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Burton, Tara Isabella. ""Narrative dandyism" : the theology of creation in the French decadent-dandyist novel, 1845-1907." Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:4bb3da1e-a2f8-40bf-ba9c-c960ebf6976c.
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This thesis explores how selected "decadent-dandyist" writers of late 19th century France at once exemplify and subvert the self's act of shaping and imprinting its own selfhood upon the world: a model in which an autonomous, discrete artist-self freely creates, and in which both reader/audience and artistic "subjects" are treated as raw canvas and denied agency of their own. Storytellers like Barbey D'Aurevilly, Villiers de l'Isle-Adam, J.K. Huysmans, and Remy de Gourmont create not only hyper-artificial, cloistered, "auto-telic" (to use Charles Taylor's term) textual worlds (e.g. Huysmans' theïbade raffinée) but also hyper-artificial selves: presenting themselves and their often autobiographical protagonists as dandy-artists for whom artistic creation is an extension of self-creation. Central to this thesis is the 19th century figure of the dandy - he who, to quote D'Aurevilly, "[causes] surprise in others, and [has] the proud satisfaction of never showing any oneself." Appropriating the divine power of self-fashioning, the dandy transforms the chaos of existence into a clear narrative over which he alone exerts control, denying that he himself is subject to the control of the world. In my thesis, I first explore the cultural and economic roots of this understanding of the autonomous dandyist-artist in the light of wider tensions in 19th century Paris. I then explore selected "decadent-dandyist" texts through close reading, focusing on the theological implications of our authors' treatment of narrative, character, setting, and language: showing how our writers cast doubt on both the possibility and morality "autonomous" creation on theological grounds. Finally, I ask how constructive theologians might learn from our authors' condemnation of "dandyist" storytelling to create a new Christian aesthetics for the novel: proposing elements of an alternate, "kenotic" novel, in which self-projection gives way to "self-giving", a model based not on power and ego but rather on love.
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Brito, Cláudia Sofia Simas Monteiro. "Dandyism survival." Master's thesis, Universidade de Lisboa, Faculdade de Arquitetura, 2020. http://hdl.handle.net/10400.5/20522.
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Dissertação de Mestrado em Design, apresentada na Faculdade de Arquitetura da Universidade de Lisboa, com a especialização em Design de Moda para obtenção de grau de Mestre.O presente trabalho versa o tema do universo do movimento: Dandy, como tendência na moda no vestuário masculino e a influência que o mesmo exerceu desde o seu aparecimento, até aos dias de hoje. O Dandy é o homem moderno perfeito, que opta por viver a vida intensamente, que dá um enorme valor e atenção ao esteticismo e à beleza dos pormenores, quer exteriores quer interiores. Reúne características bastante peculiares e vanguardista para a sua época. Obcecado pelo requinte na forma de ser, estar e vestir, mantendo-se à margem do que é comum. Numa primeira parte da dissertação, foi realizada uma abordagem sobre a origem, do Dandyism Europeu e também dos Black Dandies, com o propósito de perceber o seu contexto histórico-cultural. Damos a conhecer arte da Alfaiataria, de modo a entender a sua história, bem como uma pequena exploração de certas técnicas por estes usadas, passando também por práticas mundanas. Do mesmo modo passamos pela Indústria da Confecção, desde da Revolução Industrial do séc. XIX até a certos acordos e práticas da altura. Com o objectivo de unir estes dois temas na produção da colecção-cápsula, surge assim uma colaboração com o Grupo Diniz & Cruz. Por fim, com os elementos formais e visuais recolhidos na fase teórica, pretendeu-se então dar-lhes continuidade através da criação de uma coleção-cápsula no universo do vestuário masculino, que aplique os princípios do Dandyism com todas as suas componentes, com recurso à Arte da Alfaiataria e á confecção Industrial. O arranque do processo criativo foi feito com um inquérito ao público-alvo, de modo a compreender e conhecer os Dandies do dia de hoje. Concluindo-se, com uma micro-validação do projecto final deste mesmo grupo de homens.
ABSTRACT: The present work deals with the theme of the universe of the movement: Dandy, as a fashion trend in men’s clothing and the influence that it has exercised since its appearance, until today. Dandy is the perfect modern man, who chooses to live life intensely, who gives enormous value and attention to aesthetics and the beauty of details, both exterior and interior. It has very peculiar and avant-garde characteristics for its time. Obsessed by the refinement in the way of being, being and dressing, keeping to the margin of what is common. In a first part of the dissertation, an approach on the origin of the European Dandyism as well as of the Black Dandies, with the purpose of understanding their historical-cultural context. Henceforth, we showcase the art of tailoring, in order to understand its history, as well as a small exploration of certain techniques used by them, also passing through mondaine practices. We also go through the Clothing Industry, since the Industrial Revolution of the century. XIX as well as certain agreements and practices of the time. In order to unite these two themes in the production of the capsule collection, a collaboration with the Diniz & Cruz Group emerges. Finally, with the formal and visual elements collected in the theoretical phase, it is intended to continue them through the creation of a capsule collection in the universe of men’s clothing, which applies the principles of Dandyism with all its components, using Tailoring and Industrial clothing. The creative process started with a survey of the target audience, in order to understand and meet today’s Dandies. In order to conclude the project, it finalizes with micro-validation of the final project of this same group of men.
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Venter, Dawid Johan. "Die aristokraat-virtuoos in die moderniteit : die ontwikkeling van die Franse Fluitskool in die laat negentiende eeu (Afrikaans)." Diss., University of Pretoria, 2008. http://hdl.handle.net/2263/23578.
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During the early 19th century, the flautist became known as a frivolous “dandy” figure whose extravagant appearance suited his light and virtuoso playing. He becomes a so-called professional virtuoso, generating his own income in the absence of aristocratic patronage while entertaining the rising bourgeois public, who demands light yet virtuoso performances. Many artists are disillusioned in this sphere where the arts seem to be reduced to something that is merely utile to the public – a form of entertainment; a social tool. The greatest concern of writers and poets is that the universal truth of their modern reality will not be expressed in art. It becomes the quest of these seemingly disempowered intellectuals to fight this tendency and to express the existential anguish, uncertainty and ennui of the modern materialist society through their art. It is against this background that the concept of the flautist as “aristocratic virtuoso” is developed. This idea opposes the concept of the “professional virtuoso” of the early 19th century. In this society where artists have to find their voice without the support of the aristocratic classes, 19th century disillusioned poet Charles Baudelaire develops the concept of a symbolic cultural aristocracy, wherein the artist is a privileged outsider “on the inside”; a spectator who takes up all of everyday existence, and transforms it into a profound poetic reality. It is with this theory in mind that I develop my thesis of the flautist as aristocratic virtuoso – a figure who captures the universal beauty of his time through his music and shares it with his audience. This dissertation is, therefore, a study of the events that brought about this re-definition of the role of the flautist in the 19th century. It explores the contribution of prominent composers, the impact of the Société Nationale de Musique Française and the French Flute School, as well as the development of the instrument. AFRIKAANS : Gedurende die vroeë 19de eeu onderskei die fluitis hom as ‘n byna windmakerige “dandy” figuur; sy fisieke voorkoms passend by sy ligte, dartelende tog uiters virtuose spel. Hierdie vroeë 19de eeuse fluitis staan bekend as die professionele virtuoos, omdat kunstenaars nie meer die beskermheerskap van die aristokrasie geniet nie, en vir hulle bestaan afhanklik word van die bourgeois publiek wat indrukwekkende, dog verteerbare vermaak van musici vereis. Verskeie kunstenaars voel vervreem in hierdie sfeer waarbinne die kunste gereduseer word tot iets wat “van nut” is vir die publiek. Die grootste kommer van skrywers en digters is dat dit wat van universele waarde in die realiteit van hulle epog is, nie tot uitdrukking kom in die kunste nie. Skrywers en intellektuele voel hulleself ontmagtig en dit word hulle doel om teen hierdie tendens te stry en deur hulle kuns die eksistensiële angs, onsekerheid en leegheid van die moderne materiële bestel uit te beeld. Dit is in hierdie denkraamwerk dat die konsep van die fluitis as “aristokraat virtuoos” sy oorsprong het. Hierdie idee staan vanselfsprekend in teenstelling met die “professionele virtuoos” van die vroeë 19de eeu. In ʼn samelewing waar die kunste sonder die reële gegewe van die aristokratiese beskerming en bevordering ʼn medium moet vind waarbinne hulle eie moderniteit uitgedruk kan word, ontwikkel die 19de eeuse ontnugterde digter Charles Baudelaire die konsep van ʼn nuutgevonde simboliese “kulturele” aristokrasie. Hy ontwikkel ʼn interessante dualiteit rondom die kunstenaar wat as bevoorregte objektiewe buitestaander ten nouste betrokke is by die samelewing en wat daarvoor verantwoordelik is om die tydelike met die ewige te verbind deur sy/haar kuns. Dis vanuit hierdie idee dat ek ʼn saak maak vir die fluitis as aristokraat virtuoos – as figuur wat binne die medium van musiek die skoonheid van sy tyd vasvang en met sy gehore deel. My studie is dus ‘n ondersoek rondom die gebeurtenisse wat hierdie hervorming in die 19de eeu meebring. Ek bestudeer komponiste wat ‘n belangrike bydrae lewer tot die fluitrepertorium, en ondersoek die stigting van die Société Nationale de Musique Française en die Franse Fluitskool, en die ontwikkeling van die instrument self. CopyrightDissertation (MMus)--University of Pretoria, 2010.
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Carlson, Heidi. "Dandyism: Creating a Tradition for Consumption in London Society." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/cmc_theses/319.
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Guan, Beibei, and 关贝贝. "Rebellion as aestheticism: the dandyism of Charles Baudelaire and Oscar Wilde." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B45706037.
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Fremiot, Anne. "Barbey d'Aurevilly : identite et difference dans la fiction du dandy." Thesis, University of Nottingham, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.243661.
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Kerr, Darin Douglas. ""The Idea Of Beauty In Their Persons:" Dandyism And The Haunting Of Contemporary Masculinity." Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1431098722.
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Glogorovska, Kristina. "EXPLORATION OF THE GENDER MYTH VIA FASHION MEDIA : ANDROGYNY AND DANDYISM IN CONTEMPORARY FASHION MAGAZINES." Thesis, Stockholms universitet, Centrum för modevetenskap, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-62780.
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This paper attempts to analyze different representations of "androgyny‟ as fashion tendency in contemporary fashion magazines (Vogue, i-D and LOVE Magazine) for the period of 2010 and 2011. In order to show the development of "androgyny‟ as fashion tendency, this study first explores how androgyny metamorphosed from a "hidden‟ signifier of unconventional sexuality to "visible‟ postmodern teaser for sexual identities. Currently, we live in the "Age of Androgyny‟ where the modern androgynous dandy is being seen as an aphrodisiac for the fashion industry. This study also tries to provide explanation of how "androgyny‟ and "dandyism‟ evolved from concepts to parallel trends in fashion due to their frequent and simultaneous reappearance in fashion media. In order to create nuanced portrayal in the understanding of androgyny and dandyism, qualitative method was used by describing, analysing and interpreting the representation of these trends in three different fashion and art publications. The fact that this tendency for "gender fusion‟ is increasingly finding its way into mainstream culture, with emphsis on the fashion industry, raises the question of whether the society is more open towards different gender expressions or is "androgyny‟ just another exploitative form for the fashion industry.
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Knapp, Ferdinand Mathes. "Dandyism as a principle of aesthetic composition : a study of Georg Büchner, Franz Kafka and Oswald Wiener." Thesis, University of Cambridge, 2002. https://www.repository.cam.ac.uk/handle/1810/265453.
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In considering the dandy, this study does not concern itself so much with the historical figure, but rather with the specific mode of dandyistic writing. It seeks to understand the term "dandyism", and so explain the move from the dandy as a social phenomenon to dandyism as a principle of aesthetic composition. The core of my argument is that the dandy-figure has from the beginning constituted itself as a written text, and that this understanding opens up questions of identity, origination and the nature of writing. Part I takes Buchner's own dress-sense as a point of departure, through an analysis of Dantons Tod and Leonce und Lena, which focuses on questions of clothing, of the symbolic economy of seeing, and of the relationship between machinery and writing. Proceeding from the dandyism of Buchner to that of Kafka, I argue in part II that Kafka' s dandyism is a development of Buchner' s. Kafka addresses the question of clothing throughout his writing, starting with the shiny surfaces of elegant clothing that particularly occupy him in his early texts (Betrachtung and Beschreibung eines Kampfes) and moving to the virtual nakedness of the very last ones (Ein Hungerkunstler). The analysis demonstrates how Kafka's early aestheticism folds into the late asceticism, with the dandy embodying the tension between the aesthetic and the ascetic. Finally, I show in part ill how Wiener takes the dandy figure and exhausts it. For him, the dandy is a thing of the past; in his essay Eine Art Einzige, for example, he defines the dandy as a "letzter metaphysiker". Paradoxically, Wiener frames his essay on the dandy with highly technical discourses, and so this chapter does not take Wiener' s account of the dandy and his epistemology of machines at face value, but rather reads them together and against each other. In order to show how he achieves this, I undertake a close examination of Wiener' s main work, verbesserung von mitteleuropa, roman. The Conclusion brings the various threads together in a historic framework and so demonstrates a continuity (but not identity) between the three authors in the mode of dandyistic writing.
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Ström, Maria. "Man eller mus? : En studie i representationer av maskulinitet och dandyism i Alexander Golovins porträtt av Mikhail Tereshchenko." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-39670.
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The purpose of this study is to analyze the representation of masculinity of Mikhail Tereshchenko as painted by Alexander Golovin at the beginning of the 20’th century, and to connect masculinity to the values of dandyism. An iconological analysis, in the style of Erwin Panofsky, and literary research resulted in various findings. Dandyism could partly be seen as a reaction against the normative masculinity, or hegemonic masculinity stated by R.W. Connell. Both Tereshchenko and Golovin were in their everyday life surrounded by highly regarded dandies and it is likely that they were influenced by the sprezzatura, esthetics and values of dandyism. The portrait reveals the wealth and status of Tereshchenko through the clothing and artefacts visible in the painting. These objects correspond with the importance of the ‘detail’ in dandyism. Golovin and Mir Iskusstva is a great example of how artists as a social group nourished dandyism in ways other than outer appearance.
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Hoffmann, Ana Cleia Christovam. "Pinturas de si : moda e artesania da existência." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2015. http://hdl.handle.net/10183/128879.
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A pintura de si anunciada nesta dissertação não versa sobre nenhum tipo padrão de estilo, tampouco sobre normas do bem vestir. Busca, antes, modos de escapar do já instituído para pensar esta ação que nos acompanha diariamente, como uma artesania da existência que implica múltiplos modos de viver. Por isso, toma o dandismo como disparo para pensar um modo de vida que conjugue existência com aparência numa proposta ético-estética destinada a fortificar a alma. Como alguém evita as coisas mecânicas, ao produzir seu estilo pedagógico, faz com que surja o dândi educador, trazendo consigo suas histórias para (re)criar novos estímulos. O modo de vestir como projeto educacional nos coloca a pensar sobre as forças que motivam tais pinturas: a roupa, a ação de vestir e se conduzir em meio à vida. Vida como obra de arte, sendo o si da roupa tratado com Michel Foucault e o conceito de subjetivação. Viver implica correr riscos através de uma experimentação diária que nos torna potentes e únicos, formadores de novos valores. Por isso, é também uma pedagogia em prol de novas possibilidades de vida. Essa pintura, possível de ser pensada através dos pensamentos de Gilles Deleuze e Georges Didi-Huberman, permite fabricar o conceito roupa de sensação, uma possibilidade inventiva, uma enchente de ideias, um vazio, uma fruição que percorre o corpo todo. A produção de figurinos cria forças que motivam tais pinturas. Por isso, é também um trabalho de composição entre superfícies fora de subterfúgios. Operações da moda que implicam uma toilette do pensamento feita de políticas de resistências, que se relacionam e se afetam entre si. O corpus do corpo da professora pesquisadora em moda e figurino vê no vestir uma ação para pensar o seu próprio fazer, sua didática feita de divagações, delírios, interlúdios e (inter)calações. Formas nunca plenas, que seguem inacabadas, abertas aos delírios. O que é permanente é a escrita do que se faz, procedimentos repetidos que, porém, nunca se repetem. Um pensamento descontínuo, pela escolha dos autores, pela escolha da temática, pela vida de quem escreve, pela vida que se inscreve. Tal como se aprende a caminhar, tal como dormir e acordar todos os dias, se vestir todos os dias, as ações, embora se repitam, nunca reproduzem os movimentos idênticos, pois existe aí uma vontade de mundo que muda, ao sabor dos humores, ao sabor do destino.The painting itself announced this dissertation is not about no master formula of style, either on well-dressed standards. Search before, ways to escape the already set up to think this action, which accompanies us every day, as a craftsmanship of existence which involves multiple ways of life. So take the dandy as trigger to think about a way of life that combines existence and ethical and aesthetic appearance a proposal to fortify the soul. As someone avoids the mechanical things, to produce his pedagogical style, makes emerge the educator Dandy, bringing their stories to (re)create new push. The mode of dress as an educational project puts us to think about the forces that motivate such paintings: the clothes, the action of dress and conduct themselves in the midst of life. Life as a work of art, and the other the treated clothes with Michel Foucault and the concept of subjectivation. Living means taking risks through daily experimentation that makes us powerful and unique, forming new values, so it is also a pedagogy towards new possibilities of life. This painting, possible to be thought through the thoughts of Gilles Deleuze and Georges Didi-Huberman, allows manufacturing the clothing concept of sensation, an inventive possibility, a flood of ideas, an emptiness, an enjoyment that runs through the whole body. The production of costumes design creates forces that motivate such paintings. So it is also a work of composition between surfaces without of subterfuge. Fashion operations which imply a toilet thought, made of resistances that relate and affect each other. The teacher's body corpus researcher in fashion and costume seen in the dressing action to think your own doing, his teaching made of ramblings, delusions, interludes and interleaves. Never full recipe, which follow unfinished, open to delusions. What is permanent is the writing that is done, repeat procedures, which, however, never repeated. A discontinuous thinking, the choice of authors, the choice of the theme for the life of the writer, the life which follows. As one learns to walk, as sleep and wake up every morning, get dressed every day, the shares although it repeat never reproduce the same movements, as there a world that changes will, at the mercy of the moods, the flavor of the destination.
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Rossbach, Susanne. "Des Dandys Wort als Waffe : Dandyismus, narrative Vertextungsstrategien und Geschlechterdifferenz im Werk Jules Barbey d'Aurevillys /." Tübingen : M. Niemeyer, 2002. http://catalogue.bnf.fr/ark:/12148/cb38996771s.
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Huttunen, Tomi. "Imažinist Mariengof dendi, montaž, ciniki /." Helsinki : University of Helsinki, 2007. http://urn.fi/URN:ISBN:978-952-10-4432-8.
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Beuttenmuller, Eric. "Mitos, arquétipos e visão de mundo na obra em prosa de Mário de Sá-Carneiro." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8150/tde-12052015-122631/.
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O ponto fundamental desta tese é a comprovação de que os mitos e arquétipos presentes na obra em prosa de Mário de Sá-Carneiro auxiliam na formação de uma visão de mundo do autor. Mitos e arquétipos representam motivos, elementos temáticos fundamentais que aparecem e se repetem nos textos literários ao longo do tempo e revelam metaforicamente um conjunto de valores. Cada autor tem a sua mitologia particular, ou seja, mesmo que a criação literária seja feita pelo desejo consciente do artista de construir o seu texto, esses elementos temáticos aparecem em sua obra, tenha ele consciência disso ou não. Então, fez-se um levantamento dos principais mitos e arquétipos presentes na obra em prosa de Mário de Sá-Carneiro, depreendendo-se os valores ideológicos, éticos e estéticos que eles representam, para assim mostrar que eles auxiliam na sua visão de mundo. Os principais mitos encontrados foram o de Eros e Thanatos, de Salomé, da busca, e o da criação. Os arquétipos fundamentais são o do fidalgo simbolista assim nomeado dentro desta tese, a partir do arquétipo identificado por Edmund Wilson, em sua obra O Castelo de Axel e o da femme fatale. A partir de então, percebeu-se que estes elementos temáticos supracitados revelam alguns valores fundamentais para o autor, forjando uma visão de mundo que se caracteriza por alguns pontos basilares. Um deles é a insatisfação com a realidade, que se tenta resolver com a criação de uma arte tida como genial e superior. Esse sentimento de descontentamento é fruto também do fato de o artista moderno não se adaptar ao mundo de sua época, por isso seu refúgio na arte (que muitas vezes descamba para a estetização da vida), e em uma espécie de dandismo heróico. Isso dá um tom trágico e grandioso à existência desse indivíduo, considerado superior aos demais. Outro ponto importante da visão de mundo de Sá-Carneiro é a noção de que o amor só se resolve na morte. A causa central disso é uma concepção dicotômica da mulher tida ou como femme fatale ou burguesa ingênua , que impede a concretização de um relacionamento maduro e saudável.The fundamental point of this thesis is the corroboration that the myths and the archetypes of the works of Mário de Sá-Carneiro assist in the formation of his vision of the world. Myths and archetypes represent motifs, thematic elements that appear many times in universal Literature and can reveal a set of values in a metaphoric way. Each writer has his own mythology, and even the literary creation is made in a conscious way, these thematic elements appear in his work, even he doesn´t know that. Then, this thesis made a research of the main myths and archetypes that is relevant in the literary works of Mário de Sá-Carneiro, perceiving the ideological, ethical and aesthetic values that they represent, in order to show how they assist in his set of values. The main myths that were found are Eros e Thanatos, Salomé, the quest and the creation. The main archetypes found were symbolist noble that are named this way from the archetype found by Edmund Wilson, in his work Axel´s Castle and the femme fatale. These thematic elements reveal some author´s essential values, forging his vision of the world, which is characterized for some basic points. One of them, is the sentiment of dissatisfaction with the reality, and the artist tries to solve it with the creation of some superior and brilliant form of art. This feeling of dissatisfaction is also cause by the fact that the modern artist is not well adapted in his own world, because of that he escapes to the art (that in many cases leads to a kind of stylization of life), and to a form of heroic dandyism. All of this gives a tragic and magnificent tone to this individual´s existence, which is considered superior among the others. Another important point in Mário de Sá-Carneiro´s vision of the world is the idea that love can only be resolved by death. It is caused by a dichotomy in the vision of the woman that is considered as a femme fatale or a naïve bourgeois woman that hinders a mature and healthy relationship.
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Geffroy, Cyril. "Paradoxes et silences : étude des statuts de l'écriture chez Albert Cossery." Thesis, Versailles-St Quentin en Yvelines, 2015. http://www.theses.fr/2015VERS009S.
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Cette étude de l’œuvre d’Albert Cossery interroge les relations entre parole et silence qui la gouvernent. Sous cet angle, le paradoxe s’impose comme une clé de lecture essentielle. Il permet de questionner le statut d’une écriture suspendue à la menace de son extinction. Dans un premier temps, la thèse envisage la dimension existentielle de la création littéraire pour Cossery, ce qui soulève une triple problématique touchant l’autobiographie, le rapport au temps et l’inscription dans l’espace. A chaque fois, un même constat s’impose : écrire est aussi vital que subsidiaire, car le dandy Cossery entend faire de sa vie une œuvre, sublimer le monde tangible, et y affirmer sa liberté. En toute cohérence, ses huit récits principaux, que la deuxième partie analyse dans leur épaisseur diégétique, s’accordent à révéler l’imposture universelle, à promouvoir une résistance active à son règne avant de plaider pour une résistance passive. C’est une révolution solitaire qui se trouve proposée et qui redéfinit le rapport de l’individu au réel. Un tel parcours de création, orienté vers la paix intérieure et le silence littéraire, vise à l’épure. Dans la dernière partie, l’écriture de Cossery, examinée dans ses aspects historiques, génériques et stylistiques, apparaît promise à une esthétique de la faute, au risque de passer pour une faute d’esthétique. Sa finalité est, là encore, méta-discursive. Son but n’est plus de se multiplier en livres ni de se constituer en œuvre, mais de se taire et de se laisser vivre dans la réception. L’écriture fonde un pacte de lecture qui se résorbe dans sa propre finalité. En foi de quoi, elle dessine, dans sa progression, un mouvement spiralaire. Le silence qui suit l’écriture est celui d’un bonheur de vivre enfin réaliséTo wonder about the writing status of Albert Cossery’s literary work and understand the connection between the words and the silence leads to three directions (autobiography, time, space) which come down to the same conclusion: it is as essential to write as it is to stop writing. The dandy Cossery turns his life into an art and transcends the world. Therefore, his eight main novels bring to light a universal deception, followed by an active resistance to face it and finally a passive resistance driving to freedom. It is an individual revolution that will help oneself to relocate within the world. This path to inner peace and literary silence is an outline. From a linguistic point of view (literary movement, genre and stylistic), Cossery’s writing includes deliberate errors that make it aesthetic. Its ending is here again outside literature. His intention is not only to build a literary work but to keep silent and live it the way it is perceived. In the end, three approaches of the writing have been presented and three similar and paradoxal conclusions have been found out: writing claims the end of its own writing. The overall theme of this thesis shapes it into a spiral. The silence that follows the writing enables the happiness of living
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Julin, Hanna. "„Alle Wege führen hier immerhin zur Ironie.“ : Verbale Ironie als Gestaltungsmittel desDandytums in Christian Krachts ‚Faserland‘ undPer Hagmans ‚Att komma hem ska vara enschlager‘. Ein Vergleich." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-99508.
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Title: “All roads here always lead to irony”. Verbal irony as a mean of presenting dandyismin the novels ‘Faserland’, by Christian Kracht and ‘Att komma hem ska vara en schlager’, byPer Hagman. A contrastive analysis. Author: Hanna JulinSupervisor: Bärbel WestphalExaminator: Corina Löwe Summary: The aim of this study is to investigate how verbal irony is used in fiction to indicatedandyism in pop-modern literature. It is a contrastive study based on Christian Kracht’s novelFaserland (1995), which is considered to be a romana à clef in the German popliterature. Attkomma hem ska vara en schlager (2004), by Per Hagman is a Swedish novel comparative tothe German „pop-novel“. The analysis has shown that the verbal irony primarily has threefunctions: social criticism, distancing and self-criticism. These elements correspond withdistinctive features which are typical of the dandy. Irony itself, according to Barbey (1987),Schickedanz (2000) and Rauen (2010) among others, is a distinctive feature of the classicaldandy figure, as well as of the pop-modern one. However, further research consisting of bothsynchronic, diachronic and contrastive analysis is relevant, as the dandy, according to Hörner(2008) and Tietenberg (2012) among others, always renews himself – so that his image alwaysappears elegant, modern, original and rebellious in his contemporary society.
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Chantoiseau, Jean-Baptiste. "Déjouer la transgression : du dandysme au terrorisme des images littéraires, plastiques et cinématographiques." Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030133.
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Les représentations artistiques de la transgression aux XXe et XXIe siècles offrent souvent au regard un spectacle violent et macabre. Son intensité attesterait l’existence d’une "pulsion de mort" (Freud, 1920) tout comme elle scellerait ce lien entre l’érotisme et la mort dépeint par Georges Bataille. Déjouer un tel "terrorisme de la transgression", qui épuise aussi bien l’œuvre que son spectateur, invite à démasquer le conformisme et les falsifications de telles entreprises. Aux antipodes de ces postures, existent d’autres manières d’envisager la transgression en art afin de faire de celle-ci l’occasion d’un questionnement en profondeur, ébranlant toute certitude. Ce « dandysme de la transgression » engage un travail formel intense. L’analyse d’un vaste corpus, aussi bien littéraire (Wilde, Barbey d’Aurevilly, Bataille, Genet…) plastique (Blake, Cocteau…) que cinématographique (Visconti, Bresson…), révèle un spectre de stratégies visant à jouer, affronter ou dépasser la transgression. Seule une attention aiguë portée aux spécificités de ces univers artistiques permet le dévoilement de trajectoires singulières, aux enjeux opposés : là où l’émergence de la transgression pose parfois problème (Bresson), c’est ailleurs dans l’impossibilité de lui échapper que réside le drame (Lynch). À y regarder de plus près, le secret de l’esthétique et de l’éthique des œuvres, à l’ère contemporaine, se déchiffrerait tout particulièrement dans l’observation du sort réservé aux limites et aux interdits. Doit aussi être soutenue la thèse d’un rôle central non plus d’une hypothétique "pulsion de mort" mais de l’inceste au cœur de toute démarche transgressive authentiqueArtistic portrayals of transgression in the 20th and 21st centuries often present a violent, macabre spectacle. Its intensity would appear to simultaneously attest to a "death wish" (Freud, 1920) and forge a link between eroticism and death as depicted by Georges Bataille. Thwarting such "transgression terrorism", which exhausts both the work and the spectator, is an invitation to unmask the conformism and falsification involved in such endeavours. At the opposite extreme to these approaches exist other manners of envisaging transgression in art that seek to use it as an occasion for in-depth questioning or to shatter certitudes. This "transgression dandyism" involves intensive formal work. Analysis of a vast corpus, at once literary (Wilde, Barbey d’Aurevilly, Bataille, Genet…), plastic (Blake, Cocteau…) and cinematographic, reveals an array of strategies aiming to play on, confront or transcend transgression. Only on examination of the particularities of these artistic universes do singular trajectories with antithetical goals become manifest: whereas for one creative mind the emergence of transgression occasionally presents a problem (Bresson), for another the drama resides in the impossibility of escaping it (Lynch). On closer scrutiny, the secret of aesthetics and ethics in contemporary works might be elucidated by observing the fate reserved for limits and taboos. That the central role in any authentic transgressive approach is no longer played by a hypothetical "death wish" but by incest is also tenable
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Ait, Aattou-Behrend Emma. "Luchino Visconti et l'adaptation cinématographique d'œuvres littéraires : fondements de l'imaginaire et fatalité." Thesis, Strasbourg, 2020. https://publication-theses.unistra.fr/restreint/theses_doctorat/2020/Ait_Aattou_Behrend_Emma_2020_520.pdf.
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En Italie, le cinéma prend vraiment son essor peu avant la Première Guerre Mondiale. Cette nouvelle industrie y connaît un élan considérable grâce à la multiplication des salles obscures. Néoréalisme serait né entre le Toni de Jean Renoir et l’Ossessione de Luchino Visconti. Et c’est autour des adaptations cinématographiques d’ouvrages littéraires de Visconti que notre étude s’attache, au gré des focalisations, inspirations et transpositions du réalisateur milanais. Ainsi, l’œuvre colossale du comte de Lonate Pozzolo se mue en banque de données à la source inépuisableIn Italy, cinema evolved rapidly right before World War I. This new art also grew up thanks to the multiplication of movies theaters. Neo-realism might be born between Jean Renoir's Toni and Luchino Visconti's Ossessione. And this study is about the film adaptation of literary works of Visconti, following the focalizations, inspirations and transpositions of the director from Milan. This way, by analysing his incredible work of art, we will be able to observe how rich the Earl of Lonate Pozzolo's films are
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Stauffer, Isabelle. "Weibliche Dandys, blickmächtige Femmes fragiles : Ironische Inszenierungen des Geschlechts im Fin de Siècle /." [S.l.] : Böhlau Köln, 2008. http://deposit.d-nb.de/cgi-bin/dokserv?id=3112482&prov=M&dok_var=1&dok_ext=htm.
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Dietze, Markus. "Die Lukasevangelien auf Caló. Die Ursachen ihrer Sprachinterferenz und der Anteil des Spanischen." Master's thesis, Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2014. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-152855.
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Die Arbeit behandelt die beiden Übersetzungsversionen des Lukasevangeliums ins Caló, die George Borrow 1837 und 1872 anfertigte. Sie hat mehrere Zielstellungen. Der erste Teil geht der Frage nach: Wie kam es zu den beiden Schriften? Er legt dar, welche Einflussfaktoren das authentische Caló im Spanien der 1830er Jahre herausgeprägt haben konnten und welche Einflüsse durch den Übersetzer George Borrow auf die Übersetzungen wirkten. Als extralinguistische Faktoren wird dafür die (Kultur-)Geschichte der Gitanos herangezogen, werden Borrows Biographie sowie seine Sprachkenntnisse untersucht und werden die Aufsätze namhafter Autoren über die Entstehung des Calós diskutiert und gegeneinander abgewogen. So entsteht zum ersten Mal eine komplexe Zusammenfassung der Vorgeschichte des Calós der Evangelien. Der zweite Teil der Arbeit ist einerseits eine Anleitung, die das Caló anhand von Textbeispielen für Hispanisten lesbar macht, und prüft andererseits, ob und wie die Aussage zutrifft, dass Borrows Purifizierungsbestrebungen in der zweiten Übersetzungsversion ein Caló schufen, das einen wesentlich geringeren Anteil an spanischer Sprache hat als in der ersten Version. Die Frage nach der Purifizierung erscheint vor dem Hintergrund der damaligen verklärenden Zigeunermode, der Afición, in Spanien sowie angesichts des Polyglotten Borrow bedeutsam. Um ihr nachzugehen, werden die ersten siebeneinhalb Kapitel beider Übersetzungen mit Hilfe von Textanalyseprogrammen wortartenspezifisch untersucht. Das Ergebnis bestätigt die Annahme bei zehn von sechzehn Wortarten und zeigt auf, dass besonders bei den Autosemantika Purifizierungsversuche unternommen wurden. Wahrscheinlich war aber schon die erste Übersetzungsversion purifiziert.
Die Arbeit liefert einen ersten detaillierten linguistischen Vergleich eines Teiles der beiden Versionen und stellt das Caló der Evangelien in einem sehr umfassenden Kontext vor, wodurch sich eine Vernetzung linguistischer, kulturwissenschaftlicher und literaturwissenschaftlich interessanter Aspekte ergibt.
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Chiang, Hsin-Jung, and 江欣蓉. "A Study of Oscar Wilde's Dandyism." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/tjq837.
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碩士國立臺灣師範大學
英語學系
100
This thesis aims to provide a thematic study of Oscar Wilde’s dandyism and to explore the uniqueness of it. As a famous Victorian dandy and decadent writer, Wilde put both his dandyism and aesthetics into his literary works. Thus, this thesis first points out the uniqueness of Wildean dandyism, and then analyzes how the dandiacal characters of his writing mirror it. Except for the introduction and conclusion, this thesis is composed of three major chapters. The three main chapters are: “Defining Wildean Dandyism: Aestheticism, Decadence and Modern Heroicism,” “Transgression of Morality and Sexuality: The Picture of Dorian Gray and A Woman of No Importance,” and “Feminist Dandy, Intellectual Dandy and Female Dandy: Lady Windermere’s Fan and An Ideal Husband.” Various critics of dandyism are discussed in the first chapter. In the following two chapters, Wilde’s revelation of his dandyism through his works is examined. “Defining Wildean Dandyism” deals with the background studies of dandyism and clarifies Oscar Wilde’s dandyism. Wilde develops his dandyism under the influence of aestheticism and decadence. Also, Wildean dandyism has social concerns. Chapter II and Chapter III intend to discover how Wilde’s texts and the dandiacal roles reflect Wildean dandyism. “Transgression of Morality and Sexuality” emphasizes on analyzing how Dorian and Lord Henry transgress morality and rebuild an aesthetic world. In addition, both Lord Henry and Lord Illingworth transgress sexual norms and pursue a higher spiritual relationship between men. “Feminist Intellectual and Female Dandy” is to point out the different dimensions of the Wildean dandy. Particularly the female dandy presents Wildean dandyism’s subversion of gender stereotype.
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Fu-ying, Cheng. "Subversive Dandyism in Oscar Wilde's Society Comedies." 2005. http://www.cetd.com.tw/ec/thesisdetail.aspx?etdun=U0001-1407200511054100.
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Cheng, Fu-ying, and 鄭富櫻. "Subversive Dandyism in Oscar Wilde’s Society Comedies." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/31631023215789068291.
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碩士國立臺灣大學
外國語文學研究所
93
This paper intends to examine Oscar Wilde’s literary strategy – his manipulation of the contemporary theatrical conventions – along with his deployment of dandyism and his cultural background of the Anglo-Irish which contributes to his ambiguous attitude toward self-identity. In Wilde’s society comedies, the seemingly conventional elements that appeal to the audiences’ taste are ironically the subversive ideas in disguise. Through the perusal of the playwright’s dramatic works, we would discover a “political” Wilde with trenchant criticism toward society and an unbounded vision toward his self-creation.
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"Teddy Roosevelt, Dandyism, and Masculinities: A Nominalist History of Fitness Centers in the United States." Master's thesis, 2012. http://hdl.handle.net/2286/R.I.15886.
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abstract: In the latter half of the nineteenth century, colleges and universities transformed their thinking of the body as they institutionalized physical education, recreational activities, and especially physical exercise. In this study, I examine the historical discourse on physical exercise and training during this period. I employ the theoretical and methodological practices of Michel Foucault's archeological and genealogical work to write a "history of the present." I challenge the essential narrative of physical fitness on college and university campuses. I also discuss nineteenth century notions of ethics and masculinity as a way of understanding twenty-first century ethics and masculinity. Ultimately, I use the historical discourse to argue that institutionalization of recreation and fitness centers and activities have less to do with health and well-being and more to do with disciplining bodies and controlling individuals.Dissertation/Thesis
M.A. Educational Leadership and Policy Studies 2012
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Jones, Zoe Marie. "A Transnational Bohemia: Dandyism and the Dance in the Futurist Art of Gino Severini, 1909-1914." Diss., 2011. http://hdl.handle.net/10161/4995.
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ABSTRACT
My dissertation studies the intersection of popular entertainment and the visual arts in Paris during the first decades of the twentieth century and the dialogue that formed between this subculture and the avant-garde factions of Paris and Italy. While this project will focus on the Italian Futurist Gino Severini (1883-1966), it is not conceived of as a monograph. Instead I will use Severini as a case study to help make sense of a complicated world in which the boundaries between bohemia and the bourgeoisie, masculinity and femininity, and art and popular culture are transgressed and blurred. Severini is particularly well suited to this discussion because nearly all of the 170 paintings, sketches, and pastels that he produced between the time that he arrived in Paris and the outbreak of the First World War take as their subject a prime example of Parisian popular culture--Montmartre's dance-halls. My study will address how form and content interrelate in these works, analyzing the ongoing evolution of his style and the manner in which he developed his imagery to cater to both commercial and avant-garde audiences. It will also seek to make sense of the reception of Severini's work both in France and elsewhere. In order to make sense of his artistic career and to divine the importance of his life and work to the greater political and cultural environment of early twentieth-century Europe, I will also explore Severini's actual participation in dance-hall culture, his self-fashioning as a dandy and a foreigner, and his attempt to find a niche for himself in Paris while still maintaining a foothold in the Italian avant-garde. Gino Severini's unique posturing within the culture of Bohemian Paris and the rich visual record that he left behind provide a perfect platform from which to deepen our understanding of the multitude of factors influencing the Parisian avant-garde and its subsequent impact on avant-gardes throughout the rest of the Western world.
Dissertation
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Lebedová, Anna. "Barbey d'Aurevilly mezi romantismem a dekadencí." Master's thesis, 2017. http://www.nusl.cz/ntk/nusl-369914.
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(in English): The main objective of the thesis Jules Barbey d'Aurevilly between romanticism and decadence is not only to describe Barbey's novels Un Prêtre marié and L'Ensorcelée but specially to put these two works into context of decadent aesthetics. At the beginning of this work stood the question of whenever we can consider Jules Barbey d'Aurevilly (similarly to Charles Baudelaire) to be a pioneer of the decadent movement. We will be analysing generally universal themes, such as love, pride or revolt, but we will see them through the prism of decadence, allowing them to obtain new meanings. The same motive of love, standing for passion in a romantic work, attains in Barbey's universe a character of a pathological instinct. We have divided our work into three chapters. The first one represents a theoretical part, in which we had put Barbey's work into its literary-historical context, and we had shown the topics of the generation of "disenchanted" romantics preceding the generation of decadents. Consequently, we have arrived at the main motives of decadence par excellence. The second chapter, in which we focus on the novel Un Prêtre marié, is then the essential core of our work. Through character analysis we study motives such as hysteria, incest, pride, sadomasochism, sexuality and others,...
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Neto, Francisco José Sousa. "A diversidade intertextual d' A Correspondência de Fradique Mendes : dandismo e jogo(s) de apresentação/simulação." Doctoral thesis, 2016. http://hdl.handle.net/10400.2/5890.
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A Correspondência de Fradique Mendes de Eça de Queirós radica numa tradição textual que conheceu uma notória proliferação na literatura europeia do século XIX, nomeadamente em textos de Hippolyte Taine (Notes sur Paris) e Thomas Carlyle (Sartor Resartus). Na verdade, quando a obra é publicada, Fradique surge inserido num mistificador jogo textual, muito semelhante ao que Taine e Carlyle utilizaram para apresentar Graindorge e Teufelsdröckh, respetivamente. A produção ‘literária’ do dândi (um epistolário) vem acompanhada de um estudo biográfico, intitulado “Memórias e Notas”, onde um narrador anónimo, propositadamente confundível com Eça, recria o percurso humano e intelectual daquele originalíssimo ‘escritor’ entretanto falecido. Paralelamente a uma consistente estratégia autenticadora, o autor d’ Os Maias fornece ao leitor múltiplos indícios — por via da ironia, da hipérbole, do elemento burlesco — para que ele desconfie da veracidade da personagem e da genuinidade das cartas divulgadas, aspeto que nos remete para a construção igualmente humorística e ambivalente das obras de Taine e Carlyle.
Um outro elemento comum às três produções literárias em estudo tem a ver com os laços que ligam Fradique, Graindorge e Teufelsdröckh a alguns dos traços distintivos da conduta dândi (de acordo com a teorização apresentada por Barbey d’Aurevilly e Baudelaire): a busca da originalidade e a recusa da uniformização, o culto da toilette e da aparência exterior, o desejo de surpreender e a impassibilidade.Eça de Queirós’s fictional work A Correspondência de Fradique Mendes belongs to a text tradition which flourished in the late 19th century, namely with authors such as Hippolyte Taine (Notes sur Paris) and Thomas Carlyle (Sartor Resartus). When the book was published, Fradique was shown to be inserted in a mystifying textual game very similar to those adopted by Taine and Carlyle to present their respective heroes Graindorge and Teufelsdröckh – the alleged literary production of the dandy (an epistolary) is flanked by a biographical essay, “Memórias e Notas”, where an unidentified narrator (easily identifiable with Eça) recreates the human and intellectual itinerary of that most original supposedly deceased “author”. On one hand, Eça builds a consistent identifying strategy; on the other, he provides the reader with enough clues (by way of irony, hyperbole and burlesque) to make him doubt the authenticity of both the character and his letters. This is somewhat similar to the funny ambivalent construction of Taine and Carlyle’s books. These three works have something else in common — the distinctive features of a dandy (according to Barbey d’Aurevilly and Baudelaire’s theory) present in all three main characters, Fradique, Graindorge and Teufelsdröckh: the search for originality, the rejection of uniformity, the focus on clothes and external appearances, the wish to astonish, the phlegm.
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Kolařík, Karel. "Věčné jinošství Jiřího Karáska ze Lvovic." Doctoral thesis, 2012. http://www.nusl.cz/ntk/nusl-307931.
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The thesis attempts to describe the life and work of Jiří Karásek ze Lvovic through an analysis of his lifestyle, i.e. the way in which he organized, embellished and individualized his life. Karásek sought to shape his existence as an artwork, in accordance with the inspirational concepts of the contemporary and antecedent thinkers and artists (e.g. Oscar Wilde, Walter Pater and Maurice Maeterlinck). He accented its integrity and orientation towards beauty. In accord with his aesthetic vision (and his literary work) Karásek conditioned beauty with sadness and pain and attempted to emphasize melancholic beauty, unity in disunion. For that purpose he would accentuate particularly the disintegrative, critical elements, evoking the impression of unsuccessful, self-destructive endeavor to reach life's high ideal. This corresponded with his tragic concept of the artist immolating himself for his Art. I approach Karásek's lifestyle through the use of the terms youth and (eternal) boyhood, which Karásek himself employed as symbols of mournfully beautiful existence in his literary work. I define a youth - in accordance with the romantic and symbolist interpretation - as a person at odds with reality (contemporary truths, customs and rules), a solitary, unique being, trying to construct a new world - only...
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Jirátová, Kristýna. "Samota uprostřed davu: Charles Baudelaire a umění 20. století a současnosti." Doctoral thesis, 2018. http://www.nusl.cz/ntk/nusl-386502.
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Alone in a Crowd: Charles Baudelaire and 20th-Century and Contemporary Art The dissertation called Alone in a Crowd explores the influence of the poet Charles Baudelaire's personality and work on 20th-century and contemporary art. Due to the field of study, the main focus is on the visual arts, but literature, music, philosophy, and film are also included to a large extent. This dissertation is divided into four substantive chapters. The first chapter, The Inner Message, introduces the poet's life, his family and acquaintances, as well as Baudelaire's poetry collection The Flowers of Evil. Themes of evil, ugliness, fear, death, and even a relationship to their mother, father and women are common for 20th-century and contemporary artists. This chapter presents Félicien Rops, James Ensor, Edvard Munch, Hans Bellmer, Francis Bacon, Joel-Peter Witkin, Kurt Cobain, members of the Young British Artists group, Lars von Trier, and others. The second chapter pursues the correspondence theory. The character of the Swedish philosopher Emanuel Swedenborg and his successor, William Blake, is followed by Baudelaire's understanding of sensual and spiritual correspondences, as his principles are adopted by modern artists in a distinct manner. The third chapter called "On the Edge of Society" covers the curse...
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Dietze, Markus. "Die Lukasevangelien auf Caló. Die Ursachen ihrer Sprachinterferenz und der Anteil des Spanischen." Master's thesis, 2012. https://tud.qucosa.de/id/qucosa%3A28299.
Full textAbstract:
Die Arbeit behandelt die beiden Übersetzungsversionen des Lukasevangeliums ins Caló, die George Borrow 1837 und 1872 anfertigte. Sie hat mehrere Zielstellungen. Der erste Teil geht der Frage nach: Wie kam es zu den beiden Schriften? Er legt dar, welche Einflussfaktoren das authentische Caló im Spanien der 1830er Jahre herausgeprägt haben konnten und welche Einflüsse durch den Übersetzer George Borrow auf die Übersetzungen wirkten. Als extralinguistische Faktoren wird dafür die (Kultur-)Geschichte der Gitanos herangezogen, werden Borrows Biographie sowie seine Sprachkenntnisse untersucht und werden die Aufsätze namhafter Autoren über die Entstehung des Calós diskutiert und gegeneinander abgewogen. So entsteht zum ersten Mal eine komplexe Zusammenfassung der Vorgeschichte des Calós der Evangelien. Der zweite Teil der Arbeit ist einerseits eine Anleitung, die das Caló anhand von Textbeispielen für Hispanisten lesbar macht, und prüft andererseits, ob und wie die Aussage zutrifft, dass Borrows Purifizierungsbestrebungen in der zweiten Übersetzungsversion ein Caló schufen, das einen wesentlich geringeren Anteil an spanischer Sprache hat als in der ersten Version. Die Frage nach der Purifizierung erscheint vor dem Hintergrund der damaligen verklärenden Zigeunermode, der Afición, in Spanien sowie angesichts des Polyglotten Borrow bedeutsam. Um ihr nachzugehen, werden die ersten siebeneinhalb Kapitel beider Übersetzungen mit Hilfe von Textanalyseprogrammen wortartenspezifisch untersucht. Das Ergebnis bestätigt die Annahme bei zehn von sechzehn Wortarten und zeigt auf, dass besonders bei den Autosemantika Purifizierungsversuche unternommen wurden. Wahrscheinlich war aber schon die erste Übersetzungsversion purifiziert.
Die Arbeit liefert einen ersten detaillierten linguistischen Vergleich eines Teiles der beiden Versionen und stellt das Caló der Evangelien in einem sehr umfassenden Kontext vor, wodurch sich eine Vernetzung linguistischer, kulturwissenschaftlicher und literaturwissenschaftlich interessanter Aspekte ergibt.:o. Vorwort & Danksagung
i. Einleitung
i.i. Begriffsbestimmung
i.ii. Zielsetzung der Arbeit
Teil I: Die Ursachen der Sprachinterferenz in den Lukasevangelien
I.1. Die Geschichte der Gitanos bis ins 19. Jahrhundert
I.1.1. Die prähispanische Phase
I.1.2. Die erste Phase von 1425 bis 1499
I.1.3. Die zweite Phase von 1499 bis 1783
I.1.4. Die dritte Phase im 19. Jahrhundert
I.2. Die Genese des Calós bis ins 19. Jahrhundert
I.2.1. Denkmäler des Calós vor den Evangelien
I.2.2. Die Debatte um die Genese des Calós
I.2.2.1. Caló versus Pidgin-/ Kreolsprachen: Boretzky (1985) und Romero Yantorno
I.2.2.2. Code-Switching, Pogadisierung, Geheimsprachen und Language Intertwining: Bakker & van der Voort (1991)
I.2.2.3. Archaismen, kryptische Formationen, andalusische Merkmale und unabhängige Lexikentwicklung: Bakker (1995)
I.2.2.4. Das katalonische Romaní als Indiz für die zeitliche Einordnung: Boretzky (1992)
I.2.2.5. Das Caló als Alltagssprache und im Vergleich mit anderen Romaní-Dialekten: Boretzky (1998)
I.2.2.6. Von der Alltagssprache zum geheimsprachlichen Vokabular: Bakker (1998)
I.2.2.7. Zusammenfassung der Debatte
I.3. George Henry Borrow
I.3.1. Kurzbiographie
I.3.2. Borrows Romaní-, Spanisch- und Caló-Kenntnisse
Teil II: Der Anteil des Spanischen in den Lukasevangelien
II.1. Texterschließung für Hispanisten
II.1.1. Wörterbücher
II.1.2. Grammatik
II.1.2.1. Caló-Deklinationssuffixe
II.1.2.2. Caló-Hilfsverben
II.1.3. Textausschnitte
II.1.3.1. Textausschnitt 1: Titelseiten und Vorworte Borrows
II.1.3.2. Textausschnitt 2: Lukas 15, 1 - 4 .
II.2. Wortartenspezifische Analyse des Anteils des Spanischen
II.2.1. Vorgehen
II.2.2. Auswertung
II.3. Schluss
Anhänge
Anhang 1: Vergleich des Anteils des Spanischen an den Lukasevangelien 1 - 8,25 auf Caló von 1837 und 1872 in wortartenspezifischen, systematisierten und
kommentierten Wortfrequenzlisten
A.1. Flektierbare Wortarten
A.1.1. Die Artikel
A.1.2. Die Substantive
A.1.3. Die Eigennamen
A.1.4. Die Pronomina
A.1.4.1. Die Personal- und Reflexivpronomina
A.1.4.2. Die Demonstrativpronomina
A.1.4.3. Die Possesivpronomina
A.1.4.4. Die Relativpronomina
A.1.4.5. Die Indefinitpronomina
A.1.5. Die Adjektiva
A.1.6. Die Verba
A.1.7. Die Numeralia
A.2. Unflektierbare Wortarten
A.2.1. Die Adverbien
A.2.2. Die Präpositionen
A.2.3. Die Interrogativa
A.2.4. Die Konjunktionen
A.2.5. Die Interjektionen
Anhang 2: Paralleltexte: Die Lukasevangelien 1 - 8,25 auf Caló von 1837 und von 1872 und das spanische Lukasevangelium 1 - 8,25 übersetzt von Scío
Abbildungsverzeichnis
Quellenverzeichnis
Tabellenverzeichnis