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Titel, Danksagung, Inhaltsverzeichnis Einleitung 1\. Goethe in China - ein Überblick 2\. Goethe als Mensch und Dichter in den chinesischen Auffassungen 3\. Faust - Rezeption in China 4\. Chinesische Goethe-Biographien Abschließende Zusammenfassung Bibliographie ; Die Dissertation geht der Frage nach, wie Goethe und seine literarischen Werke im vergangenen Jahrhundert, in dem die technischen und geistigen Entwicklungen des Westen immer mehr die chinesische Gesellschaft beeinflussten, von chinesischen Intellektuellen verstanden wurden. Das chinesische Goethe-Bild wird nicht nur zusammenfassend, durch Analysen der verschiedenartigen Goethe- Darstellungen, sondern auch detailliert, anhand von Untersuchungen der Interpretationen der einzelnen Goethe-Werke, insbesondere der Faust- Rezeptionen präsentiert. Darüber hinaus wird es versucht, die Bedeutung der Goetheschen Lebens- und Literaturauffassungen auf einzelnen chinesischen Intellektueller und ferner auf die neueren literarischen Entwicklungen in China herauszuarbeiten. Die Untersuchungen der chinesischen Goethe-Rezeption zielt darauf, die realen Verbindungen sowie die Annährungsschwierigkeiten zwischen chinesischer und westlicher Kultur besser zu verstehen. Es werden dabei die politischen, ideologischen und ökonomischen Hintergründe betrachtet. Die Untersuchungen zielen auch darauf, die kulturellen Potenziale, die in den Wurzeln der chinesischen und der abendländischen Kultur liegen und die China und den Westen geistig näher bringen können, durch Darstellung der Goethe- Rezeption zu verdeutlichen, um der Forschung auf diesem Gebiet Anregungen zu geben. ; The thesis works on the answer to the question of how Goethe and his literature were understood by Chinese intellectual people in the past century, as the development of science and thinking in the west influenced the Chinese society more and more. It describes the Chinese reception of Goethe not only in summary with analyses of the different representations about Goethe, but also in detail through study of ...

In 1993 Michael Wachtel published Ivanov's Russian Faust, comprising two scenes that appear to continue Goethe's Faust and most likely represent the beginnings of a Faust drama. Ivanov was the first Russian poet to reevaluate the second part of Goethe's poem for its extremely symbolic content. As a result, he was considerably influenced by Goethe's creative experience. This article examines these two Faustian scenes and, more generally, the influence of Goethe's Faust in Ivanov's work; adopting a comparative approach, we explore the assimilation into Russian literature of a Central European myth.

For Alfred Schnittke (1934–1998), a representative of the Soviet musical avant-garde, the story of Faust was a life-defining text. A particularly important role in his biography was played by the novel Doctor Faustus by Thomas Mann, which became a kind of encyclopedia of the composer's life and works. Mann's novel reflects his philosophy of music, which was greatly influenced by Theodor Adorno's reflections on modern music. Schnittke considered Mann's main char­acter Leverkuhn to be his musical alter ego and throughout his life followed the musical pursuits of this fictional composer. This article describes in parallel the musical evolution of Leverkuhn and Schnittke. The Soviet composer has re­alized in his life Leverkuhn's musical pursuits: the important elements in the de­velopment of Schnittke's music, such as serialism, monogram and polystylism, were a reflection of Leverkuhn's musical experiments in the novel. The author of this article, analyzing the peculiarity of genre and musical, as well as meta-musical structure of Schnittke's Faust Cantata, explains the composer's polystylism as a polyphony and also investigates his philosophy of music. For Schnittke, mu­sic was not so much an imitation of natural sounds, an expression of human feel­ings and emotions, or a representation of absolute harmony, as a kind of semiotic system within which there happens a free dialogue between musical forms, meta-musical reflections on musical languages, intellectual plays with abundant musical material. The pinnacle of Schnittke's musical evolution Faust Cantata was a realization of his philosophy of music as a polyphony not only in art, but also in life.

Preliminary Material -- Introduction /Howell A. Lloyd -- 1 The History and Theory of Reception /Peter Burke -- 2 On Bodin's Method /Marie-Dominique Couzinet -- 3 The Experiential World of Jean Bodin /Mark Greengrass -- 4 Listening to Witches: Bodin's Use of Confession in De la Démonomanie des Sorciers /Virginia Krause -- 5 Bodin's Reception of Johann Weyer in De la Démonomanie des Sorciers /Christian Martin -- 6 Authorial Strategies in Jean Bodin /Ann Blair -- 7 Bodin in the Netherlands /Jan Machielsen -- 8 Reading from the Margins: Some Insights into the Early Reception of Bodin's Methodus /Sara Miglietti -- 9 The Works of Bodin under the Lens of Roman Theologians and Inquisitors /Michaela Valente -- 10 Bodin's Démonomanie in the German Vernacular /Jonathan Schüz -- 11 Making the Canon? The Early Reception of the République in Castilian Political Thought /Harald E. Braun -- 12 The Reception of Bodin in the Holy Roman Empire and the Making of the Territorial State /Robert von Friedeburg -- 13 Sovereignty and Reason of State: Bodin, Botero, Richelieu and Hobbes /Luc Foisneau -- 14 The Italian "Readers" of Bodin, 17th–18th Centuries: Readers of Bodin in Italy—From Albergati to Filangieri /Vittor Ivo Comparato -- 15 The Italian "Readers" of Bodin, 17th–18th Centuries: The Italian "Readers" out of Italy—Alberico Gentili (1522–1608) /Diego Quaglioni -- 16 Bodin in the English Revolution /Glenn Burgess -- Conclusion /Howell A. Lloyd -- Consolidated Bibliography -- Index.