Albert Meier

Humanity is an animal derived from earth and enlightened by a spirit from heaven. We are urged to abandon our sinful souls and accept an image of our divine creator. We are then both mortal and eternal. Our bodies are from the universe that had its beginning some 14 billion years ago, but spiritual enlightenment came much later and is still happening. Can a natural being lacking a spiritual enlightenment go to heaven? No, not without the help of a superior spiritual being that we call a Messiah, Jesus came from heaven and was born and lived on earth, and when he died, his spirit returned to paradise with a repentant sinner who had shared the cross with Jesus. Our faith is that Jesus will take us also. King David, an ancestor of Abraham, died and returned as the transformed son of Mary called Jesus, the image of his heavenly Father. Symbols are often employed in the Bible. One set of them are the ancient elements--earth, air, fire, and water--that distinguish between our material and spiritual natures. Earth and water refer to the earth life and air and fire relate to the spiritual. In Noah's flood, the water baptizes/cleans our sinful self and a dove, an air symbol, points out Jesus as the ultimate cleanser. The fire on the heads of people gathered from all parts of the world at Pentecost describe the final cleansing by Jesus who baptizes with fire. The sun, moon, and stars are a set of symbols that refer to the father, son, and holy spirits. The stars represent our spirits that fall to earth periodically and embody there. The star that the magi followed was not an astronomical object; it was the vital spirit of Jesus! The sun, moon, and stars are the spiritual lights of the world. A few other symbols with important roles are the zodiac, the hidden number 9, and the alpha and omega in the world. This is a hint: ADM.

Kingdom Of Heaven On Earth

Jochen Golz

Edith Zehm

Das Goethe-Jahrbuch 2013 versammelt die Vorträge der Konferenz »Goethe und die Weltreligionen", die im Mai 2013 zahlreiche Gäste aus 18 Ländern in Weimar zusammengeführt hat. Es enthält zudem Abhandlungen und Miszellen zu Goethes Leben und Werk. Ein umfangreicher Rezensionsteil zu wichtigen Neuerscheinungen und Berichte über das Wirken der Goethe-Gesellschaft im In- und Ausland ergänzen den Band. Das Goethe-Jahrbuch ist das Publikationsorgan der 1885 in Weimar gegründeten Goethe-Gesellschaft mit derzeit ca. 3.500 Mitgliedern in 55 Ländern der Welt.

Goethe-Jahrbuch 130, 2013

Das Goethe-Jahrbuch 2014 versammelt die Vorträge des »Symposiums junger Goetheforscher", das im Mai 2013 abgehalten worden ist. Es enthält zudem Abhandlungen und Miszellen zu Goethes Leben und Werk. Ein umfangreicher Rezensionsteil zu wichtigen Neuerscheinungen und Berichte über das Wirken der Goethe-Gesellschaft im In- und Ausland ergänzen den Band. Das Goethe-Jahrbuch ist das Publikationsorgan der 1885 in Weimar gegründeten Goethe-Gesellschaft mit derzeit fast 3000 Mitgliedern in 50 Ländern der Welt.

Goethe-Jahrbuch 131, 2014

Werner Frick

Das Goethe-Jahrbuch 2009 versammelt die Vorträge der Konferenz "Weite Welt und breites Leben" - Goethe, der Weltbürger, die im Juni 2009 ca. 600 Goethefreunde aus 20 Ländern in Weimar zusammengeführt hat. Es enthält zudem Abhandlungen und Miszellen zu Goethes Leben und Werk. Veröffentlicht werden auch die Essays der Preisträger des 2. internationalen Essay-Wettbewerbs der Goethe-Gesellschaft. Ein breiter Rezensionsteil zu wichtigen Neuerscheinungen, eine Goethe-Bibliographie für das Jahr 2008 und Berichte über das eindrucksvolle Wirken der Goethe-Gesellschaft im In- und Ausland ergänzen den Band. Das Goethe-Jahrbuch ist das Publikationsorgan der 1885 in Weimar gegründeten Goethe-Gesellschaft mit derzeit ca. 4000 Mitgliedern in 55 Ländern der Welt.

Goethe-Jahrbuch 126, 2009

Maike Schmidt

Deutschland erzählt: Vom Kriegsende bis zur Wiedervereinigung

Michel Houellebecq : Elementarteilchen

Kunstreligion [art religion] has been an established term since Schleiermacher's Speeches on Religion (1799). However, the origin of the concept is not to be found in the theology of Schleiermacher but rather in its cultural-philosophical sources, i.e. in the derationalization of "Kunst" [art] in the context of autonomy-aesthetics, which likens aesthetic beauty to the numinous. This first of three volumes, in which scholars of literary studies from Germany, Italy, and France have collaborated, focuses on the origin of the concept of Kunstreligion in German literature and philosophy around 1800 and investigates its transformation into works of poetry.

Der Ursprung des Konzepts um 1800

The concept of “Art as Religion” that arose in the late 18th century became radicalized after 1850 in the perspective of a new aesthetic of “modernity.‎” Offering synchronous and diachronic perspectives that are media-specific as well as transmedial, the case studies assembled here illuminate differentiated viewpoints about a cultural phenomenon that proved of importance to both modernity and post-modernity.

Albert Meier

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