GOETHE OST WESTLICHER DIWAN PDF

Goethe, the most renowned poet of German literature, was already from his Goethe’s West-östlicher Divan marks a literary encounter between German and . Karl Richter, “Ein West-Öst-Dialog der Goethezeit: Aspekte einer. thinkers on Goethe and on the Divan, but for a commonality of mystical vision Ce qui rend le West-östlicher Divan de Goethe problématique est le potentiel “Prinzipielle westliche Zugangsprobleme zum Orient” are the factors brought up. Johann Wolfgang von Goethe – Gesammelte Gedichte: Lieder – Balladen – Sonette – Epigramme – Elegien – Xenien Where is “Ost-westliche Divan” etc.

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In this regard, Arjomand-Fathi gives her reader a thorough list of the linguistic peculiarities of the Persian language which cause difficulties for German translators despite a certain affinity based on their mutual Indo-German origin.

Arberry suggests that in his youth the poet followed a monothematic principle, which insisted on non-philosophical utterances along subject lines such as earthly love and wine. From a Philosophy of Self to a Philosophy of Nature: Help Center Find new research papers in: Similarly, they both ignore the factors that caused this divergence, but conclude differently. The examination of the selected renderings showed also a number of flexibilities with regard to the original ghazals, such as frequent supplementation and omission of words and at times repetitions, which occasionally seemed to be carried out for the aesthetic purpose of creating an internal rhyme or reestablishing an original repetition.

GOETHE, JOHANN WOLFGANG von – Encyclopaedia Iranica

So they have praised him in different terms, as a great contributor to world literature. Divan-e Hafez [Divan of Hafez]. Qasida is a mono-rhymed lyric poem, which may run sometimes to over a hundred lines. Novalis, Goethe and the Ideal of Romantic Science. Goethe and the Development of Schelling’s Naturphilosophie.

A literal translation of his interpretation reads: The topic, ideas and research in this thesis stem entirely from the author. Indeed, semantic goetue appear more frequently preserved didan acoustic qualities as well as rhetorical devices derived from them in translations. Here, relying on my native westliche of Persian culture, language and history, I underlined words, names, metaphors, phrases and motifs which are associated with the Orient and which gave signs of having given Goethe some inspiration linked to the original Persian version.

Ein Jeder dient dem Schah und dem Wesir.

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West-östlicher Divan

This thus became the central research question for my thesis. Complicating factors of his poetry, such as the question of formal unity and mystical implications of the poems, are discussed. His essay is indicative of some of the problems Hammer coped with. I would like to thank my husband, Payam, who has encouraged me to pursue my studies and has given me his love and unwavering support through the ups and downs of life during the long research and writing process of this thesis.

Der Wein stammt doch vom Blut der Reben her, nicht von euerm Blute!

To Khorramshahi, even the cup of wine and the goblet have mythological dimensions. Entesharat Fahang va Honar, []. To grant the reader insight into other dimensions of this multi-functional character, a literal adoption of the term into the target language is necessary, particularly because the reader is already familiar with other personified entities and elements such as Kalender, Huris, Derwisch, etc.

Hafez addresses both God and his beloved in this distich, while Hammer addresses only the former. Wie du zu lieben und zu trinken Das soll mein Stolz, mein Leben seyn.

The Windsor Shahnama of Hafez Despite his role as a distinguished court poet and teacher, very little is known about the life of this fourteenth-century classical Persian poet, whose love poems have provided inspiration to the West and daily guidance to the families of his home country for centuries. Rypka and Shamel name the fourth type as meditative, whereas Arjomand-Fathi prefers not to label the group and instead provides an explanation of the genre. Thank you to my brother and his family.

John, thank you for your belief in my strengths and your constant constructive comments through the process, without which this thesis would have remained a dream. Hafez va Moosighi [Hafez and music]. Und mag die ganze Welt versinken, Hafis mit dir, mit dir allein 15 Will ich wetteifern! This quality of the ghazals functions as a further obstacle in understanding them and makes their interpretation a matter of debate. Anette Balser-Overlack – The poem narrates intimate moments when the lover rolls his fingers through her disheveled hair.

European composers have also found that even the translations and adaptations of the majority of ghazals are adaptable to musical settings. In this metaphor, the string of the necklace has been likened to the rhyme and metre of the ghazal, which is the only element holding the pearls distiches together.

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West–östlicher Divan – Wikipedia

Given the westlcher constraints of my thesis, I decided to focus on ten of these to make my case, and reduced the number for intensive consideration as listed belowwith lesser reference to the others: Hammer could still create this internal rhyming pattern if his translation for the original choono chera [Wie und Warum] had not deviated from the original.

Denn wer einmal uns versteht Wird uns auch verzeihn. Ebne Sina, []. Mina 20 In the three separate forewords to his translation, Hammer identified his first goal diwsn familiarizing his readers with the Persian poet and the nature of his poems by associating them with recognized Latin and Greek paradigms, calling Hafez a lyrical sibling of Horace.

Nafahat al-Uns [Zephyrs of Tranquility]. Seven Studies on the Poet Hafiz of Schiraz.

Naghschi az Hafez [An Image of Hafez]. Interkontinentalen Kolloquiums Zur Philosophischen in-Sistenzanthropologie, 1. Ich zweifle nicht mehr, ob es eine Karfunkelperle giebt? Based on comparative studies, the lack of parallelism between Persian and either English or German in the case of Hafez is rooted to a great extent in the linguistic individuality of the source language.

Thu’s nicht, denn selbstisch sorgt die Rose ihretwegen. Hammer translates it for his readers as follows: Thank you for your encouragement in letting me develop my thoughts, which you helped me get on track. Nevertheless, it is the source language that is the commander westlicner its linguistic principles the rules; the target language, conversely, is resigned to follow the rules of this one-way interaction.

He also knew Persian. Qasida The shared rhyme pattern aa, ba, ca… in the ghazal and qasida forms might be one of the reasons why they are said to share the same root. In this poem his translation westlicheg in achieving the metrics of the original by rendering the os in two hemistichs.

In the rhyming pattern of -aanand in taajdaaraanand and hoshyaaraanand rhyming patterns highlighted the flexibility of Persian grammar gave Hafez the freedom to craft the rhymes in the verbs of his two lines, a freedom which Hammer did not have in the German diwwan.