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1
Kirsch, Konrad. "Die Masse der Bücher eine hypertextuelle Lektüre von Elias Canettis Poetik und seines Romans Die Blendung." Sulzbach Kirsch, 2006. http://deposit.d-nb.de/cgi-bin/dokserv?id=2877016&prov=M&dok_var=1&dok_ext=htm.
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Chang, Yau-Chin. "Minderwertigkeitsgefühl und Machtstreben der Brüder Kien in Canettis Die Blendung." Aachen : Shaker, 2005. http://catalog.hathitrust.org/api/volumes/oclc/61263433.html.
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Hausler, Christine. "The role of Fischerle in Elias Canetti's novel Die Blendung /." Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=68101.
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This thesis investigates the role of Fischerle in Elias Canetti's novel Die Blendung. Fischerle is examined from two main points of view: first he is seen as a dramatically vitalizing figure associated with a significant body of imagery and motifs in the novel; then he is viewed as a foil to Kien.<br>Die Blendung is populated by a wide variety of grotesques. It is argued that Fischerle, who is more elaborately burdened with grotesque features than any other figure in the novel, is also the character who is most self-aware and awake to the world. Fischerle is a rogue, but he generates pathos.<br>Chapter III studies the figure of Fischerle as a composite of his defining features, his qualities and his abilities. Particular attention is paid to the function of the imagery and motifs associated with Fischerle.<br>Chapter IV explores the Kien-Fischerle dynamic in terms of the imagery that relates the two characters to one another. A selection of images and metaphors showing a pattern of blending and separation is analyzed. Conclusions are drawn concerning this pattern of imagery as a further source of pathos for readers of this peculiarly "heartless" novel.
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Oger-Schwarzer, Sylvie. "Le masque chez elias canetti." Paris 3, 1986. http://www.theses.fr/1986PA030141.
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Le theme du masque, d'une grande importance dans l'oeuvre d'elias canetti, se rencontre a la fois dans son etude anthropologique sur la puissance (masse und macht), dans sa conception du theatre et dans sa prise de conscience du langage. A travers l'image du masque, l'ecrivain s'efforce de montrer le figement et l'alienation interieurs des hommes de son temps. Cette etude repose sur trois points : - l'ambiguite du pouvoir qui culmine dans la paranoia ; maladie que canetti interprete differemment de freud. - les principes dramatiques elabores par l'ecrivain, leurs sources litteraires et temporelles. - une etude lexicale, morphologique et syntaxique de deux profils linguistiques ("masques acoustiques") presentes dans le roman die blendung. Les differents "masques acoustiques" des personnages apparaissant dans les drames hochzeit et komodie der eitel- keit sont resumes en annexe dans un tableau<br>The subject of a mask is of great importance in the work of elias canetti. It is found in his anthropological study of power (masse und macht), in his conception of theater as well as in his perception of language. Using the picture of mask, the author attempts to portray the alienation of people living in his age. The dissertation is divided into three sections : - the ambiguity of power which culminates in paranoia ; an illness which canetti interprets differently than freud. The dramatic principles of theater elaborated by the author, their literary and historic background. - a lexical, morphological and syntactical study of two linguistic profiles ("acoustical masks") presented in the novel die blendung. The different "acoustical masks" of the characters appearing in the two dramas hochzeit and komodie der eitelkeit are summarized in the end of the dissertation (annex)
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Oger-Schwarzer, Sylvie. "Le Masque chez Elias Canetti." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37601096g.
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Chen, Yun. "Canetti und die chinesische Kultur." [S.l. : s.n.], 2003. http://deposit.ddb.de/cgi-bin/dokserv?idn=968547478.
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Eigler, Friederike. "Das Autobiographische Werk von Elias Canetti /." Tübingen : Stauffenburg Verl, 1988. http://catalogue.bnf.fr/ark:/12148/cb35088767v.
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Zogmayer, Karin. "- das Rätsel sie sollen lassen stan : von Elias Canettis "Verwandlung" /." Wien : Lit, 2008. http://deposit.d-nb.de/cgi-bin/dokserv?id=3069670&prov=M&dok_var=1&dok_ext=htm.
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Görbert, Johannes. "Poetik und Kulturdiagnostik : zu Elias Canettis "Die Stimmen von Marrakesch" /." St. Ingbert : Röhrig Universitätsverlag, 2009. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9783861104636.
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Strucken, Stefan. "Masse und Macht im fiktionalen Werk von Elias Canetti." Essen Klartext, 2004. http://deposit.ddb.de/cgi-bin/dokserv?id=2760176&prov=M&dok_var=1&dok_ext=htm.
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Meyer, Christine. "Canetti, lecteur de Stendhal : construction d'une écriture autobiographique /." [Mont-Saint-Aignan] : Publications de l'Université de Rouen, 2004. http://catalogue.bnf.fr/ark:/12148/cb39903190z.
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Texte remanié de: Th. doct.--Études germaniques--Paris 3, 1997. Titre de soutenance : Canetti, lecteur de Cervantès, Gogol, Stendhal : formes de l'intertextualité dans l'oeuvre romanesque et autobiographique d'Elias Canetti.<br>Bibliogr. p. 199-205. Notes bibliogr.
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Kalatehbali, Narjes Khodaee. "Das Fremde in der Literatur : postkoloniale Fremdheitskonstruktionen in Werken von Elias Canetti, Günter Grass und Josef Winkler /." Münster : Lit, 2005. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=013114643&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.
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Leroy, Du Cardonnoy Éric. "Les "Réflexions" d'Elias Canetti : une esthétique de la discontinuité." Paris 3, 1993. http://www.theses.fr/1994PA030047.
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Les "reflexions" d'elias canetti posent au critique des difficultes quant a leur determination generique, quant a la place a leur accorder dans le corpus de l'auteur, quant a leur reception. En recouvrant a un 'genre' qui peut se metamorphoser et devenir de la sorte insaisissable, canetti offre au lecteur un viatique contre toute pensee systematique qu'il considere comme un auxiliaire privilegie dela mort. Par des disruptions logiques, stylistiques et semantiques, par une conception qui refuse d'envisager le langage comme un outil de communication, par les modeles qu'il se choisit, il insuffle a l'homme moderne le courage necessaire pour prendre conscience de et mettre en pratique la valeur subversive de la ludicite comme lucidite vecue face a une realite qui nous echappe<br>Elias canetti's "aufzeichnungen" present the critic with a number of difficulties : these are primarily those of classification within a literary genre, of their place within the author's own works, and their reception by the public. In choosing a 'genre' which can metamorphoses itself thus defying classification, canetti offers the reader a viaticum against all systems which the considers to be the death of productive thought. By means of disruptions of a logical, stylistic and semantic nature, the use of thought which refuses to consider language as a tool for communication, and by means of the literary models he chooses, canetti attempts to provide modern man with the necessary courage to consciously accept and put into practice the subversive value of play. Play creates lucidity in dealing with a constantly elusive reality
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Meyer, Christine. "Canetti, lecteur de Cervantès, Gogol, Stendhal : formes de l'intertextualité dans l'oeuvre romanesque et autobiographique d'Elias Canetti." Paris 3, 1997. http://www.theses.fr/1997PA030066.
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La relation auto-da-fe/don quichotte se fonde sur un triple rappel : l'aspect du heros, son obsession livresque et l'"aveuglement" a la fois comique et tragique qui en resulte. Mais kien a d'autres points communs avec le chevalier (age, sexe, temperament). Le meme parallelisme se retrouve chez les personnages secondaires (therese/dulcinee, fischerle/sancho) et au niveau pragmatique ("sortie", mission chevaleresque, mystification, delire). Les concordances sont trop massives pour qu'on puisse ne voir dans auto-da-fe qu'une variation du topos lire/delire (cf. Antiroman) : on a affaire a une aggravation directe du quichotte, operation aux enjeux semantiques et poetologiques considerables. L'empreinte de gogol concerne moins les structures textuelles d'auto-da-fe que l'appareil symbolique ("mythe") qui fonde la "comedie humaine de la folie". L'univers gogolien souffre d'une inconsistance pathologique et d'un rapport perverti a la mort. La conjonction argent/survie/puissance, au premier plan des ames mortes, prefigure la "realite de l'avenir". La devaluation de l'humain, qui etait chez gogol une metaphore caricaturale, s'est concretisee. Canetti reprend les grands themes balzaciens (million mythique, crime cache, passions) et leur imprime la marque de l'irrealite gogolienne. Malgre des divergences formelles de taille, l'histoire d'une vie deploie une "mythologie personnelle" proche de celle du brulard. Le role de l'histoire est rendu sous forme romanesque et subjective : il s'agit d'en montrer l'effet sur l'individu. Subjectivite aussi dans la division de l'univers familial en "bons" et en "mechants" et dans le systeme des modeles et contre-modeles. Ce manicheisme releve d'une ideologie qui commande d'assumer jusqu'au bout son passe. Ni confession ni reglement de comptes, l'autobiographie ne vise qu'a mettre a jour le noyau dur de la personnalite : projet faussement retrograde, car typiquement "egotiste" et sans illusion d'emancipation et d'autocreation<br>The relationship between auto-da-fe and don quixote is based on the hero's appearence, his obsession with books and the resulting "blindness", both comic and tragic. Kien also inherited don quixote's age, sex and disposition. The same parallelism is to be found regarding the minor charaters (therese/dulcinea, fischerle/sancho) and on the pragmatical level ("setting out", chivalrous mission, mystification, insanity). There are too many similarities to simply allow us to treat auto-da-fe as a variation on the topos "reading leads to madness" (cf. Antinovel) : it is an "aggravation" of don quixote, with numerous consequences for semantics and poetics. Gogol's imprint is less concerned with the textual form of auto-da-fe than with the symbolic structure ("myth") which supports the "comedie humaine of fools". The gogolian universe suffers from pathological inconsistency and a distorted attitude towards death. The nexus money/survival/power, the central theme of dead souls, anticipated the "reality to be" : the devaluation of humans, which functions in gogol in a metaphoric form, is now concretized. Canetti picks up such balzacian themes as the mythical million, the hidden crime, the "passions", and treats them with gogolian irreality. Despite formal differences, the story of a life develops a "personal mythology" similar to that of brulard. The role of history is rendered in a subjective form : what counts is its impact on the protagonist. The descriptions of family and the system of models and countermodels are also subjective. This manicheism is part of an ideology that requires the full acceptance of one's past. Neither a confession nor a settling of scores, autobiography attempts to illuminate the essence of personality
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Salvador, Fabiano Massarro. "Cultura e desrazão: uma história de auto-de-fé de Elias Canetti." Pontifícia Universidade Católica de São Paulo, 2011. https://tede2.pucsp.br/handle/handle/15093.
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Previous issue date: 2011-12-02<br>The questioning which takes course throughout the pages of this work is: What could there be of such great impact in Auto-de-Fé? In the process of the present work, Elias Canetti‟s novel provoked many doubts, reflections and problems; we realized that this author‟s work is involved by many problematics. In order to analyze his work, it was necessary to trail another path besides that of Psychoanalysis. The undertaking, in this sense, was made up of the historical analysis of different cultural periods, specially German ones. I thus ventured into the origin of the German Romantic Period, its history and main artists. Analyzing this movement, I noticed that it is very interesting and rich, principally for having been a time that served as stimulus to Freud. Even so, I realized that the journey would be incomplete if I focused only on Romantism. The questions of beautiful and sublime give space to other themes, more subjective ones, which are strange to the being. I believed it would be important to establish an interface with the Expressionist Movement, in which madness and the esthetics concerning the body would be quite different. The body, in the Expressionist movement, brought forth the marks of a shattered subjectivity. These choices were made with an aim to promote a wide reflection about the historical context in which Auto-de-Fé was imagined and developed by Canetti. This work was created when the austro-germanic culture was, in a certain way, expiring. The lights of the Austro-Hungarian Empire were beginning to die out, the Weimar Republic was a caricature of power encarnation. The growing antissemitism in Eastern European countries, with the uprising of the German National Socialist Party, already antecipating the sinister aspects to come, the Viennese nihilism showing that the Austrian society was sunk in obsolete values concerning man, art and society, and also the gathering of important arts names at this notable period. This and other factors led us to the conclusion that tha analysis of madness, of which Peter Kien will be a victim in Auto-de-Fé, is a sad metaphor of what was to come. Understanding the nearly prophetical aspect of Canetti‟s words would only be possible if we had as a guide the pages of German cultural history, a culture marked by the sign of dualism<br>O questionamento que irá se desenrolar nas páginas deste trabalho é: O que haveria de tão impactante na obra Auto-de-Fé? No decurso da confecção do trabalho, o romance de Elias Canetti suscitou muitas dúvidas, reflexões e problemas, e percebemos que as problemáticas que envolvem essa obra são inúmeras. Para analisarmos a obra de Elias Canetti, fez-se necessário percorrer outro caminho que não somente o da psicanálise. A empreitada, neste aspecto, foi sendo construída por meio de análises históricas de diferentes períodos culturais, predominantemente germânicos. Para tanto me detive nas raízes do Movimento Romântico Alemão, sua história e seus principais nomes. Analisando este movimento, notei como ele era interessante e rico, sobretudo por ser uma época que serviu de estímulo a Freud. Mesmo assim, percebi que o caminho ficaria incompleto se permanecesse somente no âmbito do Romantismo. As questões acerca do belo e sublime vão dando espaço para outras temáticas, questões mais subjetivas, estranhas ao ser. Acreditei que seria importante fazer uma interface com o Movimento Expressionista, onde a loucura e a estética acerca do corpo seriam bastante distintas. O corpo no Expressionismo traria as marcas de uma subjetividade em cacos. Essas escolhas foram feitas com o intuito de promover uma reflexão ampla acerca do contexto histórico em que a obra foi pensada e confeccionada por Canetti. Auto-de-Fé foi construída num contexto em que a cultura austrogermânica estava de alguma maneira fenecendo. As luzes do Império Austro-Húngaro começavam a bruxulear, a República de Weimar era uma caricatura da encarnação dos poderes. O antissemitismo crescente nos países do leste europeu, com a ascensão do Partido Nacional Socialista Alemão, já antecipando aspectos sinistros, o niilismo vienense mostrando como a sociedade austríaca estava imersa em valores obsoletos no que dizia respeito ao homem, arte e sociedade, e também a aglomeração de nomes desta notável época no que concerne as artes. Estes e outros fatores levaram-nos à conclusão de que a análise da loucura da qual Peter Kien será vítima em Auto-de-Fé é uma metáfora triste daquilo que estava por vir. Entender o caráter quase profético das palavras de Elias Canetti só seria possível, tendo como eixo norteador as páginas da história da cultura germânica, uma cultura marcada pelo signo da dualidade
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Malanda, Yannick-Laure. "Elias Canetti et la religion : Masse et puissance en dialogue avec Les réflexions." Paris 3, 2005. http://www.theses.fr/2005PA030076.
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Cette étude de la religion dans Masse et puissance et dans les Réflexions a deux buts principaux. Elle permet, en premier lieu, de replacer l'œuvre théorique de Canetti dans la perspective anthropologique grâce à une exploration de sa bibliothèque de Zurich, en se concentrant sur le thème de la religion. Elle analyse le travail de la citation des œuvres de la bibliographie, mais part également à la recherche des sources cachées de Masse et puissance. Elle permet de démontrer d'une part la dénonciation systématique des religions comme systèmes fermés de manipulation des masses et comme gérantes de la mort, alliées aux puissants. Mais elle révèle aussi une fascination de Canetti pour les rituels, pour la récitation des mythes, et pour les religions proches du chamanisme, qui offrent à l'homme une possibilité de métamorphose. En second lieu, les Réflexions entament un dialogue avec ses lectures, qui aboutit à une forme d'expression dont l'esthétique discontinue dessine les contours plus intimes d'une " religion " de l'auteur, teintée de judaïsme dans son face-à-face avec Dieu et la Bible, de chamanisme et d'influences orientales<br>This study of religion in Masse und Macht and the Aufzeichnungen has two major objectives. Firstly it allows a view of Canetti's theoretical works in the anthropological perspective through an exploration of Canetti's library in Zurich and a focus on the theme of religion. It undertakes an analysis of how the content of books in this library is quoted, along with a research of the hidden sources of Masse und Macht. It demonstrates the systematic exposure of religions as closed systems of crowds-manipulation and as managers of death allied with the mighty. But it also reveals the fascination of Canetti for the rituals, the tale of myths and the religions close to shamanism which offers the opportunity of metamorphosis to human beings. Secondly, the Aufzeichnungen open a dialog with Canetti's readings which ends up in a form of expression where the discontinuous aesthetic lays out the more intimate outlines of the author's “religion”, tinged with Judaism in his face-to-face with God and the Bible, shamanism and oriental influences
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Ebenhardt, Dufresne Marion. "Mort et métamorphose dans l'oeuvre d'Elias Canetti." Paris 4, 1995. http://www.theses.fr/1995PA040186.
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Cet ouvrage propose une analyse des themes de la mort et de la metamorphose dans l'oeuvre d'elias canetti, s'appuyant sur une etude transversale qui prend en compte tous les genres litteraires abordes par l'auteur. Les deux premiers chapitres sont consacres a une etude minutieuse de deux notions fondamentales : la masse, dont les differentes manifestations sont autant de facteurs de mort; la pulsion de survie et les diverses strategies deployees pour echapper a la mort. Puis, par une analyse detaillee de la conception didactique du personnage du survivant ety de la notion de metamorphose, est mise en relief la fonction essentielle que canetti confere a l'oeuvre d'art dans son combat contre le trepas, afin d'examiner les procedes artistiques utilises dans cette lutte. L'analyse s'attarde sur le caractere ambivalent de la notion de matamorphose, pour degager l'idee maitresse de l'etude : le recours a la metamorphose constitue le moyen de resistance active le plus efficace a opposer a la mort. L'acces a l'ouvrage est facilite par un index des noms cites dans le corps du texte, ainsi que par une bibliographie des documents consultes pour sa redaction<br>This essay proposes an analysis of the themes of death and metamorphosis in the works of elias canetti, backed up with a transverse study taking into account all the literary genres approached by the author. Both first and second chapters are dedicated to a thorough study of two fundamental notions : mass, whose expressions are so many factors of death; the urge for survival and the different strategies to escape death. The emphasis being laid on the essential function with which canetti, in his fight against death, endows the artistic work, the artistic devices used in his fight will be examined by analysing minutely the didactic conception of the character of the survivor and the notion of metamorphosis. The analysis stresses the ambivalent nature of this notion in order to extract the governing idea ot the study : having recourse to metamorphosis as the most efficient means of active resistance to be opposed to death. An index of the names mentioned in the corpus and a bibliography referring to the documents consulted may help the reader(s access to the seeay
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Wilkening, Annika [Verfasser]. ""Leb für Deine Werke" : literarische Wechselwirkungen zwischen Veza und Elias Canetti / Annika Wilkening." Hannover : Technische Informationsbibliothek (TIB), 2016. http://d-nb.info/1119905419/34.
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Kerller, Wagner Guedes. "O teatro de Elias Canetti em di?logo com a p?s-modernidade." Universidade Federal do Rio Grande do Norte, 2015. http://repositorio.ufrn.br/handle/123456789/20770.
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Previous issue date: 2015-05-29<br>A proposta desta disserta??o ? analisar a obra dramat?rgica do autor b?lgaro Elias Canetti, composta pelas pe?as O Casamento, Com?dia da Vaidade e Os que t?m a hora marcada, procurando compreender como as teorias cr?ticas da contemporaneidade atuam em sua trilogia, buscando um di?logo com referenciais te?ricos que justifiquem sua aproxima??o ao p?s-modernismo. Entretecendo os apontamentos e o teatro de Canetti com os conceitos filos?ficos da ?est?tica negativa? de Adorno, percebe-se um espa?o para a reflex?o de teorias que se sucederam, como as rela??es de poder de Foucault, presentes em Microf?sica do poder e os discursos de resist?ncia e poder desenvolvidos por Deleuze e Guatarri em Mil Plat?s e O Anti-?dipo. Apesar de suas obras terem sido escritas entre 1932 e 1956, todas apresentam uma cr?tica exasperada ao modernismo e caracter?sticas que n?o auxiliaram o seu reconhecimento pela cr?tica da ?poca, o que fez com que a dramaturgia de Canetti fosse redescoberta ap?s o autor receber o Pr?mio Nobel em 1981.<br>The purpose of this dissertation is to analyse the dramaturgic work of the Bulgarian author Elias Canetti, composed by the plays The Wedding, Comedy of Vanity and Their Days are Numbered, seeking to comprehend how the contemporary critic theories act on his trilogy, making a dialogue with theoretical references which may justify its approaching to the postmodernism. In this perspective, the theories by Jean-Fran?ois Lyotard, Fredric Jameson and J?rgen Habermas contribute for a better comprehension of the postmodernity phenomenon. Undertaking Canetti?s notes and theatre with the philosophical concepts of Adorno?s negative aesthetics, we realise there is a space to reflect upon the theories which befell, like Foucault?s power relations in Micro-physics of Power and the discourses of resistance and deterritorialisation developed by Deleuze and Guattari in A Thousand Plateau and Anti-Oedipus. Even though Canetti?s plays were written between 1932 and 1956, all of them show a strong critic against modernism, and their characteristics did not help their recognition by the critics, which resulted in a rediscovery of Canetti?s plays after the author won the Nobel Prize in 1981.
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Girard-Kenk, Françoise. "Poésie et vérité chez Elias Canetti : rapports entre littérature et connaissance dans l'ensemble de l'oeuvre." Paris 3, 2000. http://www.theses.fr/2000PA030023.
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L'identite de l'auteur canetti apparait enigmatique, car il revendique a partir d'une meme legitimite, celle du "dichter", l'ensemble de son oeuvre, alors que, en principe, elle ressortit a deux domaines de souverainete distincts et meme opposes: la litterature et la connaissance theorique. L'optique de cette etude consiste a faire de l'identite enigmatique de canetti une question de place dans l'histoire intellectuelle europeenne en examinant quelles consequences il tire du fait qu'il vient apres freud, mais aussi apres nietzsche, avec qui il partage la critique de l'histoire et de la science de la nature. On trouve la trace de cet heritage dans son opposition constante a freud, qui concoit la psychanalyse comme l'application a l'homme interieur de l'esprit scientifique herite du xixeme siecle. L'opposition a freud permet de comparer canetti "dichter" a th. Mann, musil et broch, mais aussi ses principes de connaissance theorique a ceux de goethe dans la theorie des couleurs. Son utopie de la petitesse imaginee pour le "dichter" moderne ideal inverse, d'autre part, l'heritage de nietzsche dans ses consequences.
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Mack, Michael. "Anthropology as memory : Elias Canetti's and Franz Baermann Steiner's responses to the Shoah /." Tübingen : M. Niemeyer, 2001. http://catalogue.bnf.fr/ark:/12148/cb39141171n.
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Rousseau-Kiker, Nadine. "Mass und Macht d'Elias Canetti : Les enjeux d'un discours moral et anthropologique." Paris 12, 1998. http://www.theses.fr/1999PA120003.
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Masse and a macht, une oeuvre atypique, apparemment inclassable, situee entre litterature et theorie, fascine le lecteur par son caractere hybride. Cette difficile identification suscite une interrogation sur le discours qui la sous-tend et ses enjeux. Une premiere etude des differents commentaires de l'ouvrage montre que celui-ci est souvent caracterise de maniere negative. Le discours n'est pas scientifique. Aucun systeme ne semble l'articuler. Il n'est porteur d'aucune morale normative. C'est un discours essayistique dissident dans lequel est pronee une resistance morale a la mort et a son utilisation a des fins de pouvoir, resistance qui permet d'esquisser une nouvelle ethique. Une analyse textuelle, reposant sur la categorie du temps, outil hermeneutique constitutif de notre demarche, revele que la resistance morale conduit a une denonciation constante des comportements de l'homme ancre dans la modernite et dans l'histoire. Seul un passage a la dimension phylogenetique de l'homme sauvegarde l'espoir utopique. Mais les invariants anthropologiques que sont la masse, l'animalite et la mort le compromettent. Des remedes sont neanmoins envisages et appliques dans le texte. Le remplacement de l'histoire par une apprehension genealogique de l'evolution humaine, la revalorisation d'un instant federateur et le recours a la metamorphose devraient deboucher sur l'instauration d'un monde utopique. Or, ces remedes ne resistent que difficilement a une conception anthropologique figee du monde. L'ecriture canettienne de nature essayistique ouvre un espace de liberte propice a l'utopie, vite envahi par une interpretation systematique rigide comme celle du cas schreber<br>Masse and macht is an atypical work, eluding classification, in between literature and theory, and it fascinates its reader by its hybrid charakter. The difficulty in identifying the work raises the question of the nature and issues of its discourse. A preliminary study of critical commentaries shows that the work is often described in negative terms. Its discourse is not scientific. No real system underlies it. It conveys no moral standards. It is a dissident discourse, partaking of the essay, in which is advocated a moral resistance to death and its political abuses, thus allowing to outline a new ethic. A textual analysis based on the category of time, chosen as the hermeneutic tool of this study, shows that the moral resistance leads to a constant denunciation of man's behaviour rooted in modernity and history. A leap into man's phylogenetic dimension is the only utopian hope left. But it is compromised by the invariants of mass, animality and death. Some remedies, though, are envisaged and applied in the text. A passage from history to a genealogical perspective of man's evolution, the reassessment of a federating moment, and the recourse to metamorphosis should all lead to the institution of a utopian world. However these remedies can hardly withstand an ossified anthropological conception of the world. Canetti's writing, partaking of the essay, opens a free space favourable to utopia but this space is rapidly filled by rigid systematic interpretations as in the schreber case
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Martins, Lucas dos Reis. "Massa e humanização : de Canetti a Sloterdijk." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/278706.
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Orientador: Jose Oscar de Almeida Marques<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas<br>Made available in DSpace on 2018-08-14T10:44:22Z (GMT). No. of bitstreams: 1
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Previous issue date: 2009<br>Resumo: O trabalho propõe-se a analisar o fenômeno das massas humanas e suas implicações culturais, sociais e políticas para o século XXI. Partindo da clássica obra Massa e Poder (1960), de Elias Canetti, o estudo prossegue com o exame de dois ensaios de Peter Sloterdijk, Regras para o Parque Humano (1999) e O Desprezo das Massas (2000), e procura esclarecer as transformações do conceito de massa entre esses dois autores, da massa negra e molar de Canetti à massa colorida e gasosa de Sloterdijk. Sem a pretensão de percorrer o conceito na história da filosofia política, pretende-se fazer notar como a reflexão sobre a natureza, as potencialidades e os riscos das multidões assume um papel cada vez mais importante no pensamento sobre a política e cultura contemporâneas. As catastróficas experiências das grandes guerras mundiais mostraram a urgência de uma análise séria dos comportamentos direcionados ou espontâneos de massa, principalmente para aqueles que desejam pensar sobre o que ainda podem significar, hoje, idéias como democracia ou humanidade. Se, como nota Sloterdijk, o humanismo não é mais capaz de domesticar o homem contemporâneo, bombardeado cada vez mais intensamente por mídias embrutecedoras, outras antropotécnicas - mais efetivas que o velho humanismo na sua forma de domesticar o homem - deverão substituí-lo em nome de um determinado projeto de humanidade. Massa e humanização apresentam-se hoje como tópicos estreitamente relacionados, e refletir sobre o que significa ser humano hoje e o que poderá significar amanhã exige uma maior compreensão dos fenômenos de massa no século que se inicia.<br>Abstract: This work proposes to examine the phenomenon of human masses and their cultural, social and political implications for the XXIth century. Taking as its point of depart Elias Canetti's classic essay Mass und Macht (1960), the study continues with an examination of two texts by Peter Sloterdijk, Regeln für den Menschenpark (1999) and Die Verachtung der Massen (2000), and seeks to clarify the transformations of the concept of mass between these two authors, from Canetti's black and molar mass to the gaseous and colorful mass of Sloterdijk. Without the pretension of examining the concept of mass through the whole history of political philosophy, its aim is to make clear how the reflection on the nature, the potential and risks of the masses has an increasingly important role in thinking about contemporary politics and culture. The disastrous experiences of the great world wars has shown the urgency of a serious analysis of the directed or spontaneous conduct of the masses, especially for those who want to think about what the ideas of democracy or humanity can still mean today. If, as Sloterdijk remarked, humanism is no longer capable of domesticating contemporary man, as he is increasingly bombed by brutal media, other antropotechniques - more effective than the old humanism to attain human domesticating - should replace it in the name of a particular project of humanity. Mass and humanization present themselves today as closely related topics, and to reflect about what it means to be human today and what could that mean tomorrow requires greater understanding of the phenomena of mass in the century that begins.<br>Mestrado<br>Mestre em Filosofia
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Morley, Elaine. "The Monster and the Maiden : Literary Affinities in the Writings of Iris Murdoch and Elias Canetti." Thesis, University of Kent, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.523521.
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Souza, Maria Alice Timm de. "O exílio de si como metáfora de um mundo em fragmentação: um estudo sobre Elias Canetti." Pontifícia Universidade Católica do Rio Grande do Sul, 2014. http://hdl.handle.net/10923/7053.
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Previous issue date: 2014<br>The meaning of “self-exile” that has been used in this work, constitutes itself in a kind of exile that is not chosen, neither imposed externally, because its occurrence is related to a structural injunction, from the psychism order. This way, the “psychic exile”, comdemns the person to a radical intimate weirdness feeling, where the world and the oneself unintelligibility prevails. From the psychoanalytic standpoint, this entity is called psychosis; from the current use of the language standpoint, it is called madness. Through a transversal cut in Elias Canetti biography, from the time the writer lived in and his relations to the German language, culture and literature, it is possible to identify in Peter Kien character and in the novel Auto de Fé, the points that support our hypothesis related to the “self exile”: that the use of the language that Canetti does, enables him to make a perfect representation of the psychic laceration that hits the novel protagonist, according to his relations to the world and to the other characters, as well as the subjective question fulfills the metaphor role of a world under fragmentation, not only from the one that was used as raw material for the work, also from the world today, that is nothing but the logical and direct consequence that was already announced at the beginning of the XX century.<br>O sentido de “exílio de si” que foi privilegiado neste trabalho se constitui em um tipo de exílio que não é escolhido e tampouco é imposto de fora, pois a sua ocorrência se relaciona com uma injunção estrutural, da ordem do psiquismo. Sendo assim, o “exílio psíquico” condena o sujeito a um sentimento de radical estranheza íntima onde o que prevalece é a ininteligibilidade do mundo e de si mesmo. Do ponto de vista da teoria psicanalítica, esta entidade é denominada de psicose; do ponto de vista do uso corrente da língua, é chamada de loucura. Através de um corte transversal que vai da biografia de Elias Canetti, da época em que o escritor viveu e de suas relações com a língua alemã e com a literatura, procuramos identificar no personagem Peter Kien e no romance Auto de Fé, os pontos que apoiam a nossa hipótese em relação ao “exílio de si”: que o uso que Canetti faz da linguagem propiciou-lhe fazer uma perfeita representação do esfacelamento psíquico que assola o protagonista do romance em suas relações com o mundo e com os outros personagens, assim como esta questão subjetiva cumpre o papel de metáfora de um mundo em fragmentação, não só daquele que lhe serviu de matéria-prima para a confecção da obra, como do mundo de hoje, que nada mais é do que a consequência lógica e direta do que já se anunciava no alvorecer do século XX.
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Souza, Maria Alice Timm de. "O ex?lio de si como met?fora de um mundo em fragmenta??o : um estudo sobre Elias Canetti." Pontif?cia Universidade Cat?lica do Rio Grande do Sul, 2014. http://tede2.pucrs.br/tede2/handle/tede/2207.
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Previous issue date: 2014-12-19<br>The meaning of self-exile that has been used in this work, constitutes itself in a kind of exile that is not chosen, neither imposed externally, because its occurrence is related to a structural injunction, from the psychism order. This way, the psychic exile , comdemns the person to a radical intimate weirdness feeling, where the world and the oneself unintelligibility prevails. From the psychoanalytic standpoint, this entity is called psychosis; from the current use of the language standpoint, it is called madness. Through a transversal cut in Elias Canetti biography, from the time the writer lived in and his relations to the German language, culture and literature, it is possible to identify in Peter Kien character and in the novel Auto de F?, the points that support our hypothesis related to the self exile : that the use of the language that Canetti does, enables him to make a perfect representation of the psychic laceration that hits the novel protagonist, according to his relations to the world and to the other characters, as well as the subjective question fulfills the metaphor role of a world under fragmentation, not only from the one that was used as raw material for the work, also from the world today, that is nothing but the logical and direct consequence that was already announced at the beginning of the XX century.<br>O sentido de ex?lio de si que foi privilegiado neste trabalho se constitui em um tipo de ex?lio que n?o ? escolhido e tampouco ? imposto de fora, pois a sua ocorr?ncia se relaciona com uma injun??o estrutural, da ordem do psiquismo. Sendo assim, o ex?lio ps?quico condena o sujeito a um sentimento de radical estranheza ?ntima onde o que prevalece ? a ininteligibilidade do mundo e de si mesmo. Do ponto de vista da teoria psicanal?tica, esta entidade ? denominada de psicose; do ponto de vista do uso corrente da l?ngua, ? chamada de loucura. Atrav?s de um corte transversal que vai da biografia de Elias Canetti, da ?poca em que o escritor viveu e de suas rela??es com a l?ngua alem? e com a literatura, procuramos identificar no personagem Peter Kien e no romance Auto de F?, os pontos que apoiam a nossa hip?tese em rela??o ao ex?lio de si : que o uso que Canetti faz da linguagem propiciou-lhe fazer uma perfeita representa??o do esfacelamento ps?quico que assola o protagonista do romance em suas rela??es com o mundo e com os outros personagens, assim como esta quest?o subjetiva cumpre o papel de met?fora de um mundo em fragmenta??o, n?o s? daquele que lhe serviu de mat?ria-prima para a confec??o da obra, como do mundo de hoje, que nada mais ? do que a consequ?ncia l?gica e direta do que j? se anunciava no alvorecer do s?culo XX.
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Saito, Gisella [Verfasser]. "Alcuni aspetti del saggio di elias Canetti Massa e Potere, con particolare considerazione per i capitoli riguardanti il caso Schreber / Gisella Saito." München : GRIN Verlag, 2005. http://d-nb.info/1179938755/34.
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Desmeules, Anne-Marie. "L'œil de la libellule : fragments ; suivi de Contre la mort : mémoire et survivance dans Le cœur secret de l'horloge d'Elias Canetti." Master's thesis, Université Laval, 2014. http://hdl.handle.net/20.500.11794/25163.
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Ce mémoire est composé de trois parties distinctes. La première partie consiste en un recueil de fragments, L'Œil de la libellule. Constitué de réflexions, d'aphorismes, de poèmes, de micro-fictions et autres textes brefs, ce recueil explore par facettes des questionnements existentiels, en lien notamment avec la nature humaine, la mémoire, la perception du monde, les relations amoureuses et familiales, la solitude et l'écriture. La seconde partie est un essai critique portant sur les liens unissant écriture fragmentaire, mémoire, mort et survie dans Le Cœur secret de l'horloge d'Elias Canetti. Plus précisément, je discuterai de la stratégie employée par l'auteur pour, d'une part, s'assurer la postérité littéraire, et d'autre part, atteindre l'immortalité par la métamorphose. La troisième partie est un court essai portant sur la notion de doute sous-jacente à l'écriture fragmentaire. J'y effectuerai un retour sur ma propre démarche et y tracerai quelques liens avec l'œuvre de Canetti et d'autres auteurs de fragments.
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Savova, Lioubov. "Ecriture et déracinement : Canetti, Nabokov et Yovkov, ou le "métier du poète" en exil." Paris 3, 2007. http://www.theses.fr/2007PA030042.
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À travers le dialogue inédit entre Elias Canetti (1905-1994), Vladimir Nabokov (1899-1977) et Yordan Yovkov (1880-1937), cette étude s’est montrée attentive au geste créateur en situation d’exil. Pour autant, l’expérience du déracinement dont il est question non seulement ne recoupe pas forcément la période d’exil, mais s’avère être rétive à toutes les « machines binaires » (Deleuze) que les réceptions nationales lui infligent. Déterminismes historiques et identité artistique s’affrontent : alors même que les migrations forcées découvrent aux écrivains les mécanismes de la haine et dressent des frontières, la construction d’une identité artistique passe par l’ouverture de l’espace et (plus loin) par le dépaysement de la pensée et des sensibilités. Vue par le prisme de ce déracinement rebelle aux conventions du thème, l’histoire intime rivalise avec l’Histoire : le topos de la nostalgie du lieu natal est évincé par le désir d’absence, et l’éloignement des lieux est hissé au rang de moteur de l’écriture. Dans un éventail de genres, de l’autobiographie à la fiction, en passant par les récits, les réflexions et la paralittérature, le phénomène de l’exil est suivi pas à pas dans son cheminement vers l’espace littéraire. Car le « métier du poète » est celui du créateur d’espaces. Il saisit les identités à l’instant de leur métamorphose, et les villes traversées dans leur fugue assoiffée. L’expérience du dépaysement s’ouvre alors sur ce « territoire de l’homme » que Canetti appelait de ses vœux, et qui se dessine dans la perception migrante de l’espace et l’être<br>Approached from the point of view of the creator resisting to the common places (historic determinism, “model” of reader’s reception it calls, nostalgia and “sweet home”), the phenomenon of exile is shown in its progress towards the literary space. There is an original experience of banishment which does not recover the exile period of Elias Canetti (1905-1994), Vladimir Nabokov (1899-1977) and Yordan Yovkov (1880-1937). The exile like determinism and the artistic gesture are in confrontation: while the History fix and close the spatio-temporal representations, the writer is a creator of spaces. Identity metamorphosis and space strangeness becomes the nodal point of an experience of ex-patriation founded on the migrant perception of space and of human being
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Miller, Renee Catherine. "Reflections of the Insanity Defense in German Literature: Enlightenment to Expressionism." Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1398896485.
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Riezky, Günther Helmut Dieter. "Kopf und Schädel : Methoden des Wahnsinns in Canettis roman "Die Blendung"." Diss., 1994. http://hdl.handle.net/10500/17618.
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Text in German<br>Many treatises and disquisitions concerning "Die Blendung"
concentrate on the main character, Peter Kien, as well as
on other protagonists. In contrast, this dissertation deals
with Pfaff, the primitive force and his influence on Peter
Kien, the "Brain", the masterspirit.
Common traits of these di verse characters are highlighted
and it is explained why Pfaff, the brute, manages to exult
over Kien, the intellectual. Their interactions and their
interdependence are dealt with and it is shown that
insanity which is prevalent in both protagonists prepares
the way to Kien's doom whereas it leads to Pfaff's
survival.<br>Das Interesse zahlreicher Untersuchungen Uber "Die
Blendung" konzentriert sich auf die Hauptperson, Peter
Kien, sowie auf andere Protagonisten. Im Gegensatz dazu
beschaftigt sich diese Arbei t mi t dem Hausmeister Pfaff,
dem "Schadel", und mit dem EinfluB, den er auf Peter Kien,
den "Kopf", den Geistesmenschen hat. Es wird versucht,
Gemeinsamkeiten, die diese beiden so gegensatzlichen
Charaktere aufweisen, aufzuzeigen und darzulegen, warum der
Gewaltmensch Pfaff Uber den wirklichkeitsfremden
Wissenschaftler Kien zu triumphieren vermag.
Der EinfluB, den sie aufeinander nehmen, und die
Abhangigkeit voneinander werden aufgezeigt, und es wird
aufge fUhrt, wie der Wahnsinn, dem sie be ide verf all en, zu
Kiens Untergang filhrt, wahrend Pfaffs Uberleben durch
seinen Wahnsinn gesichert wird<br>Linguistics and Modern Languages<br>M. A. (German)
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Pemeja, Paul. "Modernist Curiosities: Desire, Knowledge and Literature in Gustave Flaubert's "Bouvard et Pécuchet", Elias Canetti's "Die Blendung" and Jorge Luis Borges's "El Aleph"." Thesis, 2011. http://hdl.handle.net/1807/32352.
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In modernity, probably more than ever, “knowledge” has become the object of an intense desire. The tensions underwriting this modern desire for knowledge are inscribed in the very term, curiosity, which is at the centre of this dissertation. A venerable motif, curiosity anchors the specifically modern desire to know within a longstanding philosophical, theological and literary tradition. By the 19th century, “curiosity” is certainly an anachronistic paradigm. Yet, inscribed in curiosity, there are two conflicting dialectics which can be found at the heart of modernity’s unquenchable thirst for knowledge: one the one hand, the dialectic between curiosity as a disenchanting desire to see through into the innermost secrets of things, and curiosity as a “thing”, the product of a fetishist desire arrested on the glittering surface of things. On the other hand, curiosity is beset by the dialectic between the desire for a “totalizing”, meaningful vision and the compulsive drive of an increasingly specialized, meaningless pursuit of knowledge.
This dissertation examines a series of Modernist narratives which expose this double dialectic. The protagonists of Gustave Flaubert’s Bouvard et Pécuchet, Elias Canetti’s Die Blendung and Jorge Luis Borges’ El Aleph are all caricatural, anachronistic, curieux ultimately seeking an “absolute knowledge” that cannot be embodied. The moment it seems to have been attained, it is reified, “objectified” into a fetish, a “curiosity”. Yet, these narratives are not only about curiosity; they are in fact true vortexes of curiosity: that of the protagonists of the narratives as well as that of the authors and the readers themselves. As a result, these narratives also speak to the paradoxical location of literature within culture: literature appears simultaneously as the privileged site of all – ultimately phantasmic – totalizing, meaningful visions of the world, as well as a marginal locus, a monstrous cultural residue.
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Bines, Rosana Kohl. "Post-Shoah identity between languages /." 2001. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3029475.
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Millner, Kurt Jürgen. "Gerhard Amanshauser: reflexionsprosa, poetik, phänotyp." Doctoral thesis, 1996. http://hdl.handle.net/10400.13/502.
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Mocek, Jan. "Teorie intermediality v kontextu díla Heinera Goebbelse." Master's thesis, 2012. http://www.nusl.cz/ntk/nusl-305055.
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The goal of the Master Thesis is to analyse the performance Eraritjaritjaka created by the leading director of German experimental theatre Heiner Goebbels. The first part exposes the new theatrical genre Théâtre musical as a theoretical framework. The following text focuses on Goebbels's theoretical views and the basics characetrs of his theatre poetics. The main part of this study is devoted to analysis of performance Eraritjaritjaka. The analysis itself focuses on the functioning of basic components of the performance, its principles and shifts in overall structure.