Dissertations / Theses: 'German literature – 20th century – History and criticism'

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Magerski, Christine 1969. "The constitution of the literary field in Germany after 1871 : Berlin modernism, literary criticism and the beginnings of the sociology of literature." Monash University, German Studies, 2002. http://arrow.monash.edu.au/hdl/1959.1/8724.

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Schaper, Benjamin. "Poetik und Politik der Lesbarkeit in der deutschen literatur." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:8e1e8c05-c0f9-4dda-ad9b-b208ded2432b.

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In 1990, German literary critics agreed that the end of the Cold War should mark the end of politically committed post-war literature. The political caesura prompted a debate about the future of German literature during which the concept of 'readability' evolved as a contested issue. It was championed in particular by the author Matthias Politycki and the publishers Uwe Wittstock and Martin Hielscher. Ever since, 'readability' has remained a benchmark for authors and critics alike in the battle for value and success. The thesis will establish a theoretical basis for 'readability' that draws on narratology, the Aristotelian concept of 'mimesis', classical rhetoric, and the poetics of contemporary authors who explicitly engage with 'readability'. Discussion will centre on the novel since this genre has been the focus of debate ever since the novel gained prominence with the rise of the reading middle classes in the eighteenth century. An analysis of the historical role of 'readability' will demonstrate that the debate as it manifested itself around 1990 developed out of a specifically German tradition, in which authors and critics alike viewed it as potentially in conflict with true art. In 1990, German literary critics agreed that the end of the Cold War should mark the end of politically committed post-war literature. The political caesura prompted a debate about the future of German literature during which the concept of 'readability' evolved as a contested issue. It was championed in particular by the author Matthias Politycki and the publishers Uwe Wittstock and Martin Hielscher. Ever since, 'readability' has remained a benchmark for authors and critics alike in the battle for value and success. The thesis will establish a theoretical basis for 'readability' that draws on narratology, the Aristotelian concept of 'mimesis', classical rhetoric, and the poetics of contemporary authors who explicitly engage with 'readability'. Discussion will centre on the novel since this genre has been the focus of debate ever since the novel gained prominence with the rise of the reading middle classes in the eighteenth century. An analysis of the historical role of 'readability' will demonstrate that the debate as it manifested itself around 1990 developed out of a specifically German tradition, in which authors and critics alike viewed it as potentially in conflict with true art. The thesis will demonstrate that 'readability' is key to understanding the debates about German literature in an era of globalisation when readers are more attracted to works by foreign authors than to works by German ones. It will examine how writers such as Helmut Krausser, Daniel Kehlmann, and Thomas Glavinic have exploited the opportunities of the changed parameters by writing and promoting 'readable' books. It will further explore to what extent 'readability' has opened up new avenues even for authors like Felicitas Hoppe and Ulrike Draesner, who distrust the quest for 'readability'. The thesis will conclude with a reflection on the prospects for 'readability' in the current literary landscape in Germany.

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Winkelmann, Cathrin. "The limits of representation? : the expression and repression of desire in 20th-century German lesbian narratives." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38437.

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This study investigates the expression and repression of desire in four 20th-century German-language lesbian prose texts. I examine in chronological order three novels and one novella: Der Skorpion (1919) by Anna Elisabet Weirauch; Lyrische Novelle (1933) by the Swiss author Annemarie Schwarzenbach; Der Schlachter empfiehlt noch immer Herz (1976) by Margot Schroeder; and, finally, Bilder von ihr (1996) by Karen-Susan Fessel. While not concentrating on any single literary work, the excursus on texts from the period between the Third Reich and the Second Feminist Movement in Germany provides a brief analysis of the (lack of) lesbian literary developments during this time.
Drawing on diverse lesbian-feminist and queer strains of criticism, this study provides a close examination of the narrative elements, strategies, and styles used to inscribe lesbian desire into the literary works selected for analysis. The investigation explores how these texts utilize narrative conceptualizations of lesbian desire, critiques of heterophallocentric language and representation, and strategies to create lesbian narrative spaces that challenge the heterosexual presumptions and trajectories which traditionally underlie conventional Western romance narratives. The constructions of "lesbian" identity presented in the texts are fundamentally connected to the creation and operation of these narrative spaces. Thus, in order to contextualize my interpretations and literary analyses, I situate the texts in the respective socio-historical and political contexts in which they were written and received.
The unresolved problems, prevailing tensions, and their individual differences notwithstanding, the narratives examined here collectively contribute to a lesbian counterdiscourse to the 20th-century German literary establishment. By exploring the strategies invoked in these texts to represent a desiring textual lesbian subjectivity, this study hopes to make visible a tradition of Germanlanguage lesbian literature---a fragmented and often marginalized literature---over the last century and to offer German literary studies insights from the periphery of the dominant heterosexual culture. However, this investigation simultaneously and paradoxically also contests the very positioning of German lesbian literature and criticism at the margins by proposing their strategic integration into the German literary canon.

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Gallagher, Kaleen. "Female suicide in German literature and film since 1955." Thesis, University of Cambridge, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709204.

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Duggan, Lucy. "Reading the city : Prague in Czech and Czech-German narrative fiction since 1989." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:3827cf9c-fa91-4fb5-aa7e-8942de885729.

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In the course of its history, Prague has been the site of many significant cultural confrontations and conversations. From the medieval chronicle of Cosmas to the work of contemporary writers, the city has taken shape in literature as a multivalent space where identities are constructed and questioned. The evolution of Prague's literary significance has taken place in an intercultural context: both Czech-speaking and German-speaking writers have engaged with the city and its past, and their texts have interacted with each other. The city has played a central part in many collective narratives in which myth, history and literature intertwine. Looking at contemporary prose fiction written in both Czech and German, this thesis explores continuities and contrasts in the literary roles played by Prague. It analyses two German-speaking emigrant authors, Libuše Moníková (1945-1998) and Jan Faktor (1951- ), viewing them alongside three Czech writers, Jáchym Topol (1962- ), Daniela Hodrová (1946- ), and Michal Ajvaz (1949- ). Through close readings of eight texts, the thesis approaches the imagined city from four angles. It discusses how contemporary authors portray the search for meaning in the city by imagining Prague as two contrasting realms (the 'real' city and the 'other' city), how the discontinuities of the city are reflected by the fragmentation of the authorial stance, how these authors assemble new Prague myths from the vestiges of older topoi, and how they confront the contradictory urges to uphold the boundaries of the city and to transgress them. In post-1989 Prague, authors explore the unstable spaces between continuity and discontinuity, constructing an authorial ethos in these areas of tension.

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Plouffe, Bruce. "The post-war novella in German language literature : an analysis." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=74297.

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This study examines the interpretive possibilities in the shorter fiction of Post-War German literature. The corpus includes works by Rolf Hochhuth, Friedrich Durrenmatt and Martin Walser. The historical framework of the theory of the novella and short story provides a basis for a discussion of genre, extended to include the coordinates of metaphor and metonymy. With the exception of one text designated as a novel, these works demonstrate interlocking and restricted motif complexes, repetitive and parallel structure and the integration of most narrative components. They project a tenor of hermetic plurality from a vehicle of abbreviated and truncated referential discourse. They use myth and intertextuality to show general principles to be extrapolated from specific contexts. Metafiction complements the theme of the subject not at one with itself. A partial resolution to the incertitude of existence, rendered according to Freud and Lacan, is offered through the emerging role of women as a stabilizing factor.

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Bagley, Petra M. "Somebody's daughter : the portrayal of daughter-parent relationships by contemporary women writers from German-speaking countries." Thesis, University of Stirling, 1993. http://hdl.handle.net/1893/2134.

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The purpose of this thesis is to examine the complexities of daughterhood as portrayed by nine contemporary women writers: from former West Germany(Gabriele Wohmann, Elisabeth Plessen), from former East Germany (Hedda Zinner, Helga M. Novak), from Switzerland (Margrit Schriber) and from Austria (Brigitte Schwaiger, Jutta Schutting, Waltraud Anna Mitgutsch, Christine Haidegger). Ten prose-works which span a period of approximately ten years, from the mid-1970s to the mid-1980s, are analysed according to theme and character. In the Introduction, we trace the historical development of women's writing in German, focusing on the most significant female authors from the Romantic period through to the rise of the New Women's Movement in the late sixties. We then consider a definition of 'Frauenliteratur' and the extent to which autobiography has become a typical feature of such women's writing. In the ensuing four chapters we highlight in psychological and sociological terms the mourning process a daughter undergoes after her father's death; the identification process between daughter and mother; the daughter's reaction to being adopted; and the daughter's decision to commit suicide. We see to what extent the environment in which each of these daughters is brought up as well as past events in German history shape the daughter's attitude towards her parents. Since we are studying the way in which these relationships are portrayed, we also need to take into account the narrative strategies employed by these modern women writers. In the light of our analysis of content and form we are able to examine the possible intentions behind such personal portraits: the act of writing as a form of self-discovery and self-therapy as well as the sharing of female experience. We conclude by suggesting the direction women's writing from German-speaking countries may be taking.

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Moamai, Marion. "Krebs Schreiben : Krebserkrankungen in der deutschsprachigen Literatur der siebziger und achtziger Jahre." Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=41720.

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In the 1960's, cancer became one of the dominating diseases of our time and this has, in the last two decades, been increasingly reflected in German literature. This thesis examines a number of such texts (diaries, autopathographies, short stories and novels) from a literary and psychosocial standpoint.
First, a brief outline of the literary and social context attempts to answer questions concerning the production and reception of this 'cancer literature'. The following thematic analysis examines the role of cancer as a signifier. It shows that endo- and exogenic conceptions of the disease are present, and that mood changes of the afflicted person determine the meanings that are attributed to it. The ways cancer affects the social and bodily identity and different aspects of treatment are analyzed next. Finally, a chapter is devoted to the aesthetics of cancer, examining the metaphors used to describe the disease and the rhetorical means to represent the anxiety that accompanies it.
This study is intended not only as an interdisciplinary analysis of a chapter of contemporary German literature but as a contribution to a better understanding of how cancer is viewed and experienced.

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Seward, James W. "The German exile journal Das Wort and the Soviet Union." PDXScholar, 1990. https://pdxscholar.library.pdx.edu/open_access_etds/4104.

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Das Wort was a literary journal published by German Communist writers and fellow-travelers exiled in Moscow from 1936 to 1939. It was to be a mouthpiece for German literature in exile and to promote the Popular Front policy, which sought to unite disparate elements in non-Fascist Europe in opposition to the Nazis. Das Wort, under the editorship of German Communist writers whose close association with the Soviet Union had been well established in the previous decade, tried to provide a forum for exiled writers of various political persuasions, but was unwavering in its positive portrayal of Stalin's Soviet Union and the policies of that country. As the level of hysteria grew with the successive purges and public show trials in the Soviet Union, the journal adopted an even more eulogistic and militant attitude: any criticism or expression of doubt about Soviet policy was equated with support for Fascism. Thus the ability of the journal to contribute to the formation of a true common front in Europe to oppose Fascism was compromised from the outset by its total support for the Soviet Union. The Popular Front policy foundered on this issue, and that portion of German literature in exile which was to form the first generation of East German literature was inextricably bound to the Soviet Union well before the German Democratic Republic came in to existence.

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Stone, Katherine Mary. "Gender and German memory cultures : representations of National Socialism in post-1945 women's writing." Thesis, University of Cambridge, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708863.

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Aston, Richard Michael. "The role of the fool and the carnivalesque in post-1945 German prose fiction on the Third Reich." Thesis, University of Oxford, 2005. http://ora.ox.ac.uk/objects/uuid:10b3780b-66bd-4467-849f-8648ec969c55.

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This thesis examines post-1945 German prose fiction dealing with the Third Reich in the light of Mikhail Bakhtin's Rabelais and his World. My review of the secondary literature in Chapter 1 shows how few Germanists have examined the role of the carnivalesque in such fiction or used Bakhtin's work systematically. Having set out the shortcomings of Bakhtin's theory and shown Carnival's ambivalent position in the Third Reich, Chapter 2 builds on this theoretical and historical foundation by giving an overview of the different ways in which authors deploy the Fool and the carnivalesque in post-1945 prose fiction. This overview provides a context for the rest of the thesis, in which I discuss in detail how four authors use the topoi of the Fool and the carnivalesque in different ways to confront the past and encourage social change. Thus, Chapter 3 analyses Hans Hellmut Kirst's 08/15 trilogy (1954-55) which describes Asch's carnivalesque subversion of the NCOs who abuse power within the Army, and his subsequent development into a positive figure of authority. Chapter 4 argues that, beneath its bleak surface, Günter Grass's Hundejahre (1963) deploys the carnivalesque to transmit a sense of mourning and rebirth after the Holocaust. Chapter 5 deals with Edgar Hilsenrath's Der Nazi and der Friseur (1977), whose Fool-protagonist provokes the reader to laugh at earlier attempts to make sense of the Holocaust in order to prioritize the act of anamnesis as an end in itself. Chapter 6 examines Gert Hermann's Veilchenfeld (1987) and Der Kinoerzähler (1990). Veilchenfeld is a carnivalesque signifier of Nature whose persecution at the hands of the people of Limbach parallels the town's ecological destruction, so that the novel can be read as a critique of the exploitation of Nature. In Der Kinoerzähler Hofmann uses Karl, a Fool-figure who narrates silent films, to encourage the development of critical faculties which combat the fatalism and authoritarianism that hamper social change. It becomes clear that the authors of the above works have anticipated the shortcomings of Carnival as a model of resistance and have thus redefined the Fool and the carnivalesque. So in my view, although the way the authors deploy these topoi maps only partially with Bakhtin's ideas about Carnival, these authors have understood the central concepts of the carnivalesque's ambivalence and its powers to subvert authority and use them productively to deal with the issues raised by the Third Reich.

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Liston, Andrew Adams. "The ecological voice in recent German-Swiss prose." Thesis, University of St Andrews, 2005. http://hdl.handle.net/10023/11287.

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This thesis seeks to investigate the ecological theme in German-Swiss prose of the last thirty years. The role of nature has understandably always been significant in Swiss literature. In a nation that has eked out its living, in such an impressive and violent landscape, there is of necessity a highly developed awareness of the environment. Furthermore, the close relationship between mankind and the environment is inherently ambiguous, with each acting alternately as curse and blessing to the other. The bond between people and geography is made all the more vital in the Alps, where existence is under the constant threat of avalanches and landslides. In light of this heightened environmental sensibility, it is unsurprising that, with the growing profile of ecological debate in general, Swiss writers should demonstrate an acute cognisance of the significance of ecological problems. The notion of an ecological voice takes the discussion further. The question is posed whether these works merely represent a reflection of societal concern for the environment, or whether literary responses may constitute solutions. This investigation therefore contributes both to literary criticism on Swiss writing and to the understanding of the role of conceptualisation in finding solutions to ecological problems. To explore and analyse these ideas, this thesis considers a representatively broad spectrum of differing responses to ecological crisis. It is not intended to be an exhaustive list of recent Swiss ‘Öko-Literatur', but instead to be an investigation of the variety of narrative strategies employed in this period of growing ecological awareness.

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McLaughlin, Eleanor. "Unconscious Christianity : a neglected element in Dietrich Bonhoeffer's late theology." Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:18cc7914-ce11-4743-aec9-e9eb0a7be7de.

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In this thesis I argue that unconscious Christianity (unbewußtes Christentum), referred to by Dietrich Bonhoeffer in several of his later writings, is a significant idea in his late theology. There has as yet been no in-depth study of this theological concept as it appears in Bonhoeffer's work, and I therefore aim with this thesis to begin a new conversation in Bonhoeffer studies on this important topic. Bonhoeffer does not offer a definition of unconscious Christianity, but by analysing the ways in which he uses the term in his writing, I offer a constructed definition of unconscious Christianity as used by Bonhoeffer. The first three chapters of the thesis build towards this definition with a close analysis of each relevant text. By examining unconscious Christianity alongside other theological ideas in Bonhoeffer's prison writing, I show how an awareness and understanding of unconscious Christianity adds depth to readings of Bonhoeffer's late work. This thesis also clarifies the differences between unconscious Christianity and religionless Christianity, and shows how unconscious Christianity fits alongside the other, more widely-studied, concepts present in the later writings, such as the world come of age. This work demonstrates that there is movement within Bonhoeffer's thoughts on unconscious Christianity and points to Bonhoeffer's readiness to allow his personal circumstances to inform his theology. It also shows how unconscious Christianity represents a shift within Bonhoeffer's theology. This thesis also makes the subsidiary point that Bonhoeffer's prison fiction should be considered as theological writing. Through it Bonhoeffer addresses not only unconscious Christianity as discussed in this thesis, but many other issues that reoccur in his theological prison letters. I conclude by showing how an understanding of unconscious Christianity is beneficial not only for Bonhoeffer studies, but for contemporary theology more widely.

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Okoko, Lorna Ayiemba. "Interkulturalitat und Afrikabilder in der zeitgenossischen Jugendliteratur." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/96094.

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Thesis (PhD)--Stellenbosch University, 2014.
ENGLISH ABSTRACT: Globalization and the inherent shrinking of geographical boarders have rendered modern societies progressively culturally heterogeneous spaces. Increased encounters between people from different cultures have thus become a normal occurrence. Germany is in no way an exception to this socio-cultural phenomenon and has witnessed an emergence of multi-cultural societies, leading to concerted efforts in developing intercultural competence in all spheres of influence. Literature plays a pivotal role in the representation and transfer of culturally determined imaginations and perceptions of the “other”. This role is further emphasized in the case of children’s and youth literature, which has an imminent pedagogical function. For a long time, research in children’s and youth literature has received very little attention as an integral part of literary studies; this is observed both in English and in German literature, though the pace of development differs slightly (Hunt 1999; Weinkauff and Glasenapp 2010; Ewers 2000). In Germany, historical development of children’s and youth literature as an autonomous area of literature and field of study was influenced by societal values and attitudes as well as perceptions of childhood. This has continued to be the case, though recent research indicates a growing emphasis on children’s literature as a tool to develop literacy as well as an appreciation of the aesthetic value of literature. A third component is the intercultural aspect it is able to offer. Impelled by the paucity of systematic analyses of the representation of Africa in German children’s and youth literature, this dissertation sets out to offer a critical appraisal of intercultural aspects and the image of Africa in contemporary German youth literature. A corpus of literary works has been selected for this purpose. The central thesis of the study is that these literary works are involved in a sustained debate of questioning and contesting numerous representations of Africa and Africans. Given the fact that the study touches on several overarching issues, it draws from diverse theoretical perspectives that include intercultural theories on perceptions of the cultural “other” and “imagology” as well as postcolonial studies, with reflections on the pedagogical nature of youth literature. The study considers intercultural and postcolonial theories as conceptualized by Hofmann (2003; 2010), Mecklenburg (2003, 2006; 2008), Gutjahr (2002; 2010) and Göttsche (2003; 2010; 2011; 2012) as well as considerations on imagology as conceptualized by O’Sullivan (1989; 2000) and Beller (2007). In its exploration of the representation of Africa and Africans, this dissertation shows how literary works make use of diverse artistic, stylistic and narratological strategies and devices as possible ways of presenting and rethinking long-held perceptions about Africa. The present study proposes a reading and an appraisal of the corpus of literary texts as important discursive tools that allow for the expansion of self-conception and definition of otherness and the relationship to this otherness, thus contributing to increased intercultural awareness and competence among young readers.
AFRIKKANSE OPSOMMING: Globalisering en die gepaardgaande krimping van geografiese grense het moderne samelewings algaande omskep in kultureel heterogene ruimtes. Sodoende het toenemende ontmoetings tussen mense van verskillende kulture ŉ normale gebeurtenis geword. Duitsland, geen uitsondering op hierdie sosiokulturele verskynsel nie, was getuie tot die totstandkoming van multikulturele samelewings en dit het gelei tot doelgerigte pogings om interkulturele vaardigheid in alle invloedsfere te ontwikkel. Letterkunde speel ŉ deurslaggewende rol in die verteenwoordiging en oordrag van kultureel bepaalde verbeeldings en persepsies van die “ander”. Hierdie rol word verder beklemtoon in die geval van kinder- of jeugliteratuur, wat ŉ belangrike pedagogiese funksie het. Vir ŉ lang tyd het navorsing in kinder- en jeugliteratuur baie min aandag geniet as ŉ integrale deel van literêre navorsing en dit kan in Engelse sowel as Duitse letterkunde opgemerk word, hoewel die pas van ontwikkeling effens verskil (Hunt 1999; Weinkauff en Glasenapp 2010; Ewers 2000). In Duitsland is die historiese ontwikkeling van kinder- en jeugliteratuur as ŉ outonome veld van letterkunde en van navorsing beïnvloed deur die samelewing se waardes en houdings sowel as persepsies van kindwees. Dit word steeds voorgesit hoewel onlangse navorsing toon dat daar groter klem geplaas word op kinderliteratuur as ŉ manier om geletterdheid asook ŉ waardering vir die estetiese waarde van letterkunde te ontwikkel. ŉ Derde komponent is die interkulturele aspek wat dit kan bied. Aangespoor deur die gebrek aan sistematiese analises van die uitbeelding van Afrika in Duitse kinder- en jeugliteratuur, beoog hierdie proefskrif om ŉ kritiese waardering te bied van interkulturele aspekte en die beeld van Afrika in kontemporêre Duitse jeugliteratuur. ŉ Korpus van literêre werke is geselekteer vir hierdie doel. Die sentrale hipotese van die navorsing is dat hierdie literêre werke betrokke is, dikwels ten spyte van hulself, in ŉ volgehoue debat oor die bevraagtekening en betwissing van verskeie uitbeeldings van Afrika en Afrikane. Die studie raak verskeie oorkoepelende kwessies aan en steun daarom op diverse teoretiese perspektiewe wat interkulturele teorieë oor persepsies van die kulturele “ander” en “beeldstudies” insluit, sowel as postkoloniale studies en beskouings van die pedagogiese aard van jeugliteratuur. Interkulturele en postkoloniale teorieë soos voorgestel deur Hofmann (2003; 2010), Mecklenburg (2003; 2006; 2008), Gutjahr (2002; 2010) en Göttsche (2003;2010; 2011; 2012) asook oorwegings oor “beeldstudies” soos voorgestel deur O’Sullivan (1989; 2000) en Beller (2007) sal in aanmerking geneem word. In die ondersoek na die uitbeelding van Afrika en Afrikane wys hierdie dissertasie hoe literêre werke gebruik maak van diverse artistieke, stilistiese en narratologiese strategieë en middele as moontlike maniere om tradisionele persepsies oor Afrika voor te stel en te heroorweeg. Hierdie studie stel ŉ lees en waardering van die korpus van literêre tekste voor as belangrike diskursiewe instrumente wat ruimte laat vir die uitbouing van selfbeskouing en definisie van andersheid en die verhouding tot hierdie andersheid, om sodoende ŉ bydrae te maak tot die verhoogde kulturele bewustheid en vaardigheid onder jong lesers.

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Aulls, Katharina. "Mutter-Tochter Beziehungen in deutschsprachigen Romanen im Jahrzehnt nach dem "Jahr der Frau"." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=74348.

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This dissertation examines mother-daughter relationships in six novels written by German speaking women authors in the decade after the "Year of the Woman." Three novels depict positive mother-daughter relations: Ausflug mit der Mutter (1976), by Gabriele Wohmann, Gestern war Heute (1979), by Ingeborg Drewitz, Die dreizehnte Fee (1983), by Katja Behrens. Three others portray a negative mother-daughter relationship: Die Eisheiligen (1979), by Helga Novak, Die Zuchtigung (1985), by Waltraud Anna Mitgutsch, and Die Klavierspielerin (1983), by Elfriede Jelinek. Common to all novels is a strong autobiographical tendency and the central importance of the mother in the development of the daughter's self-identity.
The complexity and problems of mother-daughter relationships are analyzed as an outcome of female socialization within a patriarchal society. Chapter I deals with historical, economic and psychological oppression of women. The resulting internalization of the role of inferiority and dependency leads to the subsequent repression of their own daughters. Chapter II discusses new contributions in the fields of psychology and sociology to the understanding of female identity formation through relationships. Chapter III provides a two-pronged analysis of each novel by describing the individual mother-daughter relationship in comparison with the outcomes of Chapters I and II, and by addressing the narrator's process of putting the experience into a unique literary form and thus contributing to women's literature.
Themes that are unique in each novel are: the emotional stress of the adult daughter trying to redefine her relationship with her widowed mother (Ausflug mit der Mutter), the dichotomy of woman in her nurturing role as mother and in her quest for self-realization (Gestern war Heute), the difficulty of breaking the repetitive cycle of the female role of dependency (Die dreizehnte Fee). All of the following novels assess the damaged self-identity of the daughter caused by a destructive mother. While the daughters survive due to fierce resistance (Die Eisheiligen) or escape into the world of art (Die Zuchtigung) there is no hope for the daughter in Die Klavierspielerin due to her identification with the oppressor.

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de, Beer Amanda Erika. "„Wo ist der Junge aus dem Urwald?“ Abenteuer und koloniales Afrika in der Jugendliteratur." Thesis, Stellenbosch : Stellenbosch University, 2015. http://hdl.handle.net/10019.1/96813.

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Thesis (PhD)--Stellenbosch University, 2015
AFRIKAANSE OPSOMMING : Hierdie proefskrif is ’n ondersoek na die wyse waarvolgens Duitse jeugboekskrywers die koloniale periode in Afrika uitbeeld. Duitse avontuurliteratuur speel dikwels af in die koloniale periode in Afrika. Motiewe in die avontuurroman stem egter nie altyd ooreen met die historiese konteks en geografiese ruimtes nie. Dit skep die indruk dat so ’n verhaal tyd- en ruimteloos is en dat die historiese en geografiese konteks bloot die afstand tussen Afrika en Europa beklemtoon. In die lig van die feit dat Afrika en sy historiese konteks dikwels as eksotiese agtergrond dien, bespreek die studie die problematiek rondom die manier waarvolgens skrywers die koloniale periode in die avontuurliteratuur ontleed. Vervolgens word die vraag gestel tot watter mate die uitbeelding van Afrika sedert 1945 verander het. Die wyse waarop die koloniale periode in Afrika in Duitse jeugliteratuur uitgebeeld word, behoort dus ondersoek te word binne die konteks van die tradisionele avontuurliteratuur. Deurdat die studie gesentreer is rondom die avontuurliteratuur voor 1945 en avontuurboeke na 1945, stel die dissertasie ondersoek in tot watter mate jeugboeke en hulle uitbeelding van die koloniale periode verander het en in hoeverre die tradisionele avontuurliteratuur aan hierdie boeke ontleen is. In hierdie proefskrif word avontuurverhale en avontuurlike jeugverhale wat tydens die koloniale periode in Afrika afspeel, vervolgens ontleed. Die studie fokus op vier periodes: Eerstens word tradisionele avontuurstories en motiewe wat ’n belangrike rol speel in die uitbeelding van Afrika, geïdentifiseer. Die volgende tekste word ontleed: C.Falkenhorst se Der Baumtöter (1894), Gustav Frenssen se Peter Moors Fahrt nach Südwest (1906), Josef S. Viera se Bana Sikukuu (1924) en Gust in der Klemme (1933), Max Mezger se Aufruhr auf Madagaskar (1930) en Rolf Italiaander se Wüstenfüchse (1934). Tweedens ondersoek die studie die rol wat avontuurmotiewe – inisiasie, weerstand en verowering – speel in jeugboeke wat in die Federale Republiek van Duitsland gepubliseer is. Die volgende tekste word onder die loep geneem: Kurt Lütgen se ...die Katzen von Sansibar zählen (1962), Rolf Italiaander se Mubange, der Junge aus dem Urwald (1957), Herbert Kaufmann se Der Teufel tanzt im Ju-Ju-Busch en sy historiese roman Des Königs Krokodil (1959). Derdens ondersoek die studie watter rol avontuurmotiewe – die edel barbaar (edle Wilde), antiheld en die tweegeveg – speel in jeugboeke wat in die Duitse Demokratiese Republiek gepubliseer is. Die volgende tekste word analiseer: Ferdinand May se roman Sturm über Südwest-Afrika (1962) en Götz R. Richter se Savvytrilogie (1955 – 1963) en Die Löwen kommen (1969). Laastens stel die studie die vraag tot watter mate die kontemporêre avontuurliteratuur – soos Hermann Schultz se sendingroman Auf den Strom (1998) ’n nuwe ontwikkeling toon wat van die tradisionele avontuurliteratuur van die 19de en 20ste eeu afwyk.
ENGLISH ABSTRACT : This dissertation investigates how the African colonial period is portrayed in German youth literature. German adventure literature is often set in the African colonial period. However, motifs in the adventure novel do not always correspond with historical themes and geographical spaces. This gives the impression that such novels stand outside of time and space and that the historical and geographical context merely emphasize the distance between Africa and Europe. In light of the fact that Africa and its historical context are often reduced to an exotic backdrop, questions are raised about the way authors examine the colonial period in the adventure literature and how the portrayal of Africa has changed since 1945. The question how the African colonial period is portrayed in German youth literature is therefore examined within the context of the traditional adventure literature. Reflecting on adventure literature before 1945 on the one hand and adventure stories after 1945 on the other, this study examines to what extent youth books and their portrayal of the colonial period have changed and how these books relate back to the traditional adventure literature. For this purpose, adventure stories and adventurous youth stories and –novels that are set in the colonial period in Africa are analysed and the study focuses on four periods: Firstly, traditional adventure stories and motifs that play an important role in the portrayal of Africa are identified. The following are analysed: C. Falkenhorst’s Der Baumtöter (1894), Gustav Frenssen’s Peter Moors Fahrt nach Südwest (1906), Josef S. Viera’s Bana Sikukuu (1924) and Gust in der Klemme (1933), Max Mezger’s Aufruhr auf Madagaskar (1930) and Rolf Italiaander’s Wüstenfüchse (1934). Secondly, the dissertation investigates what role adventure motifs – initiation, resistance and conquest – play in the youth literature of the Federal Republic of Germany. The following are analysed: Kurt Lütgen’s …die Katzen von Sansibar zählen (1962), Rolf Italiaander’s Mubange, der Junge aus dem Urwald (1957), Herbert Kaufmann’s Der Teufel tanzt im Ju-Ju-Busch and his historical novel Des Königs Krokodil (1959). Thirdly, the study examines adventure motifs – noble savage (edle Wilde), anti-hero and the duel – in the literature published in the German Democratic Republic. These are Ferdinand May’s novel Sturm über Südwest-Afrika (1962) and Götz R. Richter’s Savvy-Trilogie (1955-1963) and Die Löwen kommen (1969). Lastly, the dissertation poses the question to what extent the contemporary adventure literature – like Hermann Schulz’ missionary novel Auf dem Strom (1998) – shows a new development which deviates from the traditional adventure literature of the 19th and 20th century.

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Schneider, Stefanie Maria. "Gegen-Stimmen/Gegen-Blicke : Zeitgenössische literarische (De-)Konstruktionen deutsch-afrikanischer Identitäten." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/86404.

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Thesis (MA)--Stellenbosch University, 2014.
ENGLISH ABSTRACT: This thesis investigates counter-voices, counter-gazes and (de-)constructions of German-African identities in contemporary German literature. In extended application of postcolonial concepts it examines the way in which post-colonial views and counter-views on Germany and Africaare produced and how in the process alternative identities are created and negotiated. Analyzing poetry, short stories and novels by Black German authors (May Ayim, Ika Hügel-Marshall, ManuEla Ritz and Olumide Popoola) as well as by African literary voices writing in German (El Loko, Daniel Mepin, Philomène Atyame and Luc Degla), the thesis looks at and evaluates strategies of literary hybridization, responses to and deconstructions of the colonial imaginary, transcultural positioning and world literary perspectives.
AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek enkele teenstemme, teenblikke en (de-)konstruksies van Duits-Afrika identiteite spruitend uit Duitsland en dié uit Afrika in hedendaagse Duitse literatuur. Deurʼn uitgebreide toepassing van postkoloniale konsepte,ondersoek die tesis die wysewaarop die post-koloniale sienings en teenstandpunte oor Duitsland en Afrika geproduseer word en hoe in die proses alternatiewe identiteite geskep en onderhandel word. Deur die ontleding van gedigte, kortverhale en romans deur swart Duitse skrywers (May Ayim, Ika Hügel-Marshall, ManuEla Ritz en Olumide Popoola) sowel as Duitse werke deur literêre stemme uit Afrika (El Loko, Daniel Mepin, Philomène Atyame en Luc Degla), bekyk en evalueer die tesis strategieë van literêre verbastering, antwoorde op en dekonstruksies van die koloniale denkbeeldige, transkulturele plasing en wêreld literêre perspektiewe.

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Rockhill, Paul Hunter. "The Reception Theory of Hans Robert Jauss: Theory and Application." PDXScholar, 1996. https://pdxscholar.library.pdx.edu/open_access_etds/5153.

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Hans Robert Jauss is a professor of literary criticism and romance philology at the University of Constance in Germany. Jauss co-founded the University of Constance and the Constance group of literary studies. Hans Robert Jauss's version of reception theory was introduced in the late 1960s, a period of social, political, and intellectual instability in West Germany. Jauss's reception theory focused on the reader rather than the author or text. The original reception of a text was compared to a later reception, revealing different literary receptions and their evolution. Jauss's Rezeptionsgeschichte (history of reception) illustrated the evolution of the reception of texts and the evolving paradigms of literary criticism that they were a part of. However, Jauss's essays proved to be more of a provocation for change in literary criticism than the foundation for the next literary paradigm. The empirical studies discussed in this thesis reveal the.idealism of Jauss's theory by testing main ideas and concepts. The results show the inapplicability of Jauss's theory for practical purposes. The intent of this study is to illustrate the origins, development and impact of Jauss's version of reception theory. The interrelationship between the social environment, the institutional reforms at the University of Constance, and the methodology of reception theory are also discussed. The new social values in West Germany advocated individualism and questioned status quo institutions and their authority. This facilitated the establishment of the University of Constance, which served as the prototype for the democratization of German universities and the introduction of Jauss's reception theory. With the democratization of the university, old autonomous faculties were broken down into interdisciplinary subject areas. The Old Philology and New Philology department were made into the sciences of language and literature and ultimately introduced as the all-encompassing literaturwissenschaft. Five professors from the Slavic, English, German, Classics and Romance language departments gave up direction of these large departments to work together under the Constance reforms in an effort to form a new concept of literary studies. The result was the socalled theories of "reception" and "effect" which they continue to research.

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Fotheringham, John McGowan. "Ernst Toller : from Einheitsfront to Volksfront : the development of Toller's political ideology (1919-1939)." Thesis, University of Stirling, 1999. http://hdl.handle.net/1893/3550.

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This thesis examines the development of the political outlook of the German author and revolutionary politician, Ernst Toller. It begins by looking at Toller's early years and explains how his experience as a front-line soldier during the First World war transformed his views, causing him to reject the conservative-nationalist ethos he had grown up with and to become, in his own description, a revolutionary pacifist. It then looks at his involvement in the revolutionary events which took place in Bavaria at the end of the First World War, the so-called Räterepublik, examines how they affected his understanding of social and political reality and traces their artistic reflection in the plays he wrote in the following period. A recurrent theme in Toller's political thinking throughout the years of the Weimar Republic was the idea of an Einheitsfront, a defence block of workers' organisations, which he advocated as the only means of halting the rise of National Socialism. Unfortunately, Toller's appeals to the main workers' parties to form such a block went unheard, yet they are significant all the same in that they reveal the acute political insight of a man whom many of his contemporaries dismissed as a hopeless utopian. Interestingly, and a point often missed in studies of his politics, Toller abandoned the Einheitsfront after he went into exile in 1933 and came to favour instead the creation of a Volksfront a broad, cross-party anti-fascist coalition which the Soviet Union vigorously promoted all through the 1930s until the signing of the Stalin-Hitler Pact in 1940. Toller's support for this idea, in part a corollary of his support for the Soviet Union itself, had a profound impact on his political outlook in exile, and caused him to close his eyes to the repression suffered by the opponents of the Stalin regime both inside and outside Russia, and, most significantly, led him to ignore the nascent socialist revolution which flourished in Spain after the defeat of Franco's coup d'etat in 1936. This study examines in some detail, therefore, Toller's involvement in the Volksfront, redefines his attitude towards Communist Russia and shows how his efforts to suppress his revolutionary beliefs and to become instead a mere anti-fascist affected his creative spirit during his years of exile.

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Nedvin, Brian. "Holocaust Song Literature: Expressing the Human Experiences and Emotions of the Holocaust through Song Literature, Focusing on Song Literature of Hirsh Glick, Mordechai Gebirtig, and Simon Sargon." Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc4850/.

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During the years of the Holocaust, song literature was needed to fulfill the unique needs of people caught in an unimaginable nightmare. The twelve years between 1933 and 1945 were filled with a brutal display of man's inhumanity to man. Despite the horrific conditions or perhaps because of them, the Jewish people made music, and in particular, they sang. Whether built on a new or an old melody, the Holocaust song literature continues to speak to those of us who are willing to listen. This body of work tells the world that these people lived, suffered, longed for vengeance, loved, dreamed, prayed, and tragically, died. This repertoire of songs is part of the legacy, the very soul of the Jewish people. This study contains a brief look at the historical circumstances, and through the song literature of Hirsh Glick, Mordechai Gebirtig and Simon Sargon, life within the ghetto, the concentration camp, the decisions families had to make, the choices to fight back against incredible odds, the place of faith within this nightmare, and a look at the lives and works of the composers themselves.

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Happ, Julia Stephanie. "Literarische Dekadenz : Denkfiguren und poetische Konstellationen bei Thomas Mann, Hugo von Hofmannsthal und Rainer Maria Rilke." Thesis, University of Oxford, 2009. https://ora.ox.ac.uk/objects/uuid:bb5baef5-de44-499c-a246-b609a3f0caff.

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My D.Phil, dissertation sheds new light on German literary decadence around 1900, its universal concepts, plurality of discourses and poetic transformations. The heuristic value of my dissertation is a refined differentiation of Dekadenz which reconstructs the literary history of the concept and for the first time proposes specific poetic constellations. In chapter 1, decadence is reviewed with its rich research heritage and introduced as a decisive concept and discourse of aesthetic modernism. Although much has been written on decadence, the concept is clearly in need of scholarly reconsideration. I argue that decadence is not only a vague epochal construct and an ensemble of motifs, but also encompasses discourses, universal concepts and a versatile literary style. In view of the stylistic eclecticism around 1900, I argue that decadence is a dynamic and malleable concept which can be combined with other aesthetic styles, movements and philosophical contexts depending on the specific author. Chapter 2 contextualizes Dekadenz from its etymology and central discourses to its universal concepts. Etymologically derived from the Latin verb de-cadere decadence signifies a downward movement and a figure of fragmentation. It evokes cultural and political decline especially that of the Roman Empire (dÃ©cadence romaine) and undergoes various aesthetic transformations (1857-1894). After touching upon the precursors Baudelaire (1857), Bourget (1883) and Bahr (1889-1894), I dwell on Nietzsche to demonstrate the philosophically complex German double evaluation of decadence. I derive three universal concepts from Nietzsche (health vs. sickness, endings vs. new beginnings, fragmentation vs. wholeness) which are crucial to my literary analysis. My comprehensive literary analysis centers on three specific poetic constellations of decadence between late realism and aesthetic modernism. Chapter 3 illuminates Mann's spÃ¤trealistische Dekadenz (1894-1924) with his (Nietzschean) double evaluations. Transformations of decadence are shown in his early novellas, Buddenbrooks, Der Tod in Venedig and Der Zauberberg. Chapter 4 illustrates Hofmannsthal's Ã¤sthetizistische Dekadenz (1891-1902) in his early essays, his prose fragment Age of Innocence and Das MÃ¤rchen der 672. Nacht. A significant transformation of decadence is illuminated in Ein Brief (1902), where Nietzschean decadence is concentrated and tentatively overturned. In chapter 5, Rilke's modernistische Dekadenz (1898-1910) is shown from his early fragment Ewald Tragy to his only novel Die Aufzeichnungen des Malte Laurids Brigge. His novel attempts a poetic 'revaluation of all values' and culminates in the emergence of a genuinely modernist decadence.

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22

Poetini, Christian. "Weiterüberleben, Jean Améry und Imre Kertész." Doctoral thesis, Universite Libre de Bruxelles, 2013. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209520.

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Synopsis :

La thèse démontre la force du discours de la survivance à travers tant l’essai que le roman, respectivement chez deux auteurs représentatifs et exemplaires. Jean Améry est l’initiateur d’un discours où l’accent est mis sur l’expérience de la privation totale de liberté et sur le suicide comme paroxysme de l’acte libre voulu par le survivant des camps de concentration. Imre Kertész fonde, lui, une écriture synonyme de stratégie de survie. Le suicide y constitue le moyen fictionnel, pour l’être survivant, de regagner sa liberté et son propre « destin ».

Résumé :

La thèse se propose d´analyser l´articulation littéraire du thème de la survivance, thème étudié à travers un corpus déterminé. « Articulation littéraire » est à entendre ici au sens de vecteur d’écriture dans l’acception la plus riche, à savoir depuis la représentation, les procédés littéraires jusqu’au processus lui-même. Le titre original du texte s’articule autour du vocable « Weiterüberleben », lequel opère une synthèse entre les deux facettes « survivre » et « continuer à vivre ».

A cet égard, le choix du terme « survivance » en français semblait très approprié. Celui-ci s’oppose dans un premier temps au mot usuel de « survie » par l’accent qu’il met sur l’action, la durée, la continuité ainsi que l’irréversibilité de cette expérience.

Dans un deuxième temps, dire « survivance » signifie introduire d’emblée un impact philosophique intentionnel qui place le phénomène étudié dans le sillage conceptuel de Derrida – différance, restance, absence, démeurance. A ce titre, la survivance peut être considérée comme trace et hantise au même moment.

Dès lors, le mouvement exprimé dans le titre sert de matrice ;dans le « discours sur la survivance », la survie n’est plus la condition d’écriture mais le véritable objet et, si l’on veut, l’objectif de cette écriture. Ce discours articule a) une reconquête de la dignité et liberté qui contient la possibilité du suicide, b) le vœu de continuer à faire vivre la mémoire à la Shoah et aux survivants et c) l’écriture comme stratégie de survie et résistance contre l’oubli.

Le centre de gravité de ce travail est l’étude du rapport entre l´expérience des survivants des camps de concentration et l’écriture de celle-ci. Il s´agit dès lors de se pencher sur les formes d´écriture qui traitent de cette problématique. Le témoignage, d´abord :quel est son rôle en tant que mise en parole d’une expérience ?A côté du témoignage, on observe l´émergence du traitement fictionnel de la thématique.

Une interrogation sur les modes d´émergence littéraire de ce sujet nécessite le passage par une historiographie parcourant les principales tentatives antérieures de représentation. Le témoignage a d´ores et déjà offert des possibilités intéressantes en tant que vecteur de représentation mais a également révélé ses limites. La fiction a montré quelle portée elle peut avoir ;si elle permet entre autres une ouverture du discours, elle se heurte aussi à des obstacles tels que les problèmes de la factualité, de la vérité, de l´authenticité.

Tout en puisant chez bon nombre d´autres écrivains, la thèse se base sur un corpus de deux auteurs emblématiques pour ce qu´ils ont apporté dans le domaine concerné :Jean Améry et Imre Kertész.

Le choix de Jean Améry se justifie notamment par le fait qu’il est l’initiateur d´un discours de la survivance où l´accent est mis sur l´expérience de la privation totale de liberté et sur le suicide comme paroxysme de l´acte libre voulu par le survivant. Kertesz, prix Nobel 2002, apparaît comme l’héritier d´Améry mais, dans une sorte de retournement, transforme le discours négatif de celui-ci en un discours positif par une analyse en termes de dialogicité et d´intertextualité.

Notre point de départ dans l’œuvre d’Améry est son essai sur la torture (« Par-delà le crime et le châtiment », 1966). C’est là qu’il insiste sur l’irréversibilité du moment subjectif qu’est la torture (« Celui qui a été torturé reste torturé ») ;Améry construit à cet endroit le fondement de la « perspective de la victime » et pose, dans le voisinage immédiat, la question de savoir comment surmonter l’insurmontable.

Avec le concept de « contre-violence », Améry explore le paradoxe de la libération – ou la « réversibilité de l’irréversible » – à travers les crises existentielles de son protagoniste (et alter ego) Lefeu (artiste-survivant); son roman-essai « Lefeu ou la démolition » donne lieu à l’analyse de ce phénomène paradoxal, cher à l’auteur.

L´exposé des quatre concepts fondamentaux d´Améry, également fondateurs de tout discours sur l´Holocauste – la perte de la confiance existentielle, le ressentiment, l´exil et la judéité – prépare la voie à une analyse détaillée du discours sur le suicide déployé dans « Porter la main sur soi ». En franchissant les frontières de la psychologie et les limites de la langue, Améry procède à une phénoménologie du suicide qui souligne la liberté individuelle mais qui écarte en même temps l´individu de la société.

Imre Kertész, dont l´œuvre marque le passage vers la fiction par sa trilogie « Etre sans destin », « Le refus », « Kaddish pour l´enfant qui ne naîtra pas », place l´individu dans toute sa fragilité face à l´Histoire nazie et communiste en faisant de celui-ci un survivant « sans destin », c´est-à-dire sans existence personnelle. Regagner son propre destin devient la modalité de la survivance.

Une analyse détaillée de son essai « L’Holocauste comme culture » inscrit d’emblée Imre Kertész dans la filiation de Jean Améry. Cet essai peut être lu comme un manifeste éthico-esthétique ;il insiste sur la nécessité de transposer l’expérience vécue dans l’espace littéraire. A cette condition seulement, le survivant réussit à survivre grâce et à travers les œuvres qu’il crée. Il y réussit en effet à figurer la « catharsis » ou à transfigurer la matière brute du vécu pour pouvoir continuer à survivre.

Tout en refusant catégoriquement le suicide pour des raisons éthiques, Kertész met paradoxalement en scène au cœur de Liquidation le suicide d´un écrivain né à Auschwitz. Il pose ainsi la question de « ce qui reste » de l’expérience de la survie après la disparition des survivants et, donc, au-delà de la possibilité d’en témoigner.

L’analyse monographique de ces deux auteurs permet, d’une part, de démontrer la relation référentielle qui lie Kertész à Améry, d’autre part, d’étudier la problématique à travers deux générations, deux appartenances historiques et deux univers culturels différents. Elle débouche ainsi sur une histoire interculturelle et transgénérationelle de la survivance à l’époque des totalitarismes.

Doctorat en Langues et lettres
info:eu-repo/semantics/nonPublished

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Papanikolaou, Dimitris. "Singing poets : literature and popular music in France and Greece /." London : Legenda, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016510046&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA.

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Cusack, Andrew. "The wanderer in nineteeth-century [sic] German literature : intellectual history and cultural criticism /." Rochester (N.Y.) : Camden House, 2008. http://catalogue.bnf.fr/ark:/12148/cb41331975c.

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25

Januzzi, Angela. "Making an "American Classic": Faulkner, Ferber, and the Politics of 20th Century Canon Formation." Fogler Library, University of Maine, 2007. http://www.library.umaine.edu/theses/pdf/JanuzziA2007.pdf.

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Cotter, Robert Edmund. "Aspects of philistinism in nineteenth-century German literature : Eichendorff, Keller, Fontane." Thesis, University of Oxford, 1991. http://ora.ox.ac.uk/objects/uuid:fa741b6d-6e13-4587-9369-2a477651cb24.

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The thesis aims to explore philistinism as a German literary topos, in the nineteenth century. It begins with an examination of the extra-literary metaphorical usage of key words like Philister and proceeds to a summary of its impact on writers in the period. By so doing, I have tried to present an image of the developing tradition of the literary depiction of philistines. The main part of the thesis is devoted to three writers - Richendorff, Keller, Fontane - whose work presents us with contrasting responses to the problem of philistinism. Unlike previous investigations, my approach is not only through explicit linguistic and visual markers, but also implicit depictions of philistines in the work of the three writers. To achieve this, attention is focussed on tone and literary devices, comic mode, irony, metaphor. I aim thereby to show the function of philistinism in these writings, an analysis not previously attempted. Eichendorff's work is shown to be imbued with a fundamental antithesis between the lives of Dichter and Philister, so comprehensive as to include eschatological implications. In Keller we notice a questioning of such a dichotomy, an unwillingness to acquiesce in its distinctions and an emphasis on society in determining the worth of his characters. Fontane's work represents the most radical reassessment of the Romantic position and displays a clear shift from categorical thinking to a pervasive ambivalence. Whilst philistinism is an issue for all three writers, the differences in their approach and consequent portrayals are revealing: my Epilogue suggests that their different modes of presentation reflect changes of ethos from Romanticism to realism, which in turn reflect changes in social values over the course of the nineteenth century. The interest of the present thesis is its demonstration that such changes can, in German literary culture, be so precisely observed in the changing treatment of the topos of philistinism.

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Xiong, Ying. "Representing empire: Japanese colonial literature in Taiwan and Manchuria." Thesis, The University of Sydney, 2011. https://hdl.handle.net/2123/28923.

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Japan's imperialist expansion in late 19th and early 20th Asia was marked by its official colonisation of Taiwan in 1895, of Korea in 1905, and by its subsequent occupation of Northern China in 1931, prior to heading further to the South in the late 19305. Living as they did in the heyday of imperialism and nationalism, two significant historical phenomena of the 20th century, Japanese colonial writers who travelled to the colonial territories left behind them abundant stores of writing and records that deserve scholarly attention. The dual historical processes of nationalisation and imperialisation put these colonial writers under no little strain and, at the same time, affected their national identification, which is the focus of this study. Any study of Japanese national identification, and the tension between Japan’s nationalism and imperialism reflected in colonial writings, cannot be undertaken from a purely national perspective; rather, it demands a transnational vision that takes into account colonial factors, which in this study includes Japan’s interaction with China and Chinese literature. Drawing upon the examples of Nishikawa Mitsuru and Ouchi Takao, my thesis aims to scrutinise Japanese colonial literature and cultural production in Taiwan and Manchuria, and to identify the similarities and divergence in colonial identities that would otherwise be neglected in a more narrow treatment. This thesis argues that both Japanese state and imperialism were understood by the Japanese people living in Taiwan and Manchuria in an ambiguous way. There was inconsistency in their understanding of the relations between state, nation and empire. In both Taiwan and Manchuria, space could be found for individual deviation from imperialist power.

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Geissler, Christopher Michael. "'Die schwarze Ware' : transatlantic slavery and abolitionism in German writing, 1789-1871." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610465.

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Nardout, Elisabeth. "Le champ littéraire québécois et la France, 1940-50 /." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=72078.

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The decade 1940-1950 represents a decisive stage in the evolution of the relations between the Quebec literary scene and France. Whereas before the war, literary discourse keeps on upholding, in a dogmatic way, the superiority of French culture and literature, the next period is characterized, on the contrary, by a reassessment of this postulate.
The historical circumstances justify the setting up of exceptional institutional conditions. Some French writers and critics, in exile in North America, partake, to varying degrees, in the French Canadian literary scene. The backing of these intellectuals is not unrelated to the process of modernization and autonomization undertaken at that time by the major sectors of the Quebecer literary apparatus.
A conflict of interest in the publishing sector as well as ideological differences spark a controversy between Robert Carbonneau and some members of the Comite National des Ecrivains. This "quarrel", to quote Charbonneau, is an unprecedented example of direct confrontation between Quebecer and French literary agents. On this occasion, Robert Charbonneau redefines French Canadian literature outside of France's sphere of influence, France being a country whose status he wishes to limit to that of just one foreign reference among many.
This desire for autonomy can also be found in literary texts which, using means available to them, bear witness to an appreciable decline of the French literature. But whereas literary discourse attempts to resist annexation to French literature, the literary apparatus is subject, upon the Liberation, to a material and symbolic domination by the French authorities, a domination it cannot fight. In this respect, the conditions of literary production in the fifties are paradoxical since the text, while voicing its rejection of the French institution and its French Canadian identity, continues to receive its ultimate consecration from France.

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de, Vivanco Camillo. "Misanthropy in the works of Louis-Ferdinand Céline and Thomas Bernhard." Thesis, University of Oxford, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.712505.

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Chou, Mei-ching Tammy, and 周美貞. "Feminism and the representations of teenaged girls in 20th century children's literature." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B31940201.

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曾昭楹 and Chiu-ying Venus Tsang. "Temporality in modernist literature: Ezra Pound and Virginia Woolf." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B26822428.

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Madi, S'Bongile Emmily. "Ukuvezwa kwabalingiswa kumanoveli wesiZulu amane ka 1990." Thesis, Stellenbosch : Stellenbosch University, 2001. http://hdl.handle.net/10019.1/52596.

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Thesis (MA)--University of Stellenbosch, 2001.
ENGLISH ABSTRACT: This work investigates characterisation in four modern Zulu novels. The objective of the study is to examine whether or not there is development in the portrayal of characters in recently published Zulu novels. The study is prompted by the view that a high number of novels in African languages have inadequate portrayal of characters (Zulu 1998). Focus has been placed on the following four Zulu novels: Izibiba Ziyeqana, Asikho Ndawo 8akithi, Isidleke Samanqe, and Itshwele Lempangele. The novels were published between 1995 and 1998 and all have won literary prizes in recognition of their high literary qualities. It has been found in the study that the way characters are portrayed in the four novels shows some signs of development. All the chief characters are 'round' in the sense that they change and adapt to changes and circumstances. Even though there are serious problems, the characters are seen to be fighting like ordinary human beings to better their lives. It is also found in the study that antagonists in some novels are round characters. It is concluded that this study identifies positive properties about the development of characterisation in the Zulu novel of the late 1990's.
AFRIKAANSE OPSOMMING: Hierdie studie ondersoek karakterisering in vier moderne Zulu novelles. Die hoofdoelstelling van die studie is om vas te stel of daar 'n ontwikkeling in die voorstelling van karakters in onlangs-gepubliseerde Zulu novelles is. Die studie is gemotiveer deur die siening wat bestaan dat 'n groot aantal novelles in Afrikatale 'n onvoldoende voorstelling van karakters toon (Zulu, 1998). Die fokus van die studie val op die volgende vier Zulu novelles: Izibiba Ziyeqana, Asikho Ndawo Bakithi, Isidleke Samanqe en Itshwele Lempangele. Hierdie novelles is gepubliseer tussen 1995 en 1998 en het almal literere pryse gewen ter erkenning van hulle uitstaande letterkundige meriete. Die studie het bevind dat die wyse waarop die karakters voorgestel is in al vier novelles verskeie tekens van ontwikkeling ten opsigte van die Zulu letterkunde toon. AI die hoofkarakters is "rond" in die sin dat hulle verander en aanpas na gelang van veranderinge en omstandighede. Selfs onder ernstige omstandighede, veg die karakters soos gewone mense om hulle lewens te verbeter. Daar is ook in die studie bevind dat die antagoniste in sommige novelies ronde karakters is. Die studie identifiseer positiewe kenmerke t.o.v. die ontwikkeling van karakterisering in die Zulu novelle in die laat 1990's.
IQOQO Lomsebenzi ubhekane nokuvezwa kwabalingiswa emanovelini amane wesiZulu. Kubhekwe amanoveli amasha ngenjongo yokuthola ukuthi ngabe kukhona yini ukuthuthuka ngokuvezwa kwabalingiswa. Okwaziwayo okwamanje wukuthi ukuvezwa kwabalingiswa emanovelini amaningi wabomdabu kusezingeni eliphansi (Zulu 1998), yingakho-ke lomsebenzi ubuzama ukuthola ukuthi ngabe luyabonakala yini loguquko Iwemqubekela phambili. Kukhethwelamanoveli alandelayo: Izibiba Ziyeqana, Asikho Ndawo Bakithi Isidleke Samanqe, kanye ne-Itshwele Lempangele lapho kucubungulwa loshintsho lokuvezwa kwabalingiswa ngababhali bemnyaka yabo 1990. Lamanoveli angawoshicilelo olusuka ku-1995 ukuya ku-1998. Kuye kwakhethwa lamanoveli ngoba azuze imiklomelo yokuthi abhalwe ngezinga eliphezulu. Okutholwe kulomsebenzi ukuthi ukuvezwa kwabalingiswa yilababhali balamanovela kubonisa impumela phambili. Bonke abalingiswa abaphambili batholakala beyizindilinga. Umlingiswa nomlingiswa lapho ehlangabezana nezingqinamba uyaguquguquka azifune ebuhleni ngempilo yakhe. Nanoma kunobunzima sibathola ngasosonke isikhathi balwisana nabo bazama izindlela ezizobasa empumelelweni. Kutholakale futhi ukuthi bonke labalingiswaabangabaphikisi (antagonists)babonakala bakhula. Lomsebenzi uphethwa ngokuthi ziyabonakala zrmpewu zokukhula nokuthuthuka ekuvezweni kwabalingiswa emanovelini wesiZulu wababhali bango1990.

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Grace, Elizabeth Ellen. "Women, nation, narration : a comparative study of Japanese and Korean proletarian women's writing from the interwar years (1918-1941)." Thesis, University of Cambridge, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709209.

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Weiler, Sylvia. "Jean Amérys Ethik der Erinnerung: die Materialisierung des Geistes im Körper." Doctoral thesis, Universite Libre de Bruxelles, 2008. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210403.

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In dieser Dissertation wird Jean Amérys Ethik der Erinnerung auf ihre philosophischen, politischen und literarischen Implikationen hin untersucht. Dabei wird sie als ein moegliches philosophisches Fundament fuer den westdeutschen Auschwitz-Diskurs und die westdeutsche Nachkriegsliteratur vorgestellt. Ihre Besonderheiten gewinnen auf der Grundlage eines Vergleichs von Amérys erinnerungspolitischen Positionen mit jenen Theodor W. Adornos Kontur, der allgemein als der philosophische Begruender der deutschen Literatur nach 1945 gilt. Beide Intellektuelle denken ausgehend von ihrer Verfolgungserfahrung als Juden deutscher (Adorno) bzw. oesterreichischer (Améry) Herkunft. Doch anders als Adorno, dem 1938 die Emigration nach Amerika gelang, wurde Améry als politischer Widerstandskaempfer gefoltert und nach Auschwitz deportiert. Vor diesem Hintergrund geht es um die Frage nach der erkenntnistheoretischen Bedeutung der koerperlichen Erfahrung der Vernichtung beim Versuch, ein der Zaesur Auschwitz angemessenes Denken zu begruenden. Hierzu werden erstmals Amérys Anleihen bei dem Phaenomenologen Maurice Merleau-Ponty systematisch analysiert. Wie er geht auch Améry davon aus, dass die koerperliche Wahrnehmung eines Menschen in entscheidender Form ueber sein Engagement in Kultur und Gesellschaft mitbestimmt.

Im Rahmen der Forschungsarbeit werden saemtliche Werke Amérys beruecksichtigt, inklusive seiner zum Teil noch unveroeffentlichten Nachlass-Arbeiten. Sie ist in drei Teile aufgegliedert, in denen jeweils eine der Werkepochen, die Améry auf seinem Werdegang als politischer Schriftsteller durchlaeuft, zentral steht: sein politisches Erwachen 1934/35 in Wien, seine ersten Schreibversuche nach der Befreiung aus dem Konzentrationslager Bergen-Belsen zwischen 1945 und 1949, und zuletzt die Ethik der Erinnerung des kanonischen Améry, die er in zwei Werkepochen erarbeitet hat, in denen er sich jeweils unterschiedlichen Fragestellungen widmet.(1966-1974 und 1974-1978).

Aus der Literaturzeitschrift "Die Bruecke", die der 22jaehrige 1934 gemeinsam mit einem Freund herausgab, und Amérys Jugendroman "Die Schiffbruechigen" werden in den ersten beiden Kapiteln die fruehen philosophischen und aestetischen Urspruenge von Amérys Ethik eroertert. Im folgenden Kapitel rueckt die Vernichtungserfahrung des Autors in den Brennpunkt. Die Parameter ihrer ersten literarischen Verarbeitung in seinen Schriften aus der unmittelbaren Nachkriegszeit werden herausgestellt, die Améry in seinem Spaetwerk weitergedacht hat. Auf den vorangehenden Forschungsergebnissen aufbauend wird im letzten Kapitel Amérys Ethik der Erinnerung im Vergleich zu jener Theodor W. Adornos erarbeitet. Ihr phaenomenologisches Fundament wird dem geschichtsphilosophischen Fundament des Adornoschen Denkens gegenuebergestellt. Dabei wird gezeigt, dass nicht nur Amérys Denken, sondern auch seine Aesthetik phaenomenologisch ausgerichtet ist. Durch die Analysen in diesem Hauptteil der Dissertation, in dem erstmals alle Essay-Baende auf ihren erinnerungspolitischen Gehalt im Zusammenspiel untersucht wurden, wird Amérys Beitrag zur Begruendung einer postmodernen Ethik und der Gattung der Shoah-Literatur einsehbar.

Doctorat en Langues et lettres
info:eu-repo/semantics/nonPublished

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葉淑蘭 and Sook-lan Yap. "A study of Zhang Tianyi's children's literature." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1992. http://hub.hku.hk/bib/B31211057.

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Handa, Atsuko. "Bridging Sōseki and Murakami : the modernity of Japan through modernist and postmodern prose." Monash University, School of Languages, Cultures and Linguistics, 2004. http://arrow.monash.edu.au/hdl/1959.1/5230.

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Turner, Robert Charles Grey. "Counterfeit culture : truth and authenticity in the American prose epic since 1960." Thesis, University of Cambridge, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709455.

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Dixon, Marzena M. "The structure and rhetoric of twentieth-century British children's fantasy." Thesis, University of St Andrews, 1992. http://hdl.handle.net/10023/14858.

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This thesis discusses twentieth century children's fantasy fiction. The writers whose creative output is dealt with include Penelope Lively, Alan Garner, Susan Cooper, Pat O'Shea, Peter Dickinson, T.H.White, Lloyd Alexander and, to a lesser extent, C.S.Lewis and J.R.R.Tolkien. These authors have been chosen because their books, whilst being of a broadly similar nature, nevertheless have a sufficient diversity to illustrate well many different important aspects of children's fantasy. Chapter I examines the sources of modern fantasy, presents the attitudes of different authors towards borrowing from traditional sources and their reasons for doing so, and looks at the changing interpretation of myths. Chapter II talks about the presentation of the primary and secondary worlds and the ways in which they interact. It also discusses the characters' attitudes towards magic. Chapter III looks at the presentation of magic, examines the traditional fairy-tale conventions and their implementation in modern fantasies, and discusses the concepts of evil, time, and the laws governing fantasy worlds. Chapter IV deals with the methods of narration and the figure of the narrator. It presents briefly the prevailing plot patterns, discusses the use of different kinds of language, and the ideas of pan-determinism and prophecy. The concluding chapter considers the main subjects and aims of children's fantasy, the reasons why the genre is so popular, and its successes and failures.

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Wagenaar, Peter Simon. "The shadowed corners of sunlit ruins: Gothic elements in twentieth century children's adventure fiction." Thesis, Rhodes University, 1991. http://hdl.handle.net/10962/d1002293.

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This thesis examines the way in which children's adventure fiction makes use of Gothic features, how these features have been modified for a younger audience and how these modifications have been influenced by other developments in children's and popular fiction: Chapter One sets out to define the nature of Gothic and isolate those aspects of it relevant to the proposed study. It puts forward a theory to account for the movement of Gothic trends into later children's fiction. Chapter Two examines the use of landscape, setting and atmospheric effects in Gothic and the way in which children's fiction has used similar trappings to create similar effects. Children's fiction, emphasising pleasurable excitement rather than fear has, however, muted these effects somewhat and played down the role of the supernatural, so intrinsic to Gothic. Chapter Three emphasises the Gothic's use of stereotypes, focusing on the portrayal of heroes and heroines. Those of children's fiction are portrayed very similarly to those of Gothic and the chapter compares and, on occasion, contrasts them noting, inter alia, their adherence to rigid moral codes and narrowly defined norms of masculine and feminine behaviour. Chapter Four looks at the portrayal of villains and the way in which their appearance defines them as such (as, indeed, does that of heroes and heroines). It examines in some detail their relationship to and interaction with the heroes and heroines, noting, for example, the 'pseudo-parental' role of villains who are characteristically older and in socially approved positions to exert power over heroes and heroines. The Conclusion addresses the fantasy aspect of these novels,referred to several times in passing in the course of earlier chapters, and comments on how the features detailed in Chapters Two, Three and Four all operate within the conventions of a fantasy.

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Elbaum, Henry. "Rhetoric and fiction : interaction of verbal genres in the Soviet literature of the twenties and thirties." Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=75698.

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Soviet literature of the twenties and thirties is examined in the present study in its relationship to other verbal genres, primarily, the speeches of Party leaders, newspaper rhetoric and political posters. The first four chapters of the dissertation focus on such topics as the reception of Marxist-Leninist discourse by peasants and workers as well as its representation in fiction; the refraction of official discursive formulas in characters' speech and the dialogization of Party rhetoric; the integration of political documents into fiction and their structural function. Particular attention is paid to the way the contamination of Party rhetoric by substandard language and its contextual defamiliarization lead, depending on the overall authorial intention, either to a parodic subversion of official cliches or to the internalization of didactic discourse and the enhancement of its communicative effectiveness.
The theme of industrialization is examined in the last two chapters of the thesis in its dialectic interaction with various Neo-Rousseauist conceptions, which either reflect the authors' own ambivalence about socialist construction, or constitute a rhetorical device used in order to reinforce dialogically industrialist ideology.

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Kaspar, Harach. "La Giovane Narrativa, narrativa, società ed economia negli Anni Ottanta." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ43892.pdf.

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Charteris, Charlotte May. "The queer cultures of 1930s prose." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610805.

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姚潤昆 and Yun-kwan Yiu. "Harvesting The waste land: critical views 1922-1932 and 1965-1975." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B2700997X.

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Leister, Lori, and University of Lethbridge Faculty of Arts and Science. "Closing the circle: A novel with critical commentary." Thesis, Lethbridge, Alta. : University of Lethbridge, Faculty of Arts and Science, 1998, 1998. http://hdl.handle.net/10133/355.

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There are two parts to this thesis: a novel, Closing the Circle, and a critical commentary on the process of writing a novel from beginning to end. The novel tells the story of Natasha, a young, late twentieth century woman who searches for her "roots." It begins in southern Alberta and she eventually travels to Eastern Europe where she uncovers the voices in her dreams and from the past. It deals with the metaphysical question of a collective unconscious that houses past symbols pertinent to her search as well as the question as to the validity of dreams and memory in human life. The critical commentary addresses issues involved in writing a fiction vis a vis structure and other literary devices. It also addresses questions that come with taking personal familial historical events and writing them into "story."
28 cm.

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Pinson, Guillaume 1973. "Fiction du monde : analyse littéraire et médiatique de la mondanité, 1885-1914." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102151.

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This work proposes a double analysis of the mundane society representations between 1885 and 1914, in the press and the novel. This analysis separates these two categories of media to insist on their particularities, and tries to think of them in terms of an interaction.
A first part explores the organisation of the topics and the main genre of the mundane society in the press, applying the social discourse theory. The analysis is based on the perusal of a set of representative daily newspapers (Le Gaulois, Le Figaro) and of weekly and monthly publications (Le Grand monde, La Vie parisienne, Femina notably, as well as around thirty other titles). It shows that the mundane society in the newspaper is constrained by a poetics stemming from the characteristics of press writing: collective writing, periodicity of the publication, text length limitation and reference to reality. Some texts are tempted by fiction, even though they keep a reality-based referential, whereas other texts that are openly fictitious, fit the mundane fiction into the newspaper.
The second part is based on the general conclusion of the first part: the mundane society in the newspaper is a represented society, made of for a distant and anonymous public. With the advent of the medias in the 19th century, the mundane society has entered into the era of mediations and "industrial writing". Some writers, from Bourget to Proust, take these upheavals into account and present the mundane society as a metaphor of the mass media society. This is done following three main axes: the temptation of withdrawal of the fiction into a closed world (psychological and mundane movement impulsed by Goncourt with Cherie, prolonged by Bourget and Hervieux notably); the games of exchange between the novel and the newspaper (Maupassant, Toulet, Legrand, amongst others); and finally, the isolation of the mundane world and the aesthetic work on mediations (Rolland, Colette, Mirbeau, Lorrain et Gide notably). All these writings address the question of sociability at the era of the triumph of mediations: what room is left for the mundane society, for direct encounter, for exchange, in a world of mediation and mass media coverage? for immediate connections in a society of mediated ties? The epilogue proposes a journalistic reading of A la recherche du temps perdu, synthesis-work which inaugurates a modern and sociological perception: it is in the world of the imagined mundane society, distant and represented in the mass media, that the narrator draws the resources for his observation of the world.

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Fahmy, Miriam. "Le discours sur la fin de la littérature en France de 1987 à 1994 /." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79937.

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The "essai crepusculaire" was one of the most popular literary genres during the 1980's and 1990's in France. Among those, the essays warning of the impending end of French literature offer a view of the world which idealises the past while condemning a shameful present in order to justify the return of lost values.
Our project consists of an analysis of the argumentative rhetoric contained in the four essays of our corpus, which together form the Discourse on the death of French literature. We studied how the authors set up an argumentative construct likely to convince the reader that French literature has fallen into decay. By analysing the rhetorical processes as well as locating the tacit discourse, we sought to single out the ideology which they promote and to make out the contours of the literary ideal which they delineate. In light of these observations, we ended with the broad outline of a typology of the genre, liable to exemplify all "essais crepusculaires".

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Lin, Lidan. "The Rhetoric of Posthumanism in Four Twentieth-Century International Novels." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc278990/.

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The dissertation traces the trope of the incomplete character in four twentieth-century cosmopolitan novels that reflect European colonialism in a global context. I argue that, by creating characters sharply aware of the insufficiency of the Self and thus constantly seeking the constitutive participation of the Other, the four authors E. M. Forster, Samuel Beckett, J. M. Coetzee, and Congwen Shen all dramatize the incomplete character as an agent of postcolonial resistance to Western humanism that, tending to enforce the divide between the Self and the Other, provided the epistemological basis for the emergence of European colonialism. For example, Fielding's good-willed aspiration to forge cross-cultural friendship in A Passage to India; Murphy's dogged search for recognition of his Irish identity in Murphy; Susan's unfailing compassion to restore Friday's lost speech in Foe; and Changshun Teng, the Chinese orange-grower's warm-hearted generosity toward his customers in Long River--all these textual occasions dramatize the incomplete character's anxiety over the Other's rejection that will impair the fullness of his or her being, rendering it solitary and empty. I relate this anxiety to the theory of "posthumanism" advanced by such thinkers as Marx, Bakhtin, Sartre, and Lacan; in their texts the humanist view of the individual as an autonomous constitution has undergone a transformation marked by the emphasis on locating selfhood not in the insular and static Self but in the mutable middle space connecting the Self and the Other.

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Kaplan, Stacey Meredith 1973. "The modern(ist) short form: Containing class in early 20th century literature and film." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10574.

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ix, 182 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.
My dissertation analyzes the overlooked short works of authors and auteurs who do not fit comfortably into the conventional category of modernism due to their subtly experimental aesthetics: the versatile British author Vita Sackville-West, the Anglo-Irish novelist and short-story writer Elizabeth Bowen, and the British emigrant filmmaker Charlie Chaplin. I focus on the years 1920-1923 to gain an alternative understanding of modernism's annus mirabulus and the years immediately preceding and following it. My first chapter studies the most critically disregarded author of the project: Sackville-West. Her 1922 volume of short stories The Heir: A Love Story deserves attention for its examination of social hierarchies. Although her stories ridicule characters regardless of their class background, those who attempt to change their class status, especially when not sanctioned by heredity, are treated with the greatest contempt. The volume, with the reinforcement of the contracted short form, advocates staying within given class boundaries. The second chapter analyzes social structures in Bowen's first book of short stories, Encounters (1922). Like Sackville-West, Bowen's use of the short form complements her interest in how class hierarchies can confine characters. Bowen's portraits of classed encounters and of characters' encounters with class reveal a sense of anxiety over being confined by social status and a sense of displacement over breaking out of class groups, exposing how class divisions accentuate feelings of alienation and instability. The last chapter examines Chaplin's final short films: "The Idle Class" (1921), "Pay Day (1922), and "The Pilgrim" (1923). While placing Chaplin among the modernists complicates the canon in a positive way, it also reduces the complexity of this man and his art. Chaplin is neither a pyrotechnic modernist nor a traditional sentimentalist. Additionally, Chaplin's shorts are neither socially liberal nor conservative. Rather, Chaplin's short films flirt with experimental techniques and progressive class politics, presenting multiple perspectives on the thematic of social hierarchies. But, in the end, his films reinforce rather than overthrow traditional artistic forms and hierarchical ideas. Studying these artists elucidates how the contracted space of the short form produces the perfect room to present a nuanced portrayal of class.
Committee in charge: Paul Peppis, Chairperson, English; Michael Aronson, Member, English; Mark Quigley, Member, English; Jenifer Presto, Outside Member, Comparative Literature

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Sugars, Cynthia Conchita 1963. "The uncompromised New World : Canadian literature and the British imaginary." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=35630.

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This thesis explores contemporary (post-1980) British constructions of Canada or "Canadianness" as these have been conceived through the reading and reception of English-Canadian literary texts in Britain. I am arguing that in recent years Canada has been construed in Britain as an ideal, and furthermore, that this idealization has taken place in response to a perceived cultural and socio-economic malaise within contemporary British society. I use a combined postcolonial and object-relations approach to discuss the psychic investment involved in this construction of Canada as a post-imperial role model. These readers engage with the Canadian object as a sort of phantasy space, projecting onto Canada a self-image which expresses the British desire for postcolonial diversity. Canada thereby enables the dodging of the quagmires of imperiled national identity (and personal subjectivity), for its diffuse and decentralized makeup is balanced by an essentialized notion of cultural and national uniqueness. Throughout I take issue with the ways Canada tends to get celebrated in these writings as a postmodern ideal of unproblematized pluralism and endless diffusion, knowable by the sheer extent to which it seems to defy collective identity. These celebrations of Canada as a new (postmodern) Eden succeed only in emptying the Canadian domain of anything remotely contestatory or political. Indeed, this vision of Canada utilizes a limited version of postmodernism as an idealistic play of pluralities without any sense of accompanying political strife or contradiction.

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Dissertations / Theses on the topic 'German literature – 20th century – History and criticism'

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