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Dissertations / Theses on the topic 'German literature German poetry'
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Mastag, Horst Dieter. "The transformations of Job in modern German literature." Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/30647.
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In modern times German authors have made ample use of the Job-theme. The study examines the transformations that the story of Job has undergone in German narrative and dramatic works from Leopold von Sacher-Masoch's Der neue Hiob (1878) to Fritz Zorn's Mars (1977).
The most striking feature of these works lies in their diverse characterization of the Job-figure. As a mythical figure he remains synonymous with the sufferer, but he may be characterized as patient or impatient, humble or arrogant, innocent or guilty, rich or poor, courageous or cowardly; he may be a Jew or a Christian, a Nazi or an anti-Nazi, a believer or an agnostic.
The authors have retained most of the characters included in the Old Testament story. The Job-figure usually has a wife (who doubts and despises God), a number of children (who die in an impending disaster), and several friends (who accuse him of wrong-doing). Concerning the plot, most writers have excluded any prologue in heaven. The suffering of the Job-figure (usually brought on by the loss of loved ones, by physical pain and by mental agony) is always central to the story. More often than not, however, the modern Job-figure exhibits a form of impatience and impiety once misfortune has struck. A theophany (literal confrontation with God) does not occur, but a divine agent may be provided in the form of a dream or a vision, or indirectly by nature. An epilogue (the restoration of Job's health, possessions and children) is usually omitted, but some authors imply a renewal of Job, so as to suggest a purpose for and a hope after his arduous trials.Arts, Faculty of
Central Eastern Northern European Studies, Department of
Graduate
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Koch, Elke. "Trauer und Identität : Inszenierungen von Emotionen in der deutschen Literatur des Mittelalters /." Berlin [u.a.] : de Gruyter, 2006. http://deposit.ddb.de/cgi-bin/dokserv?id=2704284&prov=M&dokv̲ar=1&doke̲xt=htm.
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Bierma, Tineke. "Concrete poetry : the influence of design and marketing on aesthetics." PDXScholar, 1985. https://pdxscholar.library.pdx.edu/open_access_etds/3438.
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This thesis explores the past and present of concrete poetry with the purpose of finding out whether concrete poetry is still being produced in its original form, or whether it has changed.
Concrete poets were not the first ones to create picture poems and similar texts. In chapter I an overview of earlier picture poetry is given. It and other precursors of concrete poetry are discussed and their possible contributions evaluated.
Chapters II and III deal with the definition of concrete poetry of the mid-fifties and sixties ( pure, classic c.p.). They focus primarily on German, Austrian and Swiss poets. Manifestos are examined and individual poems are discussed in detail. The many different kinds of concrete poetry that developed after 1970 are mentioned without any further discussion.
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Weiss, Katherine. "Memories: The Private Poetry of Dieter Leisegang." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etsu-works/2256.
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Thomas, Nicola. "Landscape, space and place in English- and German-language poetry, 1960-1975." Thesis, University of Nottingham, 2017. http://eprints.nottingham.ac.uk/41884/.
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This thesis examines representations of space, place and landscape in English and German-language poetry of the period 1960-1975, a key transitional phase between modernity and postmodernity. It proposes that the impact certain transnational spatial revolutions had on contemporary poetry can only be fully grasped with recourse to comparative methodologies which look across national borders. This is demonstrated by a series of paired case studies which examine the work of J. H. Prynne and Paul Celan, Sarah Kirsch and Derek Mahon, and Ernst Jandl and Edwin Morgan. Prynne and Celan’s 'Sprachskepsis' is the starting point for a post-structuralist analysis of meta-textual space in their work, including how poetry’s complex tectonics addresses multifaceted crises of representation. Mahon and Kirsch’s work is read in the context of spatial division, and it is argued that both use representations of landscape, space and place to express political engagement, and to negotiate fraught ideas of home, community and world. Jandl and Morgan’s representations of space and place, which often depend on experimental lyric subjectivity, are examined: it is argued that poetic subject(s) which speak from multiple perspectives (or none) serve as a means of reconfiguring poetry’s relationship to space at a time when social, literary and political boundaries were being redefined. The thesis thus highlights hitherto underexplored connections between a range of poets working across the two language areas, making clear that space and place is a vital critical category for understanding poetry of this period, including both experimental and non-experimental work. It reveals weaknesses in existing critical taxonomies, arguing for the use of ‘late modernist’ as category with cross-cultural relevance, and promotes methodological exchange between the Anglophone and German traditions of landscape, space and place-oriented poetry scholarship, to the benefit of both.
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Finlay, Francis James. "On the rationality of poetry : Heinrich Boell's aesthetic thinking." Thesis, University of Newcastle Upon Tyne, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.333970.
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Bässler, Andreas. "Sprichwortbild und Sprichwortschwank : zum illustrativen und narrativen Potential von Metaphern in der deutschsprachigen Literatur um 1500 /." Berlin ; New York : W. de Gruyter, 2003. http://catalogue.bnf.fr/ark:/12148/cb390796644.
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Texte remanié de: Diss.--Neuphilologische Fakultät--Heidelberg--Ruprecht-Karls-Universität, 2002. Titre de soutenance : Sprichwortbild und Sprichwortschwank : die metaphorische Inversion als strukturbildendes Verfahren in der deutschsprachigen Literatur um 1500.Bibliogr. p. [368]-399. Index.
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Englmann, Bettina. "Poetik des Exils : die Modernität der deutschsprachigen Exilliteratur /." Tübingen : M. Niemeyer, 2001. http://catalogue.bnf.fr/ark:/12148/cb37742388x.
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Yao, Shao-Ji. "Der Exempelgebrauch in der Sangspruchdichtung vom späten 12. Jahrhundert bis zum Anfang des 14. Jahrhunderts." Würzburg Königshausen & Neumann, 2006. http://deposit.d-nb.de/cgi-bin/dokserv?id=2834131&prov=M&dokv̲ar=1&doke̲xt=htm.
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Bretz, Katherine Hazel-Louise. "Reviving the Nibelungenlied: A Study and Exploration of the Relationship between Medieval Literature and Music." Kent State University Honors College / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1399300392.
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Saavedra, Casco JoseÌ Arturo. "Swahili poetry as a historical source : utenzi, war poems and the German conquest of East Africa, 1888-1910." Thesis, SOAS, University of London, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.289839.
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Nash, Patricia Helena. "A body, a notion: translating Karla Reimert's 'Picnic with black bees'." Thesis, University of Iowa, 2016. https://ir.uiowa.edu/etd/6229.
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Pfeffer, Sarah [Verfasser]. "“Palms require translation”: Derek Walcott’s Poetry in German : Three Case Studies / Sarah Pfeffer." Kassel : Kassel University Press, 2016. http://d-nb.info/1108324371/34.
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Waller, C. D. "The poetry of Anton Schnack." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:354fe0a5-68d5-4a9e-b051-b5f77ab74acc.
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This thesis is the first academic treatment of the poetry of Anton Schnack (1892-1973): his work is not well known, even in Germany. Methodologically the thesis takes a combined literary, historical and biographical approach, exploring the complex and sometimes deceptive relations between his poetry and the turbulence of his time. The primary aim of the thesis is to show that Tier rang gewaltig mit Tier (1920) is a uniquely innovative volume of war poetry which, to be fully appreciated, needs to be assessed against the background of previous German war poetry and the development of the sonnet cycle. It is placed in the context of Schnack’s other lyrical work, particularly of the three volumes of Expressionist poetry which immediately preceded it and which themselves are analysed as examples of a very powerful kind of Expressionism. Schnack did not publish his next volume of verse until 1936, and three further collections emerged in quick succession between 1947 and 1953. These four collections are examined in detail in the context of Schnack’s decision to stay in southern Germany and to maintain a consistently low profile. The thesis begins with a general introduction to Schnack’s life and work and makes specific reference to his contemporary and current standing among literary historians and critics. Chapter Two focuses on the three volumes of Expressionist verse and documents the cultural circles which he frequented in Munich and the numerous Expressionist magazines and periodicals to which he contributed. The next three chapters are dedicated to Tier rang gewaltig mit Tier and examine it with reference to its poetic form as a cycle of sonnets and of its merits and status as war poetry. The final chapter pays particular attention to Schnack’s life in the Third Reich, situating the single collection he published during that era among the literary works of Inner Emigration, before analysing his three post-war collections.
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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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Bartlett, William Jonathan Osborne. "A critical edition of the Athis und Prophilias fragments with introduction, commentary, rhyme- and word-lists." Thesis, University of Oxford, 1985. http://ora.ox.ac.uk/objects/uuid:cbaee0d7-ed4d-4554-b62b-76ce77249c16.
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The introduction contains separate studies of the manuscripts, their orthographies, the rhymes, metre and treatment of source material. Both the orthographic studies and the rhyme—grammar reveal Athis to be a CG poem with no real evidence of Rhenish provenance. The metrical studies, dealing with vowel collision and units of one and three syllables, show how the Athis poet pursued various legitimate rhythmic options in his attempt to introduce variation to the tedium of regular alternation. The most positive results emerge from the comparison of Athis with its OF source, the Roman d'Athis. The dependence of the German text on the OF poem can be proved through misunderstandings of lines and part—lines of the Rd'A enshrined in proper names in the German text. By far the most important aspect of the German poet's adaptation is his sense of history. Ancient Rome and Athens are presented in an entirely different way in the German text. In particular, the large scale descriptions of ceremonies and major events are scenically developed under the influence of medieval historiographic ideas. Further supplementary source material is provided by a Pseudo—Ovidian treatment of Pyramus and Thisbe and a number of medieval military and judicial customs associated with Roman models. In general Athis is shown to be indebted to a medieval German self—awareness of Romanitas.
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Conquer, Grace Beatrice Rey Lawson. "The poetics of colour in Stefan George, Rainer Maria Rilke, Wassily Kandinsky and Else Lasker-Schüler." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:de16361d-e146-494f-beb4-15703c880e9d.
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This thesis looks at the poetics of colour in Stefan George, Rainer Maria Rilke, Wassily Kandinsky and Else Lasker-Schüler. It argues that focusing on colour words allows us to think more carefully about the sort of making that poetry, around the turn of the twentieth century, was seen to be, its purpose and effects. In doing so it thinks also about this making-about the ways that words can be seen as the material of poetry, the ways poems relate to objects, and are objects, the ways poets negotiate semantic space and communicability. While other accounts argue for the specificity of a particular period, author, or hue, I argue for the specificity of the medium, a conclusion which seems necessary when considering how these particular poets thought about and through colour. While the poets' projects differ, colour can be used in each case like a prism, to separate out their attitudes and commitments towards their medium and its place in the world. The combination of these four poets, which is, to the best of my knowledge, unique, also allows new connections to be seen, whether, facing inward, in terms of colour itself, or outward towards the commitments regarding the poem that an approach via colour exposes. The four poets share an interest in the involvement, and in some cases, aesthetic education, of readers, and in how and what we can learn through reading, and particularly reading colour. What we learn has less to do with colours and how they are experienced than to do with the constructed world of the poem and its mechanisms, and of the role we have to play in animating this world.
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Leeder, Karen Jane. "#Hineingeboren' : a new generation of poets in the German Democratic Republic (1979-1989)." Thesis, University of Oxford, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.358525.
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McMurtry, Aine. "Crisis and form in Ingeborg Bachmann's late verse and prose : an aesthetic examination of the poetic drafts of the 1960s." Thesis, University of Oxford, 2008. http://ora.ox.ac.uk/objects/uuid:bdad508f-d96c-4480-8fa3-87f1b648e41d.
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This thesis demonstrates the aesthetic impact of crisis on Ingeborg Bachmann's late verse and prose. It examines poetic drafts written during a period of personal breakdown in the 1960s, which have largely been received as documents of personal suffering, and identifies these texts as a radical stage of writing that was to prove formally significant for Bachmann's development of the prose "Todesarten"-Projekt. This thesis draws on the new material made available with the publication of these poetic drafts to chart the genesis of Bachmann's acclaimed late oeuvre. By selecting and grouping lyric fragments, the thesis defines recurrent features in this verse and accounts for the texts as a body of writing that forms a radical, yet undocumented, part of this oeuvre. In terms of both their form and of their content, the fragmentary drafts are shown to reflect new engagement with aspects of experience conventionally excluded from High Art. In light of Bachmann's growing preoccupation with the need for aesthetic engagement in the post-war era, close readings reveal how she set about taking her subjective suffering as a basis for a critique of the social order. The thesis outlines how, during the 1960s, Bachmann pioneered a symptomatic expressive mode that - in the disrupted form of the writing - found an indirect means of manifesting the wider origins of subjective disturbance. The ambiguous aesthetic status of these poetic drafts, which were never finished by Bachmann, is related to an inability to establish structural distance from crisis in lyric form. Building on its readings of the poetic drafts, the thesis traces Bachmann's prose experimentation with the same motifs. It identifies how, ultimately, the prose medium enabled the author to resolve problems of aesthetic form raised in the verse. Parallels with the work of other writers and thinkers illuminate the development of a reflexive mode where sophisticated aesthetic strategies enable the oblique expression of cultural critique.
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Giuffré, Salvatore. "German Literary and Philosophical Influences on the Chinese Poetry of Feng Zhi (1905-1993) : the Sonnets." Thesis, Lyon, 2018. http://www.theses.fr/2018LYSE3026/document.
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Cette thèse porte sur l’analyse des relations intertextuelles entre des œuvres littéraires et philosophiques allemandes, notamment les textes de Novalis et de Rilke, et le recueil de sonnets de l’écrivain et traducteur chinois moderne Feng Zhi. Le but de cette étude est d’analyser et de discerner dans quelle mesure il est possible d’établir des relations « transtextuelles » entre la littérature primaire, la thèse de doctorat de Feng Zhi, qui a joué un rôle vital dans le développement de sa voix poétique, et son recueil de sonnets. Les textes analysés dans le cadre de cette étude visent à montrer comment certains indices transculturels de la poésie de Feng Zhi définissent la tendance poétique de l’écrivain en tant que postromantique et métaphysique, alors qu’une recherche plus approfondie et d’autres évidences transtextuelles encadrent sa production lyrique parmi les premiers exemples de littérature moderniste chinoise. Les profondes et énigmatiques réflexions contemplatives des sonnets font de Feng Zhi un poète métaphysique. La voix lyrique s'engage avec le monde extérieur et gagne de nouvelles expériences esthétiques à travers l'imagination, la méditation sur l'infini spatial et temporel, la reconnaissance de l'état mutable et permanent de la matière, et une finale réalisation existentielle de l'auto-accomplissement de l'homme à travers son état d'isolement. Cette étude analyse enfin l'idée conceptualisée de l'infini et de la transcendance poétique évoquée par le mysticisme orphique. Cette approche redéfinit la relation du sujet poétique avec le monde extérieur et sa perception constructive finale de sa position au sein de la communauté, de la nature et du cosmos dans son ensembleThe research conducted in this work focuses on the intertextuality between German literary and philosophical works, notably those of Novalis and Rilke, and the sonnet collection of the modern Chinese scholar and writer Feng Zhi. This study analyses the extent to which transtextual elements travel between the primary literature, the author’s own German doctoral dissertation, which ultimately played a vital role in the development of his lyrical voice, and his sonnets. Moreover, the texts analysed in this study attempt to demonstrate how given transcultural elements in Feng Zhi’s poetry define the writer’s apparent poetic tendency as a post-Romantic and metaphysical lyricist, whereas other closer transtextual investigations place his work among the first examples of Chinese modernist writings. The profound and enigmatic contemplative reflections of the sonnets make Feng Zhi a metaphysical poet. The lyrical self engages with the surrounding world and gains new aesthetic experiences through the power of imagination, the meditation on spatial and temporal infinity, the recognition of the changeable and permanent state of matter, and a final existential realisation of man’s self-completion through his state of isolation. This study finally also analyses the conceptualised idea of infinity and transcendence evoked by Orphic mysticism. This approach redefines the poetic subject’s relationship with the outer world, and the subject’s final perception of his position within the community, nature and the cosmos as a whole
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Hostert, Thomas. "L'amor cortese provenzale fra hohe Minne e dolce stil novo." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79948.
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In this thesis, a literary historic path on the development of the lyric expression of courtly love will be created. The path will take us from the Provence through Germany and Sicily, and up to the Tuscany of the thirteen's century. The poetic characteristics of the hohe Minne and dolce stil novo will be particularly highlighted in order to facilitate the comprehension of their similarities and differences. It is understood that it will not be possible to offer a complete interpretation of the two lyric expressions. Rather, this thesis wishes to offer a basis for the development of further comparative studies between the German and Italian lyric expressions that were inspired by the Provencal courtly love. As representatives of the evolution of the poetry of love in Germany and Italy, Walther von der Vogelweide and Guido Cavalcanti were chosen for the innovative character of their poetry and the artistic quality of the results they achieved.
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Schulz, Ulrike-Marianne. "Liebe, Ehe und Sexualität im vorreformatorischen Meistersang Texte und Untersuchungen /." Göppingen : Kümmerle, 1995. http://books.google.com/books?id=6L1bAAAAMAAJ.
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Buhanan, Kurt R. "Rethinking Trümmerliteratur: The Aesthetics of Destruction Ruins, Ruination, and Ruined Language in the Works of Böll Grass, and Celan." BYU ScholarsArchive, 2007. https://scholarsarchive.byu.edu/etd/830.
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Trümmerliteratur - literally “rubble-literature" - is a brand of literature that became important after the Second World War, led by Heinrich Böll, whom I term the apologist of German Trümmerliteratur. Typically included under this classification are the writers who began to produce in the years immediately following the war, and in whose work the rubble and ruins of the landscape figure prominently. Böll provided the programmatic framework for the movement in his “Bekenntnis zur Trümmerliteratur" but his relationship to another type of ruin writing presents a point of friction when he appears to be working in a romantic mode to describe his experience of Irish ruins. This problem was the point of departure for a new thinking of ruins. Discovering the strains of rubble literature in Grass and Celan presents the second part of this study, which dramatically recasts these writers, demanding that the presence and prevalence of ruin images and themes receive consideration. Grass's hermeneutical ruins, a reading of narrative gaps, presents the first level of ruin, separating the reader from the text's reliability and authorial immediacy. The next type of ruins that Grass presents is the violent ruinating involved in the the act of writing itself, whether chiseled into gravestones or flecking virginal paper. Similarly, Celan's images of ruins are produced in a form consciously resembling berubbled structures, with dashes and slashes often left jutting dangerously into the space of a wide margin, like the rusty reinforcing steel bars of modern construction. Considering these writers in these terms leads to the question of language and how they attempt to overcome the problem of a language manipulated into complicity in the crimes of totalitarianism. Finally, there is the transparency offered in the porous structure of the ruin. These houses prove incapable of providing the shelter or protection. The inhabitants are exposed, exhibited to the observer with all of the intimate contents of quotidian existence, the low objects of the everyday. Entrance into this interiority is a powerful part of what makes the ruins an interesting object for observation. In this literature of ruins and rubble the reader is offered this transparency, an offer of entrance into society's interiority.
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Newcomb, Christine Caroline. "August Wilhelm Schlegel : poet, critic and translator /." Thesis, Connect to this title online; UW restricted, 2000. http://hdl.handle.net/1773/6681.
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Reintjes, Meike. "The translingual imagination in the work of four women poets of German-Jewish origin." Thesis, University of Southampton, 2014. https://eprints.soton.ac.uk/370710/.
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In this thesis, I am developing a theory of the translingual imagination which can be used as a tool to explore literature written in a second language. The term ‘translingual imagination’ was first coined by Steven Kellman in his essay ‘Translingualism and the Literary Imagination’, describing the work of authors writing in a language other than their first. Recent years have seen a growing body of research on these writers, not least because of a risen interest in post-colonial writing and transnational and migration studies. Literary scholars have increasingly questioned ‘the paradigma of monolingualism’, and linguistic research has looked at interrelations between migration,language and identity. However, research projects have often focused on prose writing, predominantly examining the work of canonized male authors (such as Kafka, Conrad or Rushdie), and post-war migrants(such as Turkish-born authors writing in German, or South American-born writers writing in English). Poetry written by women poets of German-Jewish origin has mainly been considered part of Holocaust writing, and over the past decades German scholars have been trying to reclaim these texts as ‘German -Jewish’ poetry. My thesis considers the work of four English poets of German-Jewish origin in the context of translingual writing. While using Kellman’s term, I shall suggest a set of specific criteria to allow for a clearer definition of the ‘translingual imagination’. In applying these criteria to the work of women poets of German-Jewish origin, I will not only show the translingual imagination at work but also encourage a new reading of literature written by German-Jewish refugees that goes beyond the notion of exile poetry.
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Spjut, Kajsa M. ""Heimatlos in dieser Welt": The Isolated Modern Woman in Edith Södergran’s Vaxdukshäft Poetry." BYU ScholarsArchive, 2010. https://scholarsarchive.byu.edu/etd/2439.
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In this thesis, I explore how, although Edith Södergran’s Vaxdukshäf poems seem to support new female roles in early 20th century European society, they also reflect on the danger in changing from traditional to modern roles. As the poems illustrate, this change can create an isolated woman, who becomes trapped in her new independence and is unable to alter herself to connect with others. In order to understand what is meant by traditional and modern female roles, I present a historical background that contrasts the woman of pre-20th-Century Europe with the new woman that emerged around the Turn of the Century. I do this by focusing on marriage, motherhood, the woman's role inside and outside of the home, valued feminine characteristics, and women's clothing.
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Lyon, Nicole M. "Between the Jammertal and the Freudensaal the existential apocalypticism of Paul Gerhardt (1607-76) /." Cincinnati, Ohio : University of Cincinnati, 2009. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1243366861.
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Thesis (M.A.)--University of Cincinnati, 2009.Advisor: Richard Schade. Title from electronic thesis title page (viewed Aug. 12, 2009). Includes abstract. Keywords: Early Modern Germany; Paul Gerhardt; Apocalypticism; Protestant Hymns; Revelations; 17th Century; Thirty Years' War; Poetry; Protestantism. Includes bibliographical references.
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vom, Schemm A. (Axel). "Dichter am Ball:untersuchungen zur Poetik des Sports am Beispiel deutschsprachiger „Fußball-Literatur”." Doctoral thesis, University of Oulu, 2006. http://urn.fi/urn:isbn:9514283023.
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Abstract In view of numerous texts from completely different genres the study shows to what extent and degree of differentiation the topic soccer is covered in German-language literature and allows general conclusions on a poetics of sport. Here solely German-language literary sources are considered. The work is divided into a theoretical and a text-related part. In the former section the approaches to the topic – on one hand via German studies and on the other hand via interdisciplinary sport science – is made clear by means of basic considerations on the questions “what is literature?” and “what is sport”. In addition, a revisable basis for the subsequent studies is provided. The text-related part – in turn subdivided according to the three main genres lyric poetry, epic poetry and drama – shows how exactly soccer appears as literary subject. Formal differences induced by the form of presentation within a genre (sonnet vs. visual poetry) or across genres (detective story vs. modern drama) take effect as well as context-related variations of the subject (soccer as symbolic carrier of meaning vs. soccer as vehicle for transporting ethical values). A concluding chapter each on the realization of the sport models introduced in the theoretical part in literary practice follow the individual genre areas. The various aspects that can be attributed to a poetics of sport conclude the study in a summarizing part. Not least here the comprehensiveness of the findings can be seenAbstract Die Untersuchung zeigt mit Blick auf zahlreiche Texte ganz unterschiedlicher Gattungen, in welchem Umfang und wie differenziert das Thema Fußball in der deutschen Literatur behandelt wird und lässt damit allgemeine Rückschlüsse auf eine Poetik des Sports zu. Betrachtet werden hier ausschließlich deutschsprachige, literarische Quellen. Die Arbeit gliedert sich in einen theoretischen und einen textbezogenen Teil. Im erstgenannten Abschnitt wird durch grundsätzliche Überlegungen zu den Fragen „Was ist Literatur? ” und „Was ist Sport? ” der einerseits germanistische, andererseits interdisziplinäre sportwissenschaftliche Zugang zum Thema verdeutlicht. Zudem ist hier eine überprüfbare Basis für die anschließenden Untersuchungen geschaffen. Der textbezogene Teil – wiederum untergliedert nach den drei Hauptgattungen Lyrik, Epik und Drama – zeigt, wie Fußball genau als literarisches Motiv erscheint. Formale Unterschiede bedingt durch die Darstellungsform innerhalb einer Gattung (Sonett vs. Visuelle Poesie) oder grenzüberschreitend (Kriminalroman vs. Modernes Drama) kommenden dabei ebenso zum Tragen wie inhaltliche Variationen des Motivs (Fußball als symbolischer Bedeutungsträger vs. Fußball als Vehikel zur Vermittlung ethischer Werte). Je ein resümierendes Kapitel über die Umsetzung der im theoretischen Teil eingeführten Sportmodelle in der literarischen Praxis schließt sich an die einzelnen Gattungsbereiche an. Die verschiedenen Aspekte, die sich einer Poetik des Sports zuschreiben lassen, schließen die Studie in einem zusammenfassenden Teil ab. Nicht zuletzt hier zeigt sich die Reichhaltigkeit der Untersuchungsergebnisse
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Reisinger, Anja. "Landeskunde und Lyrik? : vom Sonderfall Lyrik zum landeskundlichen Lernen mit Gedichten /." Frankfurt am Main [u.a.] : Lang, 2008. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016222953&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA.
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Dawson, Stephanie R. "Locus ornatus : ornamental structures in the idyll from Gessner to Eichendorff /." Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/9939.
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Bond, D. G. "German history and German identity : Uwe Johnson's Jahrestage." Thesis, University of Nottingham, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.304881.
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Layet, Clément. "Lumière de la vie." Thesis, Clermont-Ferrand 2, 2013. http://www.theses.fr/2013CLF20002.
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Le divin peut-il être à la fois mort et vivant ? Résonnant pour nous à partir de Nietzsche et de Heidegger, cette question traverse l’œuvre, d’abord poétique mais aussi pleinement philosophique, de Friedrich Hölderlin (1770-1843). Dès la querelle du panthéisme qui anime le débat intellectuel germanique au cours des années 1780, le dieu de la métaphysique identifié avec le dieu chrétien semble perdre son effectivité. Mais le divin n’est pas seulement pour Hölderlin un contenu dogmatique ou conceptuel : il désigne avant tout le lien qui s’établit avec la nature lorsque l’homme réfléchit le sentiment que celle-ci produit en lui-même. Dès lors, même s’il semble exposé à la mort en tant que Créateur transcendant du monde, Dieu ne cesse pas de pouvoir être approché comme la source vive de toute apparition. Il ne se manifeste toutefois comme tel qu’à condition de s’effacer comme antériorité et de donner lieu aux choses singulières, en une rupture de toute union prétendument originelle. Or, dire que le principe doit nier sa propre primauté, c’est dire que l’un tend à se séparer de soi pour accéder à sa propre unité, et qu’il doit nécessairement produire une image de lui-même. En défendant cette thèse héritière d’Héraclite et du néoplatonisme, Hölderlin s’oppose aux philosophes idéalistes subjectifs, qui identifient alors le principe de toute réalité avec le Moi, et il s’expose du même coup à l’objection d’être incohérent et exalté. Mais l’effet produit par ses poèmes, par son roman et par sa tragédie fait s’évanouir tout soupçon de Schwärmerei. La poésie hölderlinienne est réellement image de Dieu. L’étude de la méditation et de la mise en œuvre progressive d’une telle effectivité exige de distinguer trois périodes dans le développement de sa pensée. Entre 1785 et 1795, Hölderlin s’efforce de parvenir, après avoir lu Kant, Schiller, Fichte et Schelling, à une compréhension à la fois non subjective et non dogmatique de l’être. Entre 1795 et 1802, en nommant le principe à la fois « beauté » à partir de Platon et « un se différenciant en lui-même » à partir d’Héraclite, il conceptualise les moyens de traduire poétiquement la profusion de la vie divine. Entre 1802 et 1843, comme si la mort de Susette Gontard, l’isolement et la folie affrontés sur le plan biographique rejoignaient, sur les plans théorique et poétique, la méditation de Pindare, de Sophocle et de la figure du Christ, Hölderlin montre la dépendance de l’infini à l’égard de la finitude. Ainsi son œuvre entière donne-t-elle à voir, en sa tension interne entre le poème et la philosophie, la vie divine harmoniquement opposéeCan the divinity be at once dead and alive? Resonating for us since the time of Nietzsche and Heidegger, this question runs all through the works of Hölderlin, in the first place poetic, but also, in the fullest sense, philosophic. From the time of the controversy over pantheism among German intellectuals in the 1780s the identification of the god of metaphysics with the Christian god seems to have lost its effectiveness. But the divinity for Hölderlin was not only a written dogma or concept ; it denotes above all the link established with nature when man reflects the feelings it arouses in him. From then on, god, even if he seems exposed to death as the transcendent creator of the world, continues to be approachable as the deepest source of all apparitions. However, god only manifests himself in this way if he effaces himself as anteriority, and breaking all union supposedly original, makes way for singular things. Now, to say that the principle denies its own primacy is to say that the one tends to separate from itself in order to reach its own unity, and that it must necessarily produce an image of itself. In defending this proposition, Hölderlin set himself in opposition to the subjective idealist philosophers, who identified the principle of all reality with the "I", and he exposed himself at the same time to the objection that he was incoherent and fanatical. But the effect produced by his poems, novel and tragedy dispels all suspicion of Schwärmerei. Hölderlin’s poetry really is the image of god. A study of his meditation and the progressive implementation of such a level of effectiveness makes it necessary to distinguish three periods in the evolution of his thought. Between 1785 and 1795, after having read Kant, Schiller, Fichte and Schelling, Hölderlin tried to achieve an understanding both non-subjective and non-dogmatic of Being. Between 1795 and 1802 he conceptualised the means of conveying through poetry the profusion of divine life, naming the principle both "beauty", after Plato, and "one differentiating in itself", after Heraclitus. Between 1802 and 1843, as if the death of Susette Gontard, isolation and madness confronted at a biographical level had conjoined, at a theoretic and poetic level, the meditation on Pindar, Sophocles and the face of Christ, Hölderlin showed the dependence of the infinite with regard to the finite. Thus, the whole body of his work, in its internal tension between poem and philosophy, reveals divine life in harmonic opposition
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Sullivan, Joseph Martin. "Counsel in Middle High German Arthurian romance /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.
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Zimmerman, Aine K. "Estranged Bedfellows: German-Jewish Love Stories in Contemporary German Literature and Film." Cincinnati, Ohio : University of Cincinnati, 2008. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1218765995.
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Thesis (Ph. D. )--University of Cincinnati, 2008.Advisors: Dr. Katharina Gerstenberger (Committee Chair), Dr. Todd Herzog (Committee Member), Dr. Sara Friedrichsmeyer (Committee Member) Title from electronic thesis title page (viewed Oct. 4, 2008). Includes abstract. Keywords: German-Jewish relations; German-Jewish love stories; intercultural relationships; Holocaust studies; Holocaust legacy; normalization; contemporary German literature; contemporary German film; negative symbiosis Includes bibliographical references.
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Ćurčin, Milan. "Srpska narodna pesma u nemačkoj književnosti." Beograd : Narodna biblioteka Srbije, 1987. http://catalog.hathitrust.org/api/volumes/oclc/18487273.html.
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Originally presented as the author's Thesis (doctoral --Universität Wien) under the title: Das serbische Volkslied in der deutschen Literatur.Includes bibliographical references (p. [169]-189) and index.
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Albu, Stefana Maria. "What is German? : migrating identities in Turkish-German literature : an analysis of cultural Influences on German national identity /." Norton, Mass. : Wheaton College, 2010. http://hdl.handle.net/10090/15117.
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Kepple, Amy Jo. "Imaging the body in Contemporary Women's Poetry: Helga Novak, Ursula Krechel, Carolyn Forche, Nikki Giovanni." The Ohio State University, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=osu1389348189.
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Hutfilz, William George. "Pastoral politics : German pastoral literature and court culture, 1200-1800 /." Thesis, Connect to this title online; UW restricted, 1997. http://hdl.handle.net/1773/9950.
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Bildhauer, Bettina Maria Elisabeth. "Blood in thirteenth-century German literature." Thesis, University of Cambridge, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.288655.
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Brice, James Stuart. "German Holocaust Literature: Trends and Tendencies." [S.l. : s.n.], 2005. http://nbn-resolving.de/urn:nbn:de:bsz:352-opus-58461.
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Sharman, Gundula-Maria. "Twentieth-century reworkings of German literature." Thesis, University of Aberdeen, 2000. http://digitool.abdn.ac.uk/R?func=search-advanced-go&find_code1=WSN&request1=AAIU122777.
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No work of art stands in isolation. In one way or another it will have evolved from a form that has been created before, and likewise, it may itself have an influence on future developments and trends in a given genre. The literary reworking distinguishes itself by referring openly and explicitly to a previous fictional model, thus encouraging the reader to draw comparisons and to note contrasts between the model and the reworking. The investigation concentrates on two examples, from each genre, the drama, the novella and the novel. Reworkings of myths and legendary or historical characters have been excluded. Subject of the thesis is (a) an examination of how this link between model and reworking has been established, and (b) the effect the suggested presence of the literary model has on the interpretation of the reworking. With regard to (a) it has been found that each respective writer employs different narrative techniques to establish the link between model and reworking which has been summarized thus: - allusion to classicism: Schiller: Die Jungfrau von Orleans and Brecht: Die heilige Johanna der Schlachthöfe; - ironic reproduction: Hebbel: Maria Magdalena and Franz Xaver Kroetz: Maria Magdalena; - fragmentation: Thomas Mann: Der Tod in Venedig and Wolfgang Koeppen: Der Tod in Rom; - integration: Georg Büchner: Lenz and Peter Schneider: Lenz; - quotation: Goethe: Die Leiden des jungen Werther and Ulrich Plenzdorf: Die neuen Leiden de jungen W.; - character constellation: Goethe: Die Wahlverwandstschaften and John Banville: The Newton Letter With regard to (b) the effect of the reworking when read in conjunction with its literary model is strikingly different in each case, but common to all reworkings is a gain in historical depth, and in each case new themes and issues arise which are not immediately apparent when the reworking is considered on its own.
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Teuber-Terrones, Natalia. "Une lecture croisée de l'oeuvre poétique de Georg Trakl : constellation dialectique et dépassement." Thesis, Strasbourg, 2019. http://www.theses.fr/2019STRAC032.
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Cette thèse aspire à proposer une lecture renouvelée de l’oeuvre poétique de GeorgTrakl. Notre démarche repose d’abord sur la méthodologie classique employée en études germaniques, soit l’analyse de l’oeuvre à partir des faits biographiques, du contexte socio-historique et intellectuel et de l’intertextualité, que nous avons fait le choix d’enrichir par une approche pluridisciplinaire, faisant intervenir la philosophie, l’histoire des religions, la psychanalyse et la psychologie. En effet, ces disciplines nous permettront d’enrichir les résultats des nombreuses études de qualité qui ont fait date dans la recherche en ouvrant le regard porté sur l’oeuvre vers d’autres horizons. Ce travail se donne pour objectif majeur de questionner, de (re)lire et d’interpréter l’oeuvre poétique de celui que l’on considère comme le précurseur de l’expressionnisme à partir de disciplines variées, mais faisant toutes partie des sciences humaines, afin d’en montrer non seulement la complexité formelle, mais surtout la profondeur philosophique, l’actualité et la visée éthiqueThis thesis aspires to present a renewed reading of Georg Trakl’s poetry. Our reasoning is based on traditional methodology approaches commonly used in German studies. These comprise, among other things : interpreting the work on the basis of biographical facts, exploring social, historical and intellectual context and intertextuality. We have made the choice to improve this traditional approach by enhancing interdisciplinarity, using the lecture keys and results of philosophy, history of religion, psychoanalysis and psychology. Indeed, these disciplines will permit us to enhance the results of many serious studies by introducing a new point of view about his poetry. Our work aims to question reading in a different way, interpreting GeorgTrakl’s poetry on the basis of different disciplines associated with the humanities in order to show not only the formal complexity of these poems, but above all their philosophical depth, topicality and ethical goals
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Caldwell, David. "German documentary prose of the 1970s /." The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487266691095606.
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Heiser, Ines. "Autorität Freidank Studien zur Rezeption eines Spruchdichters im späten Mittelalter und der frühen Neuzeit /." Tübingen : Niemeyer, 2006. http://catalog.hathitrust.org/api/volumes/oclc/76873908.html.
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Deloglu, Katharina. "'Dann verlieren sich die Vorschriften des Widerstands.' - Die Lyrik Uwe Kolbes in den literarischen Feldern der Vorwendezeit (1976-87)." Doctoral thesis, Humboldt-Universität zu Berlin, 2018. http://dx.doi.org/10.18452/19600.
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Die Dissertation untersucht Uwe Kolbes Frühwerk und dessen zeitgenössische Rezeption in der DDR und der BRD sowie sein (semi)öffentliches Handeln und Wirken während der Vorwendezeit,d.h. eines spezifischen, von Transformationsprozessen geprägten Zeitraums. Dieser reicht von Kolbes erster Zeitschriftenpublikation 1976 bis zu seiner Übersiedlung in die BRD 1987. Kolbes literarische Produktion in der bezeichneten Zeitspanne und die damit zusammenhängenden sozialen Faktoren seiner Autorenbiographie – politische Privilegien, ökonomische Möglichkeiten und soziale Beziehungen als Voraussetzungen für sein Schreiben und seine Veröffentlichungen sowie sein (semi)öffentliches Handeln und Wirken – und seine Rezeption in von spezifischen Machtverhältnissen geprägten literarischen Aktionsräumen werden in der vorliegenden Arbeit als ein zusammengehöriges Ganzes untersucht und punktuell auf ihren Aussagewert für Situationen und Entwicklungen in den literarischen Feldern der Vorwendezeit befragt.
Die Arbeit fokussiert mit Hineingeboren auf den Eintritt Uwe Kolbes in das literarische Feld unter der Mentorschaft Franz Fühmanns, seine davon ausgehende Rezeption als generationsspezifischer Repräsentant der jungen DDR-Autorengeneration und die damit verbundenen Wahrnehmungs- und Bewertungsmuster in den literarischen Feldern DDR und BRD. Des Weiteren untersucht sie Kolbes Rolle in der inoffiziellen Szene am Prenzlauer Berg. Sie analysiert seine zeichentheoretisch fundierte Sprach- und Machtkritik in Abschiede und seine politische Poetologie in Bornholm II und Das Kabarett. Darüber hinaus arbeitet sie Kolbes Rolle des widerspenstigen und politisch kritischen Vorzeigeautors heraus, infolge derer er in der BRD als außenpolitisches Aushängeschild einer vermeintlich toleranten DDR-Kulturpolitik fungierte. Sie erforscht schließlich seine Rezeption in der BRD u.a. durch seine Position in verschiedenen Anthologien junger DDR-Literatur und analysiert seine Integration in den bundesdeutschen Kanon.This dissertation examines Uwe Kolbe’s early work and its reception in East and West Germany as well as his (semi-)public activities and their impact in the pre-Wende era, i.e. over a distinct time frame characterised by transformation processes. It spans the period from Kolbe’s first publication in a literary journal in 1976 to his relocation to West Germany in 1987. The present study views Kolbe’s literary production, the associated social factors of his literary career – political privileges, economic opportunities and social relationships as prerequisites for his writing and publications as well as his (semi-) public activities and their impact – and his reception as inextricably linked, and, by way of selected examples, shows their significance for situations and developments in the literary fields of the pre-Wende era. In the case of the poetry volume Hineingeboren, the study focuses on Kolbe’s entry into the literary field with the support of his mentor Franz Fühmann, his subsequent reception as a representative of the young generation of GDR authors, and the patterns of perception and evaluation associated with that in the literary fields of the GDR and West Germany. Kolbe’s role in the unofficial literary scene in Prenzlauer Berg is also investigated. The study analyses his semiotic critique of language and power in Abschiede and his political poetics as revealed in Bornholm II and Das Kabarett. In addition, it explores Kolbe’s role as a recalcitrant and politically critical author who became the poster boy of a supposedly tolerant East German cultural policy in West Germany. Finally, it examines Kolbe’s reception in West Germany, among other things through publications in various anthologies of contemporary GDR literature, and analyses how his work has been integrated into the German literary canon since Reunification.
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Cornel, Christian. "East German broadcasting and social unification." Thesis, Goldsmiths College (University of London), 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.252021.
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Sampath, Ursula. "Kaspar Hauser in twentieth-century German literature." Thesis, University of Oxford, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.293681.
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Weber, Alexander. "Günter Grass's use of German Baroque literature." Thesis, University of Cambridge, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.239093.
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Lechner, Judith. "Matters of Recognition in Contemporary German Literature." Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/19680.
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This dissertation deals with current political immigration debates, the conversations about the philosophical concept of recognition, and intercultural encounters in contemporary German literature. By reading contemporary literature in connection with philosophical, psychological, and theoretical works, new problem areas of the liberal promise of recognition become visible. Tied to assumptions of cultural essentialism, language use, and prejudice, one of the main findings of this work is how the recognition process is closely tied to narrative. Particularly within developmental psychology it is often argued that we learn and come to terms with ourselves through narrative.
The chosen literary encounters written by Alev Tekinay, Emine Sevgi Özdamar, Maxim Biller, Rafael Seligmann, and Finn-Ole Heinrich magnify this particular human experience on an aesthetic level and dismantle “mechanisms of recognition,” particularly three aspects illustrating the recognition process: the role of the narrator and his or her description of the characters, the construction of family bonds within the texts, and the linguistic and cultural practice of naming with all of its connotations.
Within the chosen texts there is no unified depiction of the recognition process, but rather the texts elucidate a multidimensionality of this concept, tying it closely to the political, social, and aesthetic sphere. In this context the analysis brings to light that the notion of “authenticity” crucially informs recognition as well as the circumstances of a power imbalance that dominates the process. My analysis shows that contrary to popular assumptions in philosophical and political debates, the concept of recognition turns out to be rather limiting instead of liberating.
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Einboden, Jeffrey Matthew. "Ralph Waldo Emerson, Persian poetry and the German critical tradition." Thesis, University of Cambridge, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.615029.
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