetik' (1827) stands in the same relation to Faust II as his essay 'Über Laokoon' (1797) does to Faust I. The essays show that Goethe consistently maintained his particular view of the nature of tragedy.
N. Boyle
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:Goethe's essay 'Nachlese zu Aristoteles' Poetik' (1827) stands in the same relation to Faust II as his essay 'Über Laokoon' (1797) does to Faust I. The essays show that Goethe consistently maintained his particular view of the nature of tragedy.
N. Boyle
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The Men Who Knew Too Much: Reading Goethe's "Erlkönig" in Light of Hitchcock
Goethe Yearbook, 2021:There are a number of resonances between Goethe's ballad "Erlkönig" and Hitchcock's 1934 film The Man Who Knew Too Much. Most strikingly, the father figures in these works can both be understood as having "too much" knowledge.
Ethan Blass
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Environmental Education Research, 2019
This article has its roots in both literacy studies and environmental education. Beginning with a critical consideration of what it might mean to be ‘literate’ I argue that a re-evaluation of what it means to be ecoliterate is in order.
Jonathan M. Code
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This article has its roots in both literacy studies and environmental education. Beginning with a critical consideration of what it might mean to be ‘literate’ I argue that a re-evaluation of what it means to be ecoliterate is in order.
Jonathan M. Code
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Goethe Yearbook 26, 2019
THIS SPECIAL SECTION is devoted to the peculiarity of the narrative events in Goethe’s texts, including his novels, novellas, and ballads. In general, narrative events can be described as irreversible, unpredictable, and meaningful in the larger plot ...
Fritz Breithaupt
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THIS SPECIAL SECTION is devoted to the peculiarity of the narrative events in Goethe’s texts, including his novels, novellas, and ballads. In general, narrative events can be described as irreversible, unpredictable, and meaningful in the larger plot ...
Fritz Breithaupt
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Understanding organisms by intuiting life: Kant, Goethe, and Steiner
History and Philosophy of the Life SciencesThis paper investigates the enduring philosophical challenge of how a living organism may be understood, through the epistemological perspectives of Immanuel Kant, Johann Wolfgang von Goethe, and Rudolf Steiner.
Christoph J. Hueck
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Kinship and Aesthetic Depth: The Tableau Vivant in Goethe’s Wahlverwandtschaften
Publications of the English Goethe Society, 2018Johann Wolfgang Goethe famously includes performances of tableaux vivants in Die Wahlverwandtschaften. The tableau vivant bridges social classes, kinship models, and aesthetic media (painting, sculpture, and drama).
Heidi M. Schlipphacke
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Writing (in) Love: Goethe’s ‘Buch Suleika’ and the Biblical Song of Songs
Publications of the English Goethe Society, 2018This essay demonstrates that the creation of a poetic language of love in the West-östlicher Divan is deeply rooted in a specific tradition within Western intellectual history that Goethe had actively engaged with in his early work, and that was ...
Caroline Sauter
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Is Wittgenstein's Goethe Stock's Goethe?
Mind, 1982In his review of Remarks on Colour' Guy Stock quotes Wittgenstein's remark that 'a physical theory (such as Newton's) cannot solve the problems that motivated Goethe . . .' and goes on to say that it is difficult to pinpoint the problems that motivated Goethe. His attempt to do so is quite wrong and misleading.
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Nature, 1971
I HAVE had occasion recently to re-read Goethe's Theory of Colours (1810) and have found that he described the nature of the microtopographical interference pattern given by a crystal surface, presumably from the description, that of a cleavage. In chapter 33, which deals with interference colours (Goethe calls these epoptical colours), first a precise
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I HAVE had occasion recently to re-read Goethe's Theory of Colours (1810) and have found that he described the nature of the microtopographical interference pattern given by a crystal surface, presumably from the description, that of a cleavage. In chapter 33, which deals with interference colours (Goethe calls these epoptical colours), first a precise
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