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Copyright of Goethe-Jahrbuch is the property of Wallstein Verlag and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Nietzsche - Studien is the property of De Gruyter and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Linguistische Berichte is the property of Helmut Buske Verlag Hamburg and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

We think of Renaissance dramatic comedies as ending when facts and reason dispel misconceptions, such that a rational and coherent picture of the narrative whole emerges. Yet in Shakespeare’s Twelfth Night certain elements in the denouement—involving nature, androgyny, and spiritual genius and related to magic and occultism—emphasize a multiplicity or surplus of meaning that resists rationalization and closure. With such devices, Shakespeare imbues comedy with intellectual depth, memorability, and affective power, even joy.

Copyright of Lessing Yearbook is the property of Wallstein Verlag and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Leviathan: Zeitschrift für Sozialwissenschaft (Nomos Verlagsgesellschaft mbH & Co. KG) is the property of Nomos Verlagsgesellschaft mbH & Co. KG and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Zagreber Germanistische Beiträge is the property of University of Zagreb, Faculty of Humanities & Social Sciences and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Gustav Schilling charakterisierte Clara Wieck Schumann 1838 als geniale Virtuosin ebenso wie als geniale Komponistin, während sie selbst keinen Geniestatus für sich beanspruchte. Durch die im medizinisch-anthropologischen Diskurs im 19. Jahrhundert behauptete ›natürliche Ungleichheit‹ von Frauen und Männern wurde die Idee eines heldenhaften Genies, das unangestrengt und voraussetzungslos originelle Ideen produziert, verstärkt. Demgegenüber dokumentierte die Künstlerin, dass Komponieren harte Arbeit sein könne und sie das Handwerk systematisch gelernt habe. Heute hat sich der Fokus von der Diskussion des Genies auf die Erforschung von Kreativität verlagert. Einige zentrale Fragen, wie die nach den Akteur*innen, dem Publikum, den Aktionen, den Artefakten sowie den soziokulturellen und materiellen Entstehungsbedingungen musikalischer Werke können mit Kategorien der Genderforschung verbunden werden. Aus dieser Perspektive betrachte ich die Entstehung von Clara Wieck Schumanns Scherzo op. 10 und der Romanze op. 11/2. Die Kenntnis, wie und was unter Genie zu verschiedenen Zeiten verstanden wurde, konfrontiert uns damit, über eigene explizite wie implizite Überzeugungen nachzudenken und neue Zugänge zu ›post-genialistischen‹ Kunstwerken zu erarbeiten. In 1838 Gustav Schilling characterized Clara Wieck Schumann as a virtuoso and composer of genius; however, she never claimed genius for herself. The assumed naturalness of female inequality in medical and anthropological discourses of the nineteenth century reinforced the idea of a natural-born heroic genius who produces original ideas without effort and preconditions. In contrast, Clara Wieck Schumann documented that composing could be hard work and that she had received a systematic musical education. Today, the discussion of genius has given way to research on creativity. Some key questions of this research such as the actors, audiences, actions, artifacts, and sociocultural and material affordances of musical works can be connected to categories of gender studies. From this perspective I reflect on the compositional process of Clara Wieck Schumann’s Scherzo op. 10 and Romanze op. 11, no. 2. Understanding the concept of genius in different historical periods prompts us to re-think our own explicit and implicit assumptions and to find new approaches to “post-genius” art works.

Стаття присвячена дослідженню особливостей вербалізації концепту GENIUS в англійській мові, а саме – розгляду його асоціативних ознак. Вивчення концепту через мову є найбільш надійним способом лінгвістичного аналізу, що дозволяє визначити концептуальні ознаки та розробити структуру концепту. Будь-який аналіз концепту розпочинається з виявлення мовних одиниць, які репрезентують відповідний концепт, інтерпретації їх словникових та мовленнєвих контекстів. Структура лінгвокультурного концепту включає в себе образну, асоціативну, понятійну та етимологічну складові. Етимологічна складова визначає внутрішню форму слова ключовим репрезентантом концепту. Асоціативна складова формулює домінантні асоціативні відносини (тематичні, парадигматичні, синтагматичні), в які вступають мовні репрезентанти концепту. Понятійна складова концепту визначається лексичним значенням лексем-репрезентантів. Образна складова концепту може включати в себе яскраво-чуттєве представлення (перцептивний образ), а також поєднання концептуальних метафор, що об’єктивують концепт у мові. Згідно із наведеним вище визначенням асоціативної складової концепту, виокремлюємо номінативні одиниці, які є семантично спорідненими із ключовою одиницею genius, а саме: brainiac, Einstein, mastermind, brain, intellect, thinker, whiz, wiz, wizard. Компонентний аналіз показав, що вказані синонімічні номінативні одиниці мають одну спільну ознаку – високий рівень інтелекту та, як правило, входять до розмовного прошарку англійської мови. Проведений аналіз мовленнєвого втілення уможливив виокремлення таких концептуальних асоціативних ознак: страждання через нерозуміння оточуючих, мстивість.

Copyright of Colloquia Germanica is the property of Narr Francke Attempto Verlag GmbH & Co.KG and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article is dedicated to the investigation of the peculiarities of verbalization of the concept GENIUS in the English language, namely, consideration of the aphorisms with the component genius. According to the representatives of the semantic-cognitive approach, concept is a basic unit of human mental code, which has an internal structure consisting of conceptual features; it is the result of the individual and social learning of the world. Conceptual features contain comprehensive information about the corresponding object or phenomenon, as well as the interpretation of information of public consciousness and the treatment of the subject or phenomenon. Thus, the representatives of this trend treat language as one of the main tools of cognition and conceptualization of the world. The study of concept through the language is the most reliable way of linguistic analysis which allows to detect conceptual features and to work out the model of the concept. Any analysis of the concept starts by detecting language units that represent a given concept, the interpretation of their vocabulary and speech contexts. Aphorism is defined as a short original statement, a generalized, deep thought, expressed in a concise form, sometimes unexpectedly paradoxical. During the study, 100 English aphorisms with the genius component have been analyzed. It has been established that in the given expressions several models of the conceptual metaphor are realized. Conceptual metaphor is the main means of the conceptual system of a person by which we understand and perceive one type of objects in terms of objects of another type. The research made it possible to distinguish several conceptual metaphors, in particular GENIUS IS MADNESS, GENIUS IS FIRE, GENIUS IS WORK, GENIUS IS PRECIOUS, GENIUS IS ENEMY, GENIUS IS SIMPLE.

The article is dedicated to the investigation of the peculiarities of verbalization of the conceptGENIUS in the English language, namely, consideration of the nominative field of the given concept.The research analyzes definitions of the lexical unit “genius” in the English dictionaries; singles outnotional conceptual features of the analyzed concept in the English language. According to therepresentatives of the semantic-cognitive approach, concept is a basic unit of human mental code,which has an internal structure consisting of conceptual features; it is the result of the individualand social learning of the world. Conceptual features contain comprehensive information aboutthe corresponding object or phenomenon, as well as the interpretation of information of publicconsciousness and the treatment of the subject or phenomenon. Thus, the representatives ofthis trend treat language as one of the main tools of cognition and conceptualization of the world.The study of concept through the language is the most reliable way of linguistic analysis whichallows to detect conceptual features and to work out the model of the concept. Any analysis of theconcept starts by detecting language units that represent a given concept, the interpretation oftheir vocabulary and speech contexts. The etymology of the lexical unit “genius” has been studiedas well as the structure of its semantic meaning. The following notional conceptual features ofGENIUS in the English language have been singled out: intellectual power; creative power;uncommon, exceptional superiority; originality. The following lexical units represent the mesialpart of the studied nominative field: brainiac, Einstein, mastermind, brain, intellect, thinker, whiz,wiz, wizard, as well as the subconcept PRODIGY.

El artículo examina algunas características del Genius Populi Romani a lo largo de su historia y presta especial atención a su evolución desde que se introdujo su culto en el 218 a. C. hasta que Teodosio lo prohibió en el año 392. El siglo IV merece una especial consideración, principalmente, las relaciones del Genio con Diocleciano, Constantino, Constancio II y Juliano.

The main idea behind this article is that in order to understand the meaning that Kant’s political philosophy is rendered to by the given socio-historical context of a community we need to turn for help to artistic genius whose subjective “I” holds a general feeling of the world and life. It is in this sense that authors of great novels can help us in two ways. First, their works summarise for our imagination artistic truth about man’s capacity for humanity, the very thing that Kant considers to be the scientifically improvable “fact of reason”. Second, works of great writers offer for our insight destinies of individuals who decide to pursue moral dictate in a society, thus actualising the potential that lies hidden in all of us, making us worthy of respect. As we lack objective scientific standard of measurement, artist’s universal feeling of the world is impressed upon us through a narrative about a man who, in a given society and in a given moment, decides to exercise his autonomy and seek the divine in himself. Contemporary social scientists’ attempts to prove historical progress is characterised by the very lack of humbleness. Referring to the great novelists’ works in this article is aimed to remind scientists of restraint and self-control demanded from them by the citizen of Konigsberg.

The term ‘genius’ induces to fictionalize the special person, who is considered to be a ‘genius’. As a consequence, it is often difficult to distinguish between fiction and truth. Therefore ‘genius’ is often used as a tool to convince somebody of a specific idea in literature. This thought pattern of ‘genius’ is formative since the 1700s until today. In these premises the English poet William Shakespeare is an incisive example: he is fictionalized as a ‘genius’ for the purpose of idealization and stylization or to analyze contemporary issues in Herder’s (1773) and Friedell’s (1911) essays about Shakespeare. Herder utilizes Shakespeare for his poetological scheme to underscore a new and progressive type of poet in the epoch of Sturm und Drang. Friedell tries to exemplify by reference to Shakespeare an entire era in contradistinction to his present age at the beginning of the 20th century.

Copyright of Colloquia Germanica Stetinensia is the property of University of Szczecin Press / Wydawnictwo Naukowe Uniwersytetu Szczecinskiego and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

When the critics wanted to intercept the evolution from the “classical” realist novel to the modern one, they spotted the essay-novel that contains in its texture something of the writer’s erudition, ideology and his conception in art. The comment put the novel in the neighborhood of the essay. This kind of writer is also present in the inter-war period and it is the expression of the modernization of literature, especially of the novel.

As criações do gênio apolíneo-dionisíaco estão no centro das preocupações da metafísica de artista, e suscitam a questão acerca do vínculo de Nietzsche com a estética do Romantismo Alemão e de Schopenhauer. Investigamos neste artigo as ambivalências do pensamento nietzschiano no que tange ao conflito entre a arte apolínea da ilusão e a sabedoria dionisíaca, entre o Uno-Primordial e a aparência.The creations of the apollinian-dionysian genius are in the center of the concerns of the artist's metaphysics and raise the question about the relationship of Nietzsche to the aesthetics of German Romanticism and Schopenhauer's. In this article we investigate the ambivalences of the Nietzschean thinking regarding the conflict between the apollinian art of illusion and the Dionysian wisdom, between the Primordial-One and the appearance.

Copyright of FinanzRundschau is the property of De Gruyter and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Goethe-Jahrbuch is the property of Wallstein Verlag and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Studii de Ştiintă şi Cultură is the property of Studii de Stiinta si Cultura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

From a literary perspective, this article deals with the political culture of the pro-republican middle class during the Weimar Republic and its images of leadership. It aims to show how this group's perception and interpretation of politics was aesthetically influenced by narratives used to describe an ideal political leader that can be traced back to popularized version of Sturm und Drang's concept of genius. During the Weimar era, hugely emotive expectations toward politics are fostered, and they may become a burden for the young state. [ABSTRACT FROM AUTHOR]