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The examples come from the entire data collection of the PONS Dictionary and are all editorially certified. Hallo Welt. DE ES. My search history My favourites. Javascript has been deactivated in your browser. Reactivation will enable you to use the vocabulary trainer and any other programs. Show summary of all matches Dichtung noun Dichtung noun.

Dichtungen - Überblick (2)

Dichtung Gattung. Would you like to add some words, phrases or translations? Submit a new entry. Compile a new entry. Usage examples with Dichtung geistliche Dichtung. The entry has been added to your favourites. You are not signed in. Please sign in or register for free if you want to use this function. An error has occured. Skip to navigation. Rarely does a chance discovery give the reader an opportunity to examine the fundamental bases of a literary genre.

This, however, is what Mark Anderson has accomplished with the paper at hand. Although his immediate subject seems limited—explanations for similar wording in two biographies of Nietzsche—the terms he offers and the themes he introduces take the reader beyond the authors in question into more fundamental issues such as the interplay of scholarship and artistry in biography.

Professor Anderson begins by taking exception to a remark made by a previous reviewer this writer that every biographer of Nietzsche necessarily tells the same story. The former in theory is as fixed as the myths Greek dramatists used when fashioning their plays.

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More recently Julian Young published Friedrich Nietzsche: A Philosophical Biography , a book that has received considerable praise. These parallelisms are of two kinds, wording and narrative structure, and Anderson presents examples of each. Unable to account for these echoes, he faces an apparent contradiction.

Every biographical story will be told differently, he believes, yet here is a case where two overlap.

Richard Wagner Samtliche Schriften Und Dichtungen (German Edition)

While one is grateful to Professor Young for replying so simply and clearly, the issues are by no means resolved. For a start, we may regretfully accept the loss of an occasional footnote. More difficult to understand is how he could have lost all of them and, more generally, how he could have forgotten that he used Cate so extensively in the first place. Moreover, Young imported two kinds of material from Cate. Obviously, there was the duplication of language, which Anderson has noted and Young has acknowledged.

But this was not just a question of stylistics. Ultimately, one must note that while Young appeals to forgetfulness to account for his lapse, it is the task of the biographer or historian not to forget—to bear witness to what memory has abandoned or suppressed. In fact, the two books are strikingly different and for the reason he gives: individual storytellers are at work, and the tales they tell are individual as well. If we exclude the apparatus, his text comes to pages, of which roughly are devoted to biography.

There is no mistaking this, since Young likes to insert himself personally into his narrative, often using the first person singular, and operating in effect as an omniscient narrator.

Unlike Young, he fosters the illusion that his story is an anonymous recital of events from which the author has disappeared. What he does not consider is the underside of this apparent virtue. At the risk of recapitulating what Plato said of the poets, this writer must point out that artistry is exactly what makes the genre of biography questionable as a contribution to scholarship. Both Cate and Young in theory have examined sources and are giving an interpretation that will be true to these.

Yet neither of them is writing an uninflected chronicle of facts.

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Rather, as Anderson reminds us, they are telling a story, and this implies the use of techniques associated with fiction and certain forms of journalism. One might mention the setting of scenes at which both writers are exceptionally adept , depiction of character, and the narration of anecdotes. This is not to say that facts are made up.

The responsible biographer uses the techniques of the fiction writer without writing fiction itself.

"Dichtungen" in English

Nonetheless, the temptation to err in the direction of plain fiction seems difficult to resist, particularly when certain facts necessary to the narrative are unknown. Cate, for example, is particularly skilled at yet another technique, and that is the metaphorical replacement of a comparatively colorless statement with a sensuous re-creation. An extended example can be found at the close of his first chapter.

Unable to sleep, he got up after midnight and went down into the courtyard, where loaded carts and carriages were dimly visible in the pale glow of a coach-house lantern. The curfew bell sounded with its melancholic tone over the flooded fields; thick darkness spread over the earth.

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The moon and the twinkling stars were shining in the sky. Already at half past twelve I returned to the yard. There stood several wagons, that had been loaded. The dull light of the lantern dimly illuminated the courtyard. KGW I. His book is replete with such transformations, some of them much shorter. After discovering Schopenhauer, Nietzsche informs us, he always went to bed at two a.

While both these examples hew plausibly to a text, there are also occasions when Cate seems to make things up, as in a rapturous description of spring in the Rheinland:.