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Academic literature on the topic 'Fontane, Theodor, 1819-1898'
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Journal articles on the topic "Fontane, Theodor, 1819-1898"
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Kraus, Hans-Christof. "Poesie, Zeitkritik und Politik. Zur neuen Literatur über Theodor Fontane (1819–1898)." Historische Zeitschrift 311, no. 3 (December 1, 2020): 677–88. http://dx.doi.org/10.1515/hzhz-2020-0038.
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Petutschnigg, Johannes, and Frank Edelmann. "Kognitive Verluste bei Herzinsuffizienz." Der Klinikarzt 47, no. 04 (April 2018): 140–45. http://dx.doi.org/10.1055/a-0612-1374.
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ZusammenfassungDer kürzlich erschienene Herzbericht der Deutschen Herzstiftung weist die Herzinsuffizienz (ICD I50) unverändert als die häufigste Einzeldiagnose von vollstationär behandelten Patienten in der Bundesrepublik aus 1. Das komplexe klinische Syndrom mit multiplen Interaktionen zu anderen Organsystemen stellt die behandelten Ärzte oft vor schwer zu lösende Aufgaben. Das Zusammenspiel zwischen Versagen des Myokards und zerebraler (Dys)Funktion wird im klinischen Alltag leider (zu) oft nicht beachtet oder vergessen.Dieser Artikel soll einen Überblick (patho-)physiologischer Mechanismen als Grundlage dieser gegenseitigen Beeinflussung liefern. Kardiale Dysfunktion und eine Abnahme der kognitiven Leistungsfähigkeiten treten in einer alternden Gesellschaft zunehmend häufiger auf und der Leidensdruck belastet die Betroffenen, ihre Angehörigen und unser Gesundheitssystem. Dennoch findet ein symbiotischer Austausch der Fachrichtungen nur selten statt und die Krankheiten werden fachspezifisch und damit isoliert erhoben und behandelt. Kardio-neurologische Kolloquien sind an einigen Kliniken bereits fest implementiert und sollten einen Aufschwung erleben, denn nicht umsonst wusste bereits Theodor Fontane (1819–1898): „Wenn das Herz gesund ist, ist der Kopf nie ganz schlecht.“ 2.
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Scharl, Anton J. "„Unanfechtbare Wahrheiten gibt es überhaupt nicht, und wenn es welche gäbe, wären sie langweilig.“ (Theodor Fontane, 1819 – 1898)." Geburtshilfe und Frauenheilkunde 81, no. 02 (February 2021): 107–8. http://dx.doi.org/10.1055/a-1313-4682.
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David, Matthias, and Andreas D. Ebert. "„Er war ein Damenmann …“ – frauenheilkundliche Aspekte im Werk Theodor Fontanes (1819 – 1898)." Geburtshilfe und Frauenheilkunde 79, no. 10 (October 2019): 1029–32. http://dx.doi.org/10.1055/a-0998-4952.
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Solères, Isabelle. "La minorité sorbe du Brandebourg vue par l’écrivain prussien Theodor Fontane (1819-1898)." Mémoire(s), identité(s), marginalité(s) dans le monde occidental contemporain, no. 2 (September 6, 2006). http://dx.doi.org/10.4000/mimmoc.224.
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İlkılıç, Süreyya. "EFFI BRIEST VE L’ADULTERA’DA KADIN." Korpusgermanistik, June 13, 2024. http://dx.doi.org/10.62425/korpus.1491874.
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Alman Edebiyatı ve Realist Akımın önemli temsilcilerinden olan Heinrich Theodor Fontane (1819-1898), kaleme aldığı toplum ve zaman romanlarında (Gesellschafts- und Zeitroman) 19. yüzyıl Almanyasının toplumsal bir panoramasını çizmekte ve gerçek olaylardan esinlenerek yazmış olduğu eserlerinde bilhassa o dönemdeki kadınların yaşantıları hakkında okuyucuya bilgi sunmaktadır. Effi Briest, Fontane’nin geç dönem ve hatta ölümünden önce yayımlanan son eseri olarak en çok tanınan bir eseri olmasına rağmen yazarın zaman romanları kapsamında ilk eser olma özelliği taşıyan L’Adultera maalesef Türkiye’de pek tanınmamaktadır. Konu olarak pek çok açıdan paralellik gösteren iki romanın başkahramanları Effi ve Melanie, 17 yaşında iken kendilerinden yaşça oldukça büyük kişilerle evlendirilmişlerdir. Ancak her iki roman kahramanının yaşam hikâyeleri, toplumun kuralları, gelenek ve göreneklerinin yanı sıra kendi eğitim düzeyleri, karakteristik özellikleri ve aile yapıları ile bağlantılı olarak farklılık göstermektedir. Theodor Fontane eserlerinde doğrudan bir toplumsal eleştiri yapmamasına rağmen günümüz açısından hem 19. yüzyılda Almanya'daki kadınların toplum içindeki yerlerini göstermesi bakımından hem de artık her ne kadar hukuki açıdan hak sahibi olmalarına rağmen günümüz kadınının içinde bulunduğu ve pratikte yaşadıkları ile karşılaştırılması noktasında önem taşımaktadır. Bu çalışmada her iki eser realist bakış açısı ve metin odaklı analiz ile ele alınmıştır.
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Solères, Isabelle. "La « poésie » des lieux et de l’histoire chez le chroniqueur prussien Theodor Fontane (1819-1898)." Mémoire(s), identité(s), marginalité(s) dans le monde occidental contemporain, no. 9 (December 22, 2012). http://dx.doi.org/10.4000/mimmoc.1108.
Full textDissertations / Theses on the topic "Fontane, Theodor, 1819-1898"
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Nelson, Ronald Kent. "Theodor Fontanes Darstellung der Berliner Gesellschaft in seinen Romanen Effi Briest und Irrungen Wirrungen." PDXScholar, 1988. https://pdxscholar.library.pdx.edu/open_access_etds/3857.
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Solères, Isabelle. "Les Pérégrinations à travers la Marche de Brandebourg de Théodor Fontane : pèlerinages aux sources de la culture et de l'histoire prusso-brandebourgeoises." Toulouse 2, 2003. http://www.theses.fr/2003TOU20076.
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Dans les Pérégrinations à travers la Marche de Brandebourg, Theodor Fontane évoque les "lieux de mémoire" brandebourgeois et les personnalités qui influèrent sur le devenir de la Marche ou incarnent les valeurs traditionnellement prussiennes. Ces histoires individuelles renvoient à la grande Histoire. Fontane inventorie le patrimoine prusso-brandebourgeois pour en conserver le souvenir et faire apparaître les fondements de l'identité collective. La dimension critique des Pérégrinations nuance toutefois l'adhésion de Fontane à sa patrie brandebourgeoise, prussienne, puis allemande à partir de 1871. Cette réflexion identitaire ayant souvent lieu par le biais de références à l'étranger, les Pérégrinations alimentent le patriotisme mais invitent aussi à l'ouverture sur le monde. Pour transmettre au lecteur le sens vivant de l'histoire de sa patrie, Fontane s'est inspiré de modèles, mais il a créé un nouveau genre à mi-chemin entre écriture du voyage et de l'histoire, reportage journalistique et sublimation littéraire. Ces tableaux vivants ont aussi pour but de suggérer la dynamique du devenir historique et la tension productive entre tradition et innovationReporting on his home travels throughout Brandenburg, Theodor Fontane describes its historical and cultural heritage : in that heritage are also the lives of men and women with an influence on local history or characters who personify the traditional Prussian values that Fontane would like to be passed on to the future generations. Though Fontane's purpose is to celebrate and preserve the heritage of Brandenburg and Prussia as well as to reveal the foundations of collective identity, his reports nevertheless contain an important part of criticism which brings subtle restrictions to his approval of the society in Brandenburg, Prussia and later on Germany, from 1871 onwards. Thinking over the nature of collective identity, Fontane often refers to foreign countries so that his accounts invite as well to open up to the outside world. Re-creating the past in order to pass on to the reader a vivid sense of the history of his country and of its poetry, Fontane was inspired by previous models, but he created a new genre between home travel and chronicle, between report and work of art. Through those lively scenes of previous life in Brandenburg, he also intended to suggest the everlasting movement of history and the dynamic strength of tradition and innovation
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Speerstra, Jane Ellen. "Landscape and change in three novels by Theodor Fontane." PDXScholar, 1988. https://pdxscholar.library.pdx.edu/open_access_etds/3841.
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This thesis traces and explicates the changes in Theodor Fontane's landscape depiction in the years 1887- 1892. I examine his novels Cecile (1887), Irrungen, Wirrungen (1888), and unwiederbringlich (1892). I show that Fontane, as though discarding a relic of the Romantic past, used increasingly less landscape in his narratives. He focused on the actions and conversation of his characters, and on their immediate surroundings. When these surroundings were urban, they tended to disappear. The progressive minimalization of landscape, and of cityscape in particular, foreshadowed the appearance in German literature of twentieth-century man: man alienated from nature in cities, and less aware of empirically observable surroundings than of internal forces and realities.
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White, Michael James. "The theme and poetic function of space in Theodor Fontane's works." Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/969.
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This thesis proposes a new view of space in Theodor Fontane’s writing as both a mode of literary expression and an object of literary inquiry: space serves a poetic function and is a thematic concern. The research draws on theories of literary space which focus on spatial structures and topographies, as well as those which provide critical tools for analysing individual passages of description, especially focalisation, which elucidates the influence of the viewing figure in the text. Significantly, the subjective experience of a perceptive observer is central to Fontane’s conception of aesthetic processes, and as a result, an analysis of spatial representation often uncovers reflexive discourses on art, its function and value. On the basis of this insight, this study provides new readings of a range of texts, including less well-established and non-fictional works, as well as recognised masterpieces. In Fontane’s local travelogues, the Wanderungen, the poetic function of space is rare, while many passages reflect on the environment’s potential significance. The early novels explore spatial representation as a means of constructing textual symbolism. Spatial representation in Vor dem Sturm functions as a strategy of relativisation; in Schach von Wuthenow and Graf Petöfy topographies and pregnant descriptions serve as commentaries on characters’ levels of awareness. The mature novels Irrungen Wirrungen and Unwiederbringlich explore the sources and practical implications of reading objects in the world as signs. Space retains its formal role, but the represented figural experience of the novels’ worlds becomes a vehicle for reflexive analysis of the world’s perceived meanings. Similarly, in Der Stechlin different types of relationships with exterior reality are expressed spatially, and, as elsewhere, the capacity for aesthetic appreciation is represented positively. This entails and indeed produces critical distance towards modernity: isolated Stechlin is a locus of poetry, a testament to literature’s importance and vitality.
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Clot, Jean. "Theodor Fontane. L’acte littéraire ou la réponse de Narcisse." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040010.
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Le présent travail propose une interprétation psychanalytique de l’œuvre de l’écrivain réaliste allemand Theodor Fontane (1819 1898). À la lumière de la théorie freudienne et des thèses de Béla Grunberger sur le narcissisme, nous montrons ce que sont les ressorts et les enjeux inconscients de la création littéraire, chez cet auteur, laquelle, dans son principe, reproduit le schème de la position fantasmatique régressive que ménageait la grande passion ludique de l’enfant, le jeu de cache cache selon un mode spécifique. Partant du constat de la structure obsessionnelle des romans, notre étude met en évidence, dans un premier livre, l’existence, « sous » la fable sociale récurrente de la liaison amoureuse illicite, sanctionnée (adultère et relations équivalentes), d’un singulier scénario s’articulant autour de la dynamique du « pseudo Œdipe », que décrit Grunberger (procédure d’évitement, à des fins de régression), et du mécanisme de la défense masochique. L’analyse de ce « mythe personnel » (Mauron), comme situation dramatique interne, nous amène à dégager les traits particuliers des éléments constitutifs de la personnalité psychique de Fontane (imagos et instances), puis à établir la genèse de sa position « pseudo œdipienne » et à faire ressortir le rapport qui la lie au processus de création (« rétablissement narcissique »). Les résultats acquis sont passés au révélateur de la vie de l’écrivain. Dans un second livre, nous nous penchons, tour à tour, sur les divers aspects essentiels de l’œuvre, réexaminés sous le nouvel éclairage apporté : fonctionnalité de l’ambivalence, conception du réalisme « poétique » (transfigurateur), recherche de la conciliation des principes contraires, écriture comme la pratique d’un jeu de cache cache (questions du dialogisme, de la stratégie narrative, du symbolisme). La dernière partie est consacrée à l’étude de la problématique cardinale de la régression narcissique, à laquelle tout mène, ici : instrumentalisation du complexe de la faute et de la sanction, à visée autodestructrice, dans une tension vers la mort fantasmée comme le retour à l’état de félicité du séjour au sein originelThis study offers a psychoanalytical interpretation of the works of Theodor Fontane (1819 1898), the German realist writer. In the light of the Freudian theory and of Béla Grunberger’s theses on narcissism, we show the unconscious motivations which gave rise to this author’s literary creation and what is at stake in this process for him. The act of writing is based here on the principle of reproducing the scheme of the fantastical regressive position which was generated by Fontane’s strong passion as a child for the game of hide and seek, which he played in his own specific way. Considering the obsessive structure of his novels, in our first book we demonstrate the existence — “beneath” the ever present social dictum of the forbidden love affair that is always to be punished (adultery and similar relationships) — of a particular scenario revolving around the dynamic of the “pseudo Oedipus”, as described by Grunberger (avoidance procedure aiming at regression) and the mechanism of masochistic defense. The analysis of this “personal myth” (Mauron), as an inner dramatic situation, leads us, first, to unearth the specific features of the elements which make up Fontane’s psychic personality (imagoes and agencies), and then to establish the genesis of his “pseudo oedipal” position and to highlight its link with the creative process (“narcissistic restoration”). Our results are substantiated through the writers’s biography. In the second book we deal with the essential aspects of Fontane’s work, which we re examine thanks to what we have brought to light: the functionality of ambivalence, the conception of transfigurating “poetic” realism, the attempt to reconcile opposite principles and writing as a game of hide and seek (dialogism, narrative strategy, symbolism). The last part of our study is devoted to the cardinal issue of narcissistic regression to which everything leads: mainly the instrumentation of the complex of guilt and retribution with a self destructing aim in a tropism towards death fantasized as a return to the original state of bliss in the womb
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Petereit, Elisabeth. "Beunruhigungen vom Rand ˸ Weiblichkeit, Phantastisches und Ornament in der Literatur des deutschsprachigen Realismus (Keller, Storm, Fontane)." Thesis, Paris 3, 2019. http://www.theses.fr/2019PA030054.
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Cette thèse propose une lecture de textes canoniques du réalisme germanophone selon le prisme des inquiétudes que provoquent les éléments placés à la marge : le féminin, le fantastique et l’ornement. La base commune qui permet de relier ces catégories esthétiques, anthropologiques et sociales est qu’elles se définissent en tant qu’Autre dans une bipolarité : homme – femme, réel – fantastique, ›grand‹ art – ornement. La hiérarchie qui sous-tend ces oppositions s’avère néanmoins peu stable, de telle sorte que ces éléments marginalisés troublent le centre normatif. Le fantastique est abordé comme élément constitutif pour la mise en forme littéraire de problèmes sociaux actuels et ›réels‹, et les rapports entre les sexes tels que définis par la société bourgeoise, sont montrés comme mis en mouvement et ambivalents. L’analyse détaillée des textes de Theodor Fontane, Gottfried Keller et Theodor Storm se concentre d’abord sur la femme comme ›principe esthétique‹ et comme ›genre‹, capté et fixé dans l’image, et montre que ce féminin imagé et idéalisé se convertit au contraire en déclencheur d’une imagination débridée et déréglée, qui s’inspire de sources littéraires et mythologiques (Pénélope, Cendrillon, sorcières etc.). Elle s’attache ensuite aux modèles, aux rôles et aux normes liés au mariage bourgeois et aux enjeux qu’ils constituent pour l’acceptation ou le rejet de la femme comme égale. La troisième partie étudie enfin les rapports entre l’idéal familial bourgeois et la société patriarcale. Dans les romans le mariage bourgeois est hanté par les fantômes de rôles sexuels encore en vigueur, mais désormais obsolètes, ce qui confère aux foyers une inquiétante étrangeté au sens FreudienThis dissertation offers an analysis of canonical texts from German literary realism using the anxiety that is felt by readers and writers in what constitutes the margins of realist literature in the 19th century: the feminine, the fantastic and ornamentations.These aesthetic, anthropologic and social categories are linked as they are all defined by a binary opposition that turns them into the Other or the Inessential: male-female, reality-fantastic, art-ornamentation. The hierarchy upon which these oppositions are built is however not that stable as these elements at the margin do trouble and replace what constitutes the society’s normative core. The fantastic elements in the works of the authors are used as constituting materials to engage the literary discussion on present and real social problems at the time of writing. The relationships between the sexes and genders which were so clearly described in the bourgeois era are seen as ambivalent and in motion.The three parts of this dissertation provide an in-depth analysis of the works of Theodor Fontane, Gottfried Keller and Theodor Storm. The first section of the work will focus on the figure of the woman as an aesthetic which is both captured and fixed in the image. It will show that this idealised and pictured feminine becomes the catalyst for unbridled and unruly imagination. Then, the traditional roles and behaviours within patriarchal marriage will then be shown to be largely inspired by literary tradition, and in particular in the myths and the fairy-tale (Penelope, Cinderella, the Witch, etc.). Lastly, the relationships between the ideal bourgeois family and the patriarchal family will be analysed in the work of Fontane and Storm. As the era of German realist literature ended, patriarchal marriage was haunted by the ghosts of gender roles, which however obsolete, were still predominant. This paradox made families unheimlich in the Freudian sense
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Panter, Marie. "Le roman, poème du monde. Victor Hugo, Theodor Fontane, Thomas Hardy." Thesis, Lyon, École normale supérieure, 2013. http://www.theses.fr/2013ENSL0856.
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Cette thèse porte sur la poétique du roman de Victor Hugo, Theodor Fontane et Thomas Hardy en s'appuyant plus spécifiquement sur l'étude de L'Homme qui rit (1869), Errements et Tourments (1888) et Tess d'Urberville (1891). En rapprochant ces trois romanciers majeurs mais tenus à l'écart des théories générales du roman, il s'agit de montrer le maintien d'une conception du roman moderne comme forme poétique du monde, s'inscrivant dans un horizon de pensée idéaliste, progressiste et critique. Hugo, Fontane et Hardy, romanciers qui se disent avant tout poètes, font le choix de faire du roman une tragédie, forme poétique du monde qui va à l'encontre du prosaïsme moderne et romanesque théorisé par Lukacs, à la suite de Hegel. Face au nihilisme et aux théories du roman réaliste qui voient le jour dans la seconde moitié du XIXe siècle et tentent de définir – au sens restrictif du terme – le genre romanesque, ils retrouvent le modèle du roman romantique et le redéfinissent face au roman réaliste. Leur poétique est alors fondée sur la « poiétisation » de la prose, autrement dit, sur l'imagination, le symbolique et le métaphorique. Ils affirment ainsi la spécificité et la possibilité d'une expérience poétique, c'est-à-dire subjective, héroïque et morale du monde, ainsi que la capacité du roman à produire un savoir poétique sur le monde et l'histoireThis thesis deals with the poetics of the novel in Victor Hugo, Theodor Fontane and Thomas Hardy, with a specific focus on The Man who Laughs (1869), Trials and Tribulations (1888) and Tess of the d'Urbervilles (1891). By bringing together these three novelists who are widely acknowledged as major writers yet ignored by general theories of the novel, this study will show how a vision of the modern novel as a poetic rendition of reality, with an idealist, progressive and critical background, has maintained itself. Hugo, Fontane and Hardy, three novelists who considered themselves to be poets first and foremost, opted to turn the novel into a tragedy, a poetic rendition of reality which stands in contrast with Lukacs’ post-Hegelian theories of the modern novel as a prosaic literary genre. In the face of nihilism and the theories of the realist novel which surfaced in the second half of the XIXth century and attempted to define – in the restrictive sense of the word – the genre of the novel, they turned back to the model of the Romantic novel and reinvented it at a time when the realist novel was preeminent. Their poetics was therefore based on the “poietisation” of prose, in other words, based on the imaginary, the symbolic and the metaphoric. This enabled them to assert the specificity and possibility of a poetic, that is to say subjective, heroic and moral experience of the world, as well as the ability of the novel to generate poetical knowledge about the world and history
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Melison-Hirchwald, Gabrielle. "Le Roman de moeurs dans la seconde moitié du XIXe siècle en Europe (1869-1906) : essai de définition d'un genre problématique (Alphonse Daudet, Theodor Fontane, Armando Palacio Valdés et Anthony Trollope)." Nancy 2, 2005. http://www.theses.fr/2005NAN21010.
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L'expression "roman de moeurs" apparaît, a priori, comme une appellation floue et datée. La présente recherche porte sur l'essai d'une définition générique. A partir d'un corpus de sept romans européens de la seconde moitié du XIXe siècle (Trollope, Daudet, Fontane et Palacio Valdés), il s'agit de situer le roman de moeurs par rapport à son appréhension du réel dans une perspective historique, sociologique et structurelle. D'un point de vue idéologique, il nous offre la peinture d'un univers apparemment familier. Roman historique du temps présent, il n'est en fait que partiellement réaliste. Impressionniste, le chroniqueur des moeurs s'inspire du moraliste du siècle précédent. Il actualise les types de personnages en les intégrant à des scènes de genre, tableaux typiques d'une vaste comédie sociale. Le parti pris affiché montre un certain didactisme mais sans atteindre le dogmatisme du roman à thèse. Le réalisme humain et la représentation de la bonne société éloignent le roman de moeurs du roman naturaliste. Enfin, s'est posée la question d'une décontextualisation possible de la notion qui l'érigerait en genre. Autrement dit, existe-t-il un roman de moeurs universel ? A travers cette esthétique du compromis, la réponse semble en partie affirmativeThe expression "novel of manners" seems, a priori, vague and dated. The purpose of this present research is to define the novel of manners as a form of literary genre. Using a corpus of seven european novels from the second half of the nineteenth century (Trollope, Daudet, Fontane and Palacio Valdés) as a starting point, this thesis situates the novel of manners, with regard to its apprehension of reality, into historical, sociological, and structuralist contexts. From an ideological point of view, the novel of manners offers us a picture of a seemingly familiar world. A historical chronicle of contemporary times, it is a genre that is only partially realist. Impressionistic in his style the novelist recounts the manners inspired by the morals of the eighteenth century. He reinvigorates literary tropes and integrates them into scenes of genre, creating typical tableaux of the social comedy. The premise displays a certain didacticism but it does not rise to the level of the dogmatism of the roman à thèse. The genre's representation of proper society distances the novel of manners from the naturalist novel. In the end, the question presented is of the possible decontextualization of the very essence that elevates the novel of manners to the status of a genre. In other words, can we speak of the novel of manners as an enduring genre ? Upon an analysis of this aesthetic of compromise, the thesis concludes that the response is in part affirmative
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Kling, Jutta Cornelia. "On knowingness : irony and queerness in the works of Byron, Heine, Fontane, and Wilde." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/11824.
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This thesis identifies strategies of queer/irony in the writings of Lord Byron, Heinrich Heine, Theodor Fontane, and Oscar Wilde. Key to the understanding of irony is Friedrich Schlegel's re-evaluation of the concept. The thesis establishes an approach to the multifaceted concept of irony and identify key concepts of queer theory. The focus, however, is close reading. First, Lord Byron's epic satire Don Juan is read with regards to the interplay of narrative strategies and the depiction of gender, homoeroticism and the concept of the child. Furthermore, reviews published at the time of the publication of Don Juan are examined: Why did the reviewers reject the work so violently? Second, in Heine's Buch der Lieder we find ironic strategies that Richard Rorty subsumed into the concept of 'final vocabularies.' By acknowledging the formulaic nature of language in general and Romantic tropes in particular, Heine succeeds in subverting a heteronormative discourse on love and desire. Heine's Reisebilder – 'Die Reise von München nach Genua' and 'Die Bäder von Lucca' – depict the limits of queer/irony: Where meaning is fixed, as in the case of the Platen polemic, irony loses its propensity to contain multitudes. Third, Theodor Fontane's novels of adultery are read against the background of irony as established through a Schlegelian reading of Frau Jenny Treibel and a queer reading of Ellernklipp. The novels Unwiederbringlich and Effi Briest question notions of truth and map the danger of knowledge. At the core of this chapter lies the notion of 'knowledge management,' a strategy closely related to irony. The figure of the courtier Pentz in Unwiederbringlich becomes a harbinger of dangerous, queer knowledge similar to the way Crampas' use of Heine quotations negotiates sexually suggestive knowledge in Effi Briest. In a final step, the aforementioned queer/ironic strategies are employed to read texts by Oscar Wilde. Are the strategies as inferred in the other chapters valid for Wilde's writings as well? We find that, in a time where homoerotic behaviour was heavily sanctioned, ironic writing had become a liability. Wilde's ironies are too opaque for the reader: They have become a movement where nobody is allowed to 'play along'.
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Thomas, Christian Erik. ""Ich werde ganz einfach telegraphieren" : Subjekte, Telegraphie, Autonomie und Fortschritt in Theodor Fontanes Gesellschaftsromanen." Thesis, 2002. http://hdl.handle.net/2429/13565.
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"Ich werde ganz einfach telegraphieren" — Subjekte, Telegraphie, Autonomie und
Fortschritt in Theodor Fontanes Gesellschaftsromanen
Electronic media influence our thoughts and behaviours. Our present situation resembles
that of the industrial world in the late nineteenth century, when electrical telegraphy, the
precursor of today's media technologies, gained a dominant position in
telecommunications. In our day, conditioning prevents us from reaching a deeper
understanding of our relationship to technical media. Because electrical media were still
new in the late nineteenth century, observers then were more readily able to analyse their
effects and to recognize potentials of subjects in their accounts. In Germany the writer
Theodor Fontane demonstrated through depictions in his late novels of society that, by
reflecting on the nature of the self and its relation to telegraphy and concomitant
ideologies, subjects have the capacity to become aware not only of factors that control
them, but also of their autonomous potentials. This consciousness provides the basis for
their self-empowerment in the use of telegraphy. However, because Fontane critically
depicts Wilhelminian society, his protagonists only attain this level of Consciousness in
isolated instances. Its realisation is continuously achieved through Fontane's narrative
depiction and its reconstruction by the readers. The image of the subject and its
potentials that emerges in this reconstruction provides valuable insights applicable also to
evaluations of our present media involvement. Contrary to a wide-spread belief as to
subjects'powerlessness and insignificance, our findings imply that the position of
subjects in relation to media can be described more positively.
Fontane's depiction is concentrated in three identifiable areas, in which the
conjunction of telegraphy and ideology exerts a controlling influence on subjects. In
accordance with this focus our study examines the views of nature and technology as
fateful forces, the alteration of time- and space experiences, and the construction of
German, foreign and technical cultures.
Books on the topic "Fontane, Theodor, 1819-1898"
1
1970-, Kitzbichler Josefine, ed. Theodor-Fontane-Chronik. Berlin: de Gruyter, 2010.
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2
Fontane, Theodor. Der Briefwechsel: Mit Fontanes Briefen an Karl Eggers und der Korrespondenz von Friedrich Eggers mit Emilie Fontane. Berlin: De Gruyter, 1997.
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3
Wollmann-Fiedler, Christel. Fontanes Lieblingskirchen in der Mark. Berlin: Berlin Edition, 2003.
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5
Zuberbühler, Rolf. Ja, Luise, die Kreatur: Zur Bedeutung der Neufundländer in Fontanes Romanen. Tübingen: Niemeyer, 1991.
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6
Hanna, Delf von Wolzogen, Shedletzky Itta 1943-, Hehle Christine, and Schwan Ingolf, eds. Theodor Fontane und Wilhelm Wolfsohn, eine interkulturelle Beziehung: Briefe, Dokumente, Reflexionen. Tübingen: Mohr Siebeck, 2006.
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7
1961-, Villmar-Doebeling Marion, ed. New approaches to Theodor Fontane: Cultural codes in flux. Columbia, Sc: Camden House, 2000.
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8
Fontane, Theodor. Aus meinem bunten Leben: Ein biographisches Lesebuch. München: Carl Hanser Verlag, 1998.
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9
Fontane, Theodor. Jenseits von Havel und Spree: Reisebriefe. Berlin: Aufbau Taschenbuch Verlag, 1998.
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10
Fontane, Theodor. Briefe an die Freunde: Letzte Auslese. Hildesheim: G. Olms, 1995.
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