首页> 外文学位 >Zur Bildersprache der Franzoesischen Revolution in Goethes Dramen: Goethes Naturmetaphern und Natursymbole als Ausdruck seines Geschichtsbildes nach 1789. [German text].
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Zur Bildersprache der Franzoesischen Revolution in Goethes Dramen: Goethes Naturmetaphern und Natursymbole als Ausdruck seines Geschichtsbildes nach 1789. [German text].

机译:关于歌德戏剧中法国大革命的意象:歌德的自然隐喻和自然象征,作为他1789年后历史画作的表达。

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摘要

This dissertation analyzes Goethe's metaphors and symbols from nature which refer to the events of the French Revolution and occur in his dramas after 1789, Der Gros-Cophta, Die Aufgeregten, Der Burgergeneral, and Das Madchen von Oberkirch, in his major work, Die naturliche Tochter, and in acts II and IV of Faust II. Included in the discussion are also his epic, Hermann und Dorothea, his novel, Unterhaltungen deutscher Ausgewanderten, and his early drama, Gotz von Berlichingen. The methodology of this study is eclectic. The basic points of reference are modern theories of metaphor and symbol as well as studies on the figurative language of the French Revolution and its function in general. In order to elucidate Goethe's concept of revolution, modern treatments of the term revolution, its history and its perception have been included.;In the main, the dissertation shows that Goethe did not notice the metaphorization of the term revolution, understood as linear progress toward something new, since he depicts the French events in terms of a natural catastrophe, implying a cyclical concept of history. Goethe's nature metaphors and symbols relating to the French Revolution were conventional revolutionary images. They were taken from nature because nature yielded ambiguous images which could be interpreted in a positive or negative way. Goethe integrated them into his literary work in a unique manner. If we understand the symbol as a stabilized metaphor we can observe that in Goethe's post-1789 works former nature metaphors were likely to develop into symbols for the French events.;In his metaphors Goethe transferred the realm of nature onto the realm of politics because he assumed that the same underlying rules govern both areas. In nature, however, things return to the old condition. Therefore, Goethe's use of nature images in his literary work stands for a cyclical concept of history and may have served him, if not to undo a historical process, at least to adapt it to his own more conservative attitude. However, Goethe was never a mindless opponent of the French Revolution. The dissertation's focus on Goethe's metaphors allows for a systematic and precise assessment of his use of language and its concomitant concept of history, yielding a more discerning insight into Goethe's attitude towards the French Revolution.
机译:这篇论文分析了歌德的自然隐喻和符号,这些隐喻和符号涉及法国大革命的事件,并出现在他的戏剧中,发生在1789年之后的德·格罗斯·科普塔,迪·奥夫格勒格滕,德·伯格将军和戴斯·麦琴·冯·奥伯基希在他的主要著作《自然》中托克特,以及《浮士德二世》的第二和第四幕。讨论中还包括他的史诗《 Hermann und Dorothea》,他的小说《 Unterhaltungen deutscher Ausgewanderten》以及他的早期戏剧《 Gotz von Berlichingen》。这项研究的方法论是折衷的。参考的基本点是现代隐喻和象征理论,以及对法国大革命的象征性语言及其一般功能的研究。为了阐明歌德的革命概念,包括了对革命一词,它的历史和感知的现代处理。论文的主要内容是,歌德没有注意到革命一词的隐喻,它被理解为朝着线性发展。因为他用自然灾害来描述法国的事件,这是一种新的事物,这暗示着历史的周期性概念。歌德的自然隐喻和与法国大革命有关的符号是传统的革命形象。它们之所以取自自然,是因为自然产生的模棱两可的图像可以用正面或负面的方式来解释。歌德以独特的方式将它们整合到他的文学作品中。如果我们将符号理解为稳定的隐喻,我们可以观察到在歌德的1789年以后的作品中,以前的自然隐喻很可能会发展成为法国大事件的符号。在歌德的隐喻中,歌德将自然界转移到了政治领域,因为他假设两个领域都遵循相同的基本规则。但是,在自然界中,事情又回到了旧状态。因此,歌德在其文学作品中对自然意象的使用代表着历史的周期性概念,并且可能为他服务,即使不取消历史进程,至少使其适应他自己更为保守的态度。但是,歌德从来都不是法国大革命的盲目反对者。论文的重点是歌德的隐喻,从而可以系统,准确地评估他的语言使用方式及其伴随的历史观念,从而对歌德对待法国大革命的态度有更深刻的认识。

著录项

  • 作者

    Cape, Ruth Irmingard.;

  • 作者单位

    University of California, Los Angeles.;

  • 授予单位 University of California, Los Angeles.;
  • 学科 Literature Germanic.
  • 学位 Ph.D.
  • 年度 1989
  • 页码 248 p.
  • 总页数 248
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

  • 入库时间 2022-08-17 11:50:41

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