Refine
Year of publication
- 2010 (71) (remove)
Document Type
- Report (71) (remove)
Language
- German (37)
- English (33)
- Portuguese (1)
Has Fulltext
- yes (71)
Is part of the Bibliography
- no (71) (remove)
Keywords
- Goethe, Johann Wolfgang von (5)
- Germanistik (3)
- Johann Wolfgang von Goethe (3)
- Bibliographie (2)
- Konferenz (2)
- Literaturwissenschaft (2)
- Musik (2)
- Ordoliberalism (2)
- Walter Eucken (2)
- "out-of-area"-Einsätze (1)
Institute
- Wirtschaftswissenschaften (10)
- Center for Financial Studies (CFS) (9)
- Exzellenzcluster Die Herausbildung normativer Ordnungen (8)
- Extern (7)
- House of Finance (HoF) (7)
- Sustainable Architecture for Finance in Europe (SAFE) (7)
- Neuere Philologien (6)
- Gesellschaftswissenschaften (5)
- Biochemie und Chemie (2)
- Geschichtswissenschaften (2)
Brecht - Galileo
(2010)
This is the age of doubt, says Brecht's Galileo, the 17th century scientist. "It ain't necessarily so," says Gershwin's Sportin' Life of the 1930ies. "De t'ings dat yo li'ble / to read in de Bible / it ain't necessarily so. / Now I takes dat gospel / whenever it's pos'ble / but wid a grain of salt."
Condensing phenomena for systems biology, ecology and sociology present in real life different complex behaviors. Based on local interaction between agents, we present another result of the Energy-based model presented by [20]. We involve an additional condition providing the total condensing (also called consensus) of a discrete positive measure. Key words: Condensing; consensus; random move; self-organizing groups; collective intelligence; stochastic modeling. AMS Subject Classifications: 81T80; 93A30; 37M05; 68U20
The tentative title of my presentation is GENDER AMBIVALENCE (AMBIGUITY?) and deals with Renaissance iconography in Thomas Mann's Death in Venice. It will show that homosexual attraction, although obvious in the story (and Mann's life) is a secondary issue and that the main concern lies with the problem provided by an aesthetic principle. (Parallel narratives, the plot is not the real/only story).
Germans against Hitler
(2010)
"The sun shines, and Hitler is master of this city. The sun shines, and dozens of my friends are in prison, possibly dead. Thousands of people like Frl. Schroeder are acclimatizing themselves, like an animal which changes its coat for the winter. After all, whatever government is in power, they are doomed to live in this town." These are among the final entries in Christopher Isherwood's Berlin Diaries. Hitler has legally assumed power and Isherwood, who "can't altogether believe that any of this has really happened," will leave the city he has come to love and return to England. The Nazi Movement that began a decade ago in seedy Bavarian beer halls has now conquered its very antithesis, Prussia. It seems unstoppable. The people, as always, will adapt or perish.
The house of Tantalus
(2010)
Wozu Dichter?
(2010)
Goethe's Tasso is no "Dichter in duerftiger Zeit." He is rather duerftig himself, unbalanced and impulsive in the extreme. In fact, in an annoyed moment, the diplomat Antonio sees him as a useless and pampered brat and undiplomatically says so, triggering a fateful sequence of events that generate a seemingly unstoppable momentum.
Goethe: Helena
(2010)
Although we are concentrating on the Third Act, Faust's appreciation of legend's most beautiful woman begins much earlier, perhaps as early as the Hexenkueche scene where he is thoroughly enraptured by a woman's image in a magical mirror. It drives him crazy, he says (2456), particularly since he has to stay at a certain distance to keep it in proper focus (2434); can you see Mephisto's mischievous smile at this bit of enforced "disinterested contemplation"? Woman is God's final art work, the true Crown of Creation, we learn from Schiller's Princess Eboli; Mephisto seems to say as much, and Faust like most men needs no convincing. We can't be sure that this is indeed Helen, we (and Faust) have yet to meet her. She remains nameless but, by any name, would be as sweet.
Gretchen's infanticide
(2010)
In the scene At The Well, Gretchen herself describes the sequence of events best and in all their fateful simplicity. It is the progress from "sin" to "shame", that is to public disgrace as soon as her private transgression becomes "visible" as pregnancy. Already here the painful confusion over her private perception ("good, dear love", lines 3585/6) and public judgment ("slut", line 3753) which will eventually drive her mad is obvious. In her derangement and despair she will destroy the evidence against her, that is, drown her child.