Johann Heinrich Voss


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Voss, Johann Heinrich

 

Born Feb. 20, 1751, in Sommersdorf, Mecklenburg; died Mar. 29, 1826, in Heidelberg. German poet and translator.

Voss studied at the University of Göttingen from 1772 to 1776 and became a professor at the University of Heidelberg in 1805. He was one of the founders of the Grove Association (also known as the Göttingen Grove), a group that was part of the Sturm und Drang movement. Voss composed idylls that sharply criticized feudal survivals in Germany; these idylls, such as Luise (1783–84; rev. ed. 1795) often depicted a “village Utopia.” In such pamphlets as How Did Fritz Stolberg Become a Slave? (1819), Voss criticized the German romantics and the intensification of political and clerical reactionism from the standpoint of the Enlightenment. Voss’ translations of Homer’s Odyssey (1781) and Iliad (1793) had great cultural significance.

WORKS

Werke in einem Band. Berlin, 1966.
In Russian translation:
Inostrannye poety: Gotfrid Biurger i Iogann Foss s prilozheniem ikh stikhotvorenii. Moscow, 1901.

REFERENCES

Istoriia nemetskoi literatury, vol. 2. Moscow, 1963.
Neustroev, V. P. ‘“Gettingenskii soiuz’: Voss i Biurger.” In his Nemetskaia literatura epokhi Prosveshcheniia. Moscow, 1958.

A. A. GUGNIN

References in periodicals archive ?
It also determined the comparable makeup of his later Hamburg circle of friends: Johann Andreas Cramer, Friedrich Gottlieb Klopstock, Heinrich Wilhelm von Gerstenberg, Christoph Daniel Ebeling, Johann Joachim Eschenburg, and Johann Heinrich Voss, all leading charismatic figures in the scholarly and literary world of the northern Hanseatic region, but with considerable influence beyond.
194), the rise of exacting literary translation at the end of the eighteenth century, where Johann Heinrich Voss's translations of Homer played the crucial role.
There he became close friends with the poets Johann Martin Miller, Johann Heinrich Voss, Heinrich Boie, and Christian and Friedrich Leopold Stolberg.
There are also articles on Johann Heinrich Voss's novel Luise (1783-4), on the iconography of artistic depictions of Goethe's Gretchen at the well, on Peter Altenberg, and on Rilke.
And it is examples from Johann Heinrich Voss's version of The Tempest that illustrate the separation of translation practice from the stage: 'The race is on for the version of Shakespeare farthest from the actor's lips' (p.