Ilse Graham
Dados Biográficos
| ID | 5777505 |
|---|---|
| NOME | Ilse Graham |
| PRENOMES | Ilse |
| SOBRENOME | Graham |
| ASSINATURA | GRAHAM I |
| AFILIAÇÕES | Transnational Press London |
| VERIFICADO | Não |
| TOTAL DE OBRAS | 13 |
| TOTAL DE CITAÇÕES | 0 |
| OBRAS COMO AUTOR | 13 |
| OBRAS COMO EDITOR | 0 |
| PRIMEIRO ANO DE PUBLICAÇÃO | 1952 |
| ANO MAIS RECENTE DE PUBLICAÇÃO | 1980 |
| ÍNDICE H | 0 |
Mephisto's Zoo
Orpheus Looks Back
But I have always suspected that these lines express something more intimately personal, something that has to do not merely with the man, but with the poet and his poetry, maybe even with poetry as such. When we have forgotten the lines of a poem, do we not ask: does it go-wie geht es? A poem's identity is bound up with the way it moves, and that is how we remember it. Like Goethe's, Mbrike's was an eminently wandernder Genius, suggesting moving…
Goethe. Portrait of the Artist
Heinrich von Kleist
Heinrich von Kleist's was an obsessionally tidy mind. He meticulously dotted his poetic i's and crossed his poetic t's. Yet also he has often dismissed us into silence; strangely eloquent silences, like that at the end of the essay Uber das Marionettentheater, or the one that flowers from Alkmene's Ach! or from Don Fernando's concluding words which leave a whole world swaying in the balance. And then, of course, there is the caressing silence tha…
Mary‐énole Gilbert
Schiller's Drama
Schiller, ein Meister der tragischen Form
Goethe's "Das Marchen"
Goethe and Lessing
Transmigrations
The Currency of Love
Götz Von Berlichingen's Right Hand
Passions and Possessions in Schiller's ‘Kabale Und Liebe’
Sem obras proeminentes nesta página.
Passions and Possessions in Schiller's ‘Kabale Und Liebe’
Götz Von Berlichingen's Right Hand
The Currency of Love
Transmigrations
Goethe and Lessing
Schiller's Drama
Schiller, ein Meister der tragischen Form
Goethe's "Das Marchen"
Mary‐énole Gilbert
Goethe. Portrait of the Artist
Heinrich von Kleist
Heinrich von Kleist's was an obsessionally tidy mind. He meticulously dotted his poetic i's and crossed his poetic t's. Yet also he has often dismissed us into silence; strangely eloquent silences, like that at the end of the essay Uber das Marionettentheater, or the one that flowers from Alkmene's Ach! or from Don Fernando's concluding words which leave a whole world swaying in the balance. And then, of course, there is the caressing silence tha…
Orpheus Looks Back
But I have always suspected that these lines express something more intimately personal, something that has to do not merely with the man, but with the poet and his poetry, maybe even with poetry as such. When we have forgotten the lines of a poem, do we not ask: does it go-wie geht es? A poem's identity is bound up with the way it moves, and that is how we remember it. Like Goethe's, Mbrike's was an eminently wandernder Genius, suggesting moving…
Mephisto's Zoo
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