Götz von Berlichingen

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Berlichingen, Götz von

(göts` fən bĕr`lĭkhĭng-ən), 1480–1562, German knight and adventurer. The head of a band of free soldiers, he lost (1504) his right hand in the battle of Landshut and wore an iron one in its place. His forays against various cities earned him popular fame. He reluctantly agreed to lead the peasants of Franconia during the Peasants' War (1524–26) but deserted them before their defeat. In 1542 he served with Holy Roman Emperor Charles V against the Turks and two years later fought against the French. His memoirs inspired Goethe's drama Götz von Berlichingen (1773).

Götz von Berlichingen:

see Berlichingen, Götz vonBerlichingen, Götz von
, 1480–1562, German knight and adventurer. The head of a band of free soldiers, he lost (1504) his right hand in the battle of Landshut and wore an iron one in its place. His forays against various cities earned him popular fame.
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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Berlichingen, Götz (Gottfried) Von

 

Born 1480; died July 23, 1562. German imperial knight.

In 1514, while in the service of Duke Ulrich of Württem-berg, Berlichingen took part in the suppression of the “Poor Conrad” uprising. During the Peasants’ War (1524–26), Berlichingen found himself in personal conflict with the Swabian League and on Apr. 27, 1525, at the urgent request of W. Hipler, was chosen as commander of one of the peasant detachments in Franconia (the so-called Bright Detachment). At the end of May 1525, before a decisive battle with the troops of the Swabian League, he betrayed the peasants. Berlichingen wrote an autobiography (Lebensbeschreibung Herrn Gö tzes von Berlichingen, published by A. Leitzmann, 1916), in which he emerges as a typical representative of the decadent German piratical knighthood.

The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
(29) Women who stepped out of this private sphere were doomed to destroy both themselves and those around them, as happens to the character Adelheid in Goethe's Gotz von Berlichingen. (30) This conception of the female role reflected the contemporary economic situation of the late eighteenth century in which women had moved "increasingly to the fringes of economic and political activity," and were "defined primarily as ...
The open-air stage production, which premiered at the prison June 13, is inspired by Goethe's "Goetz von Berlichingen" and Friedrich Schiller's "The Robbers."
Because we are reading a poetic composition, we can tell, just as we know that Adelheid's and the Bishop's chess game has had an opening, though in the play Gotz von Berlichingen Goethe never shows it ([section] 365).
Leaving aside the return to Hellenism, he traces the various steps of that return which started with Goethe's Goetz von Berlichingen (1771), examplifying a "superficial, or at least external" (214) type of medievalism centering on "[a]dventure, romance in the frankest sense, grotesque individualism" (214) of which Goethe and Scott are the true instances.
Thus we find, in volume 10, articles about specific texts by Goethe -- Horst Lange discusses Gotz von Berlichingen from the perspective of political theory (particularly that of Hobbes); Elizabeth Powers examines 'Der Wanderer', seeking to show that 'the artist, in order to perpetuate himself through his works, must escape poetic imitation, which in this poem is expressed by the woman's nurturing function', even though the woman -- 'the idyll, which itself is a stand-in for the literary inheritance' -- 'represents the ultimate souce of man's -- the artist's - creativity (pp.
General readers of German history may well have heard of Wilhelm von Grumbach, the last of the Franconian noble feuders; many readers will have heard of his predecessors, Franz von Sickingen and Gotz von Berlichingen; but who, except a regional specialist, has ever heard of any Franconian knight born after 1550?
Goethe illustrates his idea of how this transmission of tradition is so perfectly achieved in Gotz von Berlichingen, where Maria teaches her young nephew the story of the pious child.
His lithographs illustrating Shakespeare's Hamlet and Goethe's play Gotz yon Berlichingen appeared in 1843.
More numerous still are subjects borrowed from such writers as Dante (Ugolino and His Sons in the Tower), Ariosto (Amadis de Gaule), Shakespeare (Hamlet and Horatio in the Graveyard), Goethe (a scene from Gotz yon Berlichingen), Lord Byron (The Death of Lara), and even Sir Walter Scott (The Abduction of Rebecca).
Gustafson's examination of Male Desire in Goethe's Gotz von Berlichingen' argues that, in Lacanian terms, this play 'implies that the subject enters language through the illusory fantasy of and identification with a perfect, imitable male/paternal imago' (p.
Berlichingen read to us by my great-grandmother, and when my
5-43; Helgard Ulmschneider, Gotz von Berlichingen: Ein adeliges Leben der deutschen Renaissance (Sigmaringen, 1974), p.