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Dissertations / Theses on the topic 'Ernst Jünger'

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Published: 4 June 2021

Last updated: 25 April 2022

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1

Grazioli-Rozet, Isabelle. "Ernst Jünger : sentinelle entre mythe et histoire." Nancy 2, 1992. http://www.theses.fr/1992NAN21020.

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Cette réflexion sur l'histoire. Le mythe et la condition humaine dans l'œuvre de Jünger se fixe pour objectif de reconstruire la métaphysique, de dégager les différentes strates de la maturation spirituelle et intellectuelle de cet auteur controverse. L'étude replace les interrogations de Jünger sur le sens de l’histoire. Ses explications aux phénomènes observes et enfin ses solutions dans la problématique de la modernité. La thèse analyse la période "héroïque" de Jünger il croyait agir sur l'histoire puis sa transformation progressive en médecin de la civilisation de l'âme humaine livrant alors diagnostics et thérapies. La thèse dégage enfin une hiérarchie entre l'histoire. Science de l'homme soumise au temps, et le monde métaphysique. Jünger voulant rétablir un ordre entre les hommes et les dieux, le profane et le sacré
This reflection on history, myth and the human condition in Jünger's work has as its objective to reconstruct metaphysics, to release the different strata of the spiritual and intellectual maturing of this controversial author. The study resituates Jünger's questions regarding the meaning of history, his explanations about the phenomena he served and finally his solutions regarding the problematic of m modernity. The thesis analyses Jünger's "heroic" period which he believed influenced history, the progressive transformation into a doctor of civilization and of the human soul, thus delivering diagnoses and therapy. The thesis finally brings out the hierarchy between histories. The science of man subjected to time and to the metaphysical world; Jünger wanted to re-establish order between men and gods, between things profane and sacred

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2

Poncet, François. "La dynamique imaginative dans l'oeuvre d'Ernst Jünger." Rouen, 1989. http://www.theses.fr/1989ROUEL081.

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L'imaginaire jungerien reste peu exploré par une critique allemande plus soucieuse d'accusations politiques et de démystification réductrice que de dynamique imaginative. Le présent travail vise à inverser cette tendance en appliquant à Jünger les théories archétypologiques de Gilbert Durand. L'imaginaire jungerien est analysé par "schèmes", gestes premiers de l'imagination monnayant sa démarche primordiale d'inversion ascensionnelle de la caducité ambiante. Ces schèmes se regroupent eux-mêmes selon plusieurs grandes orientations imaginatives qui prévalent successivement : on peut ainsi distinguer une balistique, une optique, une cinétique et une statique. Le "parcours mythique" qu'elles dessinent est celui de l'affirmation toujours plus haute d'une inversion imaginative première qui se déploie dans toutes les dimensions de l'espace imaginal. Elle culmine dans une gastrulation révulsive que traduit spatialement l'image de l'île, où transparaît comme vecteur de l'imaginaire jungerien un mythe atlantidien conjuguant catastrophe et résurgence insulaire, et qui se veut le paradigme du devenir spirituel occidental
The imaginary world of Ernst Jünger remains a terra incognita for most of Germany's literary critics, more inclined to political prosecution and demystificative reduction. The present work seeks to invert that trend and apply to Jünger the archetypological theories evolved by Gilbert Durand. The analysis makes use of "schemes", i. E. Primeval gestures of the imagination which articulate its fundamental process of inverting in an ascensional direction the general decay of empiric reality. These schemes associate themselves according to distinct and successively prevailing orientations of the imaginary : balistics, optics, cinetics and statics can thus be differenciated. They point to the "mythical sequence" of a primeval imaginary inversion which gradually extends to the various dimensions of imaginal space. It climaxes in a revulsive gastrulation spatially rendered by the island-image, in which the leading mythical pattern for the whole of Jünger's imaginative process may be spotted : an atlantidian myth of catastrophical submersion and insulary resurgence which asserts itself as the paradigm of western spiritual evolution as a whole

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3

Beltran-Vidal, Danièle. "Chaos et renaissance dans l'oeuvre d'Ernst Jünger." Montpellier 3, 1991. http://www.theses.fr/1991MON30022.

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Des 1914, ernst junger commence a tenir son journal qui sera publie en 1920 sous le titre d'orages d'acier. A ce jour, il continue de le rediger. Il peut etre considere comme un "temoin du siecle". La premiere partie est consacree au temoignage d'ernst junger sur l'epoque mouvementee qu'il est en train de vivre de 1914 a 1933 : le chaos. L'etude des textes de sa premiere periode creatrice permet de mettre en evidence les premisses de son symbolisme. Parallelement a son engagement politique des annees vingt se produit une transformation de la description de la guerre sous l'influence de l'ideologie du neo-conservatisme. C'est alors qu'il decrit le projet utopique d'un monde domine par le travailleur. La deuxieme partie traite essentiellement de l'esthetique jungerienne. L'art permet a l'homme de renaitre. La construction elaboree des oeuvres peut etre etudiee grace aux travaux du linguiste philippe hamon. Il est possible de demontrer que les descriptions d'ernst junger ne sont pas une pure recherche esthetique. Elles expriment aussi sa pensee philosophique
In 1914 ernst junger begins to keep a diary which is published in 1920 under the title : in stahlgewittern. He continues his diary up to the present day. He may therefore be considered a "whitness of the century". The first part contains the experiences of ernst junger in the wild epoch he is about to live from 1914 to 1933 : chaos. The study of the writings in his first creative periode enables us to reveal the origins of his symbolism. Parallel to his political involvment in the 20's there occuss in his writing a transformation of the description of war under the influence of neo-conservative ideology. It is at the time that he describes the utopian project of a world dominated by the "worker". The second part deals essentially with junger's aesthetics. Art allows human beings to be reborn. The elaborate construction of his works may be studied thanks to the recent criticism by linguist philippe hamon. It may be demonstrated that the descriptions by ernst junger are not pure esthetical research. They are expressing his philosophical thinking

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4

Virkkula, Casper. "Omöjligt liv : Biomakt i Ernst Jüngers Eumeswil." Thesis, Uppsala universitet, Litteraturvetenskapliga institutionen, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-274948.

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5

Magne, François. "La structure du travailleur et ses modifications : ernst junger, 1914-1949." Toulouse 2, 1987. http://www.theses.fr/1987TOU20089.

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La these suit le devenir des figures du heros et du travailleur dans l'oeuvre d'ernst junger. L'apparent statisme de ces figures cache des refections profondes. "der arbeiter" traite de la question de la technique et de la representation de la technique sous le signe de la puissance. L'essai de 1932 reprend les schemas nationalistes des annees 1920-1925, et imagine un passage au-dela de la mobilisation massive suscitee par la technicisation. Ce passage est mis au service d'une utopie active. La figure du travailleur est reconsideree par junger a partir de 1934, et l'oeuvre discerne une antithese a la mobilisation technicienne
The thesis follows the development of the hero and the worker's figures in ernst junger's work. The apparent statism hides deep reconstructions. The "arbeiter" is about "technic" and representation of "technic" under the sign of power (macht). The 1932 essay repeats the nationalist views of the 1920-1925 years, and imagines a passage beyond the massive mobilisation. This passage serves an active utopia. The arbeiter's figure is reconstructed by junger from 1934, and the work distinguishes an antithesis to the technical mobilisation

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6

Stanescu, Corina Madeleine. "Temps de l'Histoire et temps du destin : (Julien Gracq, Ernst Jünger, Mircea Eliade." Université Marc Bloch (Strasbourg) (1971-2008), 2004. http://www.theses.fr/2004STR20033.

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Les situations historiques du XXe siècle ont conduit Julien Gracq, Ernst Jünger et Mircea Eliade à mener une vaste réflexion sur l'Histoire, qui passe par la critique de la Raison historique et de ses fondements : temps linéaire et continu, vecteur du progrès constant. Pour ces trois écrivains, le refus de l'Histoire n'est autre que le refus de tous les historicismes prétendant réduire l'homme à sa seule dimension historique. Si tous les trois se tournent vers le mythe, qui constitue la grande découverte historico-scientifique du XXe siècle, ce n'est absolument pas le fait d'un désintérêt pour l'Histoire. Bien au contraire, leur approche du mythe, qui va de pair avec l'exploration des dimensions du temps autres que linéaire, renouvelle et dépasse l'opposition traditionnelle entre mythe et Histoire. Ceci n'est pas sans conséquences sur le conception que Gracq, Jünger et Eliade se font de la littérature
The historical conjunctures of the twentieth century led Julien Gracq, Ernst Jünger and Mircea Eliade to carry out a far-reaching investigation into History, one which implied a critique of historical determination and its underlying terms : a lineary and continuous temporaliity as the vector of constant progress. For these three writers the refusal of history signified nothing less than the rebuttal of all those historicisms which tend to only consider the historical dimension of the individual. If all three directed their energies towards the domain of myth, which constituted the major twentieth century discovery of historical science, it is certainly not because they were unconcerned with History. On the contrary, their way of engaging with the domain of myth, one which goes naturally with the exploration of other temporal dimensions than linear ones, reinvents and goes beyond the traditional opposition between myth and History. This exploration and the reflection it engenders cannot but be perceptible in the way Gracq, Jünger and Eliade view literature

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7

Burger, Patrick R. [Verfasser]. "The political unconscious in the works of Robert E. Howard and Ernst Jünger / Patrick R. Burger." Gießen : Universitätsbibliothek, 2015. http://d-nb.info/1072037734/34.

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8

Coenen, Corinna Maria Odilia Verfasser], Volker [Akademischer Betreuer] Zimmermann, Jürgen L. [Akademischer Betreuer] Müller, and Borwin [Akademischer Betreuer] [Bandelow. "Ernst Jünger - eine Annäherung an Drogen - Medizinische Analyse seiner LSD-Versuche / Corinna Maria Odilia Coenen. Gutachter: Volker Zimmermann ; Jürgen L. Müller ; Borwin Bandelow. Betreuer: Volker Zimmermann." Göttingen : Niedersächsische Staats- und Universitätsbibliothek Göttingen, 2012. http://d-nb.info/1042847207/34.

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9

Wallenstein, Sven-Olov. "Nihilism, Art, and Technology." Doctoral thesis, Stockholms universitet, Filosofiska institutionen, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-38737.

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The thesis investigates the role of technology in the formation of the artistic avant-garde, along with various forms of philosophical reflection on this development, with a particular emphasis on Heidegger. Setting out from an analysis of three paradigmatic cases in the interplay between art and technology—the invention of photography, the shift from Futurism to Constructivism, and the interpretation of technology in debates on architectural theory in the 1920s and ’30s—it proceeds to a discussion of three philosophical responses to this development, those found in Walter Benjamin, Martin Heidegger, and Ernst Jünger, all of which share a certain avant-garde sensibility and a notion of art as a response to nihilism. In Heidegger’s postwar writings we see a retreat from the positions of the mid 1930s, and in his reflections on technology a different answer emerges to the question of whether “great art” is still possible: great art is an art that exists precisely by making the founding of a world into something problematic. The fourth part confronts Heidegger’s analysis of technology with the work of an individual artist, the architect Mies van der Rohe, and asks how the “silence”—the withdrawal of language, sense, aesthetic perception, etc.—that is often understood as a precondition for the critical potential of his work should in fact be understood. By examining interpretations that draw on Heidegger via comparisons with other types of critical theory, a different understanding emerges of the relation among nihilism, art, and technology. They form a field of constant modulation, which implies that the concepts that have been the foundation of critical theory, nature, subjectivity, experience, even “being” in Heidegger’s sense, must be subjected to a historical analysis that acknowledges them as ongoing processes of construction, and that also accounts for the capacity of technologies and artistic practices to intervene in the formation of philosophical concepts.
The chapters 5, 6 and 7 in the monograph Essays, Lectures for a part of the Ph.D.thesis.

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10

Heine, Philipp David Verfasser], Ruth [Akademischer Betreuer] [Florack, Ruth [Gutachter] Florack, and Simone [Gutachter] Winko. "Die Literatur und der Kampf um die Weltanschauung : Ein Beitrag zur Literatur-und Intellektuellengeschichte der Zwischenkriegszeit am Beispiel von Alfred Döblin und Ernst Jünger / Philipp David Heine ; Gutachter: Ruth Florack, Simone Winko ; Betreuer: Ruth Florack." Göttingen : Niedersächsische Staats- und Universitätsbibliothek Göttingen, 2019. http://d-nb.info/1188025244/34.

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11

Heine, Philipp David [Verfasser], Ruth [Akademischer Betreuer] Florack, Ruth [Gutachter] Florack, and Simone [Gutachter] Winko. "Die Literatur und der Kampf um die Weltanschauung : Ein Beitrag zur Literatur-und Intellektuellengeschichte der Zwischenkriegszeit am Beispiel von Alfred Döblin und Ernst Jünger / Philipp David Heine ; Gutachter: Ruth Florack, Simone Winko ; Betreuer: Ruth Florack." Göttingen : Niedersächsische Staats- und Universitätsbibliothek Göttingen, 2019. http://d-nb.info/1188025244/34.

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12

Wulfmeier, Miriam. "Das Konzept der Einheit in Ausgewählten Werken Ernst Jüngers." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq24947.pdf.

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13

Bertin, Pierre. "Wortkunst und Parallelismen in Ernst Jüngers Roman "Auf den Marmorklippen"." Thesis, Uppsala universitet, Institutionen för moderna språk, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-279093.

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14

Brutscher, Barbara [Verfasser]. "Zwischen Sein und Fiktion - Ernst Jüngers utopische Wege in Auf den Marmorklippen, Heliopolis, Gläsernen Bienen und Eumeswil / Barbara Brutscher." München : Verlag Dr. Hut, 2015. http://d-nb.info/1079768920/34.

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15

Meyer, Daniel. "Le roman utopique de langue allemande : 1918-1949." Paris 12, 2003. https://athena.u-pec.fr/primo-explore/search?query=any,exact,990003949050204611&vid=upec.

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Les romans utopiques de Brod, Hauptmann, Döblin, Hesse Werfel et Jünger peuvent prétendre à une place à part dans l’histoire de l’utopie : ils ne cherchent pas à véhiculer le plus efficacement possible un message politico-idéologique. Mais visent au contraire à brouiller sinon à interdire l’articulation d’un tel message par diverses stratégies narratives. Parallèlement à cet ancrage dans l’esthétique du roman moderne, tous présentent une structure cyclique qui renvoie à une conception précise de l’histoire et remet en question la notion de progrès. Cet anti-utopisme est nuancé par le dénouement qui investit le texte d’une charge mystique positive, entraînant une modification profonde de la portée de l’utopie. De telles caractéristiques situent cet ensemble dans le contexte de courants d’idées contemporains elles tendent à illustrer de façon emblématique une autodestruction de la raison dans un champ – l’utopie qui lui semblait réservé
The utopian novels written by Brod, Hauptmann, Döblin, Hesse, Werfel and Jünger share traits that give them a specific status within the history of utopia : their aim is not to voice a political or ideological message as efficiently as they can but to blur any such message or even dismiss it through various narrativ e strategies. This links them to the aesthetics of the modem novel. Furthermore. They all share a cyclical structure that relates to a specific theory of history and strongly queries the concept of progress. How such anti-utopianism is counterbalanced by the endings. Vhich invest the novels with positive, mystical bearings, thus radically modifying the compass of utopia. Such traits are characteristic of philosophical and literary trends contemporary with those novels, and tend to demonstrate a symptomatic self- destruction of reason in a field - utopia - which seemed to he its privileged sphere

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16

Inksetter, Hamish. "Perceptions of Evil: A Comparison of Moral Perspectives in Nazi Propaganda and Anti-Nazi Literature." Thesis, Université d'Ottawa / University of Ottawa, 2015. http://hdl.handle.net/10393/31917.

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This thesis examines how the concept of evil was understood by opposing German perspectives during the era of National Socialist rule (1933-1945). The rise of Nazism in Germany marked a period of massive political upheaval wherein the National Socialist government encouraged the masses to view the world in terms of a great struggle between forces of good and evil. This was the central theme of their propaganda, which zealously encouraged racialist beliefs in the popular consciousness, and was based on assumptions of German superiority and Jewish evil. Despite Hitler's apparent success in creating an obedient nation, a significant number of Germans opposed his rule, amongst whom a small group of writers expressed their discontent through creative fiction. Through a comparison of the worldviews communicated through political propaganda and anti-Nazi literature, it is revealed that the crux of the divide between their opposing perspectives hinged on the meaning of evil. Since evil is a concept with many meanings, this thesis approaches the subject thematically. The comparison begins by focusing on the perception of evil as an all-corrupting force that had taken hold of Germany, followed by an exploration of how power and brutality were understood, ending with a comparison of views on how the struggle between good and evil took place on both a social and individual level. In addition to demonstrating the subjectivity of moral perspective during a tumultuous period of the recent past, this research reveals how the struggle against Nazism existed as a conflict of ideas. Moreover, the comparison of cultural sources (including Nazi art, visual propaganda, written texts such as Mein Kampf, and anti-Nazi creative fiction) demonstrates the value of art as a tool for conducting historical enquiry. Since the legacy of the Third Reich continues to directly influence modern perceptions of evil, exploring how evil was understood according to contemporary Germans – from both pro and anti-Nazi perspectives – is of particular historical interest.

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17

Coenen, Corinna Maria Odilia. "Ernst Jünger - eine Annäherung an Drogen - Medizinische Analyse seiner LSD-Versuche." Doctoral thesis, 2012. http://hdl.handle.net/11858/00-1735-0000-000D-EFAB-0.

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18

Heine, Philipp David. "Die Literatur und der Kampf um die Weltanschauung." Doctoral thesis, 2019. http://hdl.handle.net/21.11130/00-1735-0000-0003-C120-E.

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19

Corbett, Morgan. "The great forge of nations: violence and collective identity in fascist thought." Thesis, 2019. http://hdl.handle.net/1828/11409.

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This thesis analyzes the origins and development of conceptions of the relationship between violence and politics characteristic of twentieth century fascist thought. It critiques existing approaches to fascism and fascist ideology in the interdisciplinary field of fascist studies and proposes and employs an alternate approach which centres and emphasizes the flexibility and mutability of fascist thought and denies that any particular complex of beliefs or concepts can be said to constitute an ‘essence’ or ‘heart’ of fascist ideology. Morphological studies are offered of four discursive traditions in fascist and fascist-adjacent thought with respect to violence and politics: German military theory of the late nineteenth and early twentieth centuries; the ‘new’ French nationalism of the fin-de-siècle; the genre of ‘future warfare’ around and after the First World War; and the work of Ernst Jünger and Carl Schmitt. The thesis concludes with some consideration of the continuities and discontinuities made apparent in the morphological studies, an argument that those results vindicate the initial framing, and some avenues for extending them into areas of concrete contemporary relevance.
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20

Demant, Oliver [Verfasser]. "Zwischen Aktion und Kontemplation : das Frühwerk Ernst Jüngers unter dem Aspekt individualistischer und kollektivistischer Perspektiven als Bewältigungsversuch der Moderne / vorgelegt von Oliver Demant." 2008. http://d-nb.info/988899590/34.

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