Relevant bibliographies by topics / Günter Grass

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Günter Grass'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 January 2023

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Journal articles on the topic "Günter Grass"

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Wilke, Sabine, and Richard H. Lawson. "Günter Grass." Die Unterrichtspraxis / Teaching German 21, no. 2 (1988): 249. http://dx.doi.org/10.2307/3530313.

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Zimmermann, Ulf, and Marcel Reich-Ranicki. "Günter Grass." World Literature Today 67, no. 4 (1993): 823. http://dx.doi.org/10.2307/40149679.

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Maldonado Alemán, Manuel. "Traducir a Günter Grass." Philologia Hispalensis 2, no. 19 (2005): 125–37. http://dx.doi.org/10.12795/ph.2005.v19.i02.08.

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Grawe, Christian, and Alan Frank Keele. "Understanding Günter Grass." World Literature Today 63, no. 2 (1989): 305. http://dx.doi.org/10.2307/40144895.

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Altenhein, Hans. "Arbeiten Mit Günter Grass." Oxford German Studies 48, no. 3 (July 3, 2019): 420–23. http://dx.doi.org/10.1080/00787191.2019.1664175.

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Damrau, Peter, and Anselm Weyer. "Günter Grass und die Musik." Modern Language Review 103, no. 3 (July 1, 2008): 906. http://dx.doi.org/10.2307/20468001.

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Hatfield, H., and Franz Josef Görtz. "Günter Grass: Auskunft für Leser." World Literature Today 60, no. 1 (1986): 105. http://dx.doi.org/10.2307/40141228.

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Revel, Jean-François. "Le déroute de Günter Grass." Commentaire Numéro 52, no. 4 (December 21, 1990): 817–18. http://dx.doi.org/10.3917/comm.052.0817.

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Mercillon, Rose-Marie. "La nostalgie de Günter Grass." Commentaire Numéro 72, no. 4 (December 1, 1995): 913–15. http://dx.doi.org/10.3917/comm.072.0913.

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Papiór, Jan. "Marginal Notes about Günter Grass." Prace Naukowe Akademii im. Jana Długosza w Częstochowie. Studia Neofilologiczne 11 (2015): 121–30. http://dx.doi.org/10.16926/sn.2015.11.07.

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Dissertations / Theses on the topic "Günter Grass"

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Pedro, Elisandra de Souza. "Simultaneidade indissolúvel entre o factual e o ficcional na obra Beim Häuten der Zwiebel de Günter Grass." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/8/8144/tde-18092018-141946/.

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Por muitos anos, Günter Grass, quando questionado em entrevistas sobre a possibilidade de escrever uma autobiografa, sempre respondia que o que deveria ser dito sobre sua vida estava registrado, em certa medida, em sua obra ficcional e, portanto, uma autobiografia não era necessária. Em 2006, Grass publicou a autobiografia, Beim Häuten der Zwiebel. O lançamento foi cercado de polêmicas discussões nos meios literário e midiático, principalmente devido à revelação de que o autor havia feito parte da Waffen-SS. Ponto central das análises publicadas a respeito da obra, a confissão suscitou questionamentos de caráter ético e principalmente discussões sobre a revalidação da obra do autor que sempre foi considerado a voz da consciência alemã. Segundo parte das críticas, o fato de Grass por tanto tempo ter escondido do público seu passado e tardiamente tê-lo revelado de forma pouco precisa determina as estratégias escolhidas para a elaboração de seu texto: uma narrativa ambígua, pouco objetiva ou pouco esclarecedora sobre sua participação real na Segunda Guerra Mundial. Essa avaliação será o ponto central da discussão, pois a partir dela se dá a caracterização de que a narrativa autobiográfica de Grass, em alguns momentos, poderia ser avaliada como ficcional, o que questiona a classificação genérica do texto. Este trabalho se propõe a analisar de forma detida como é construído o texto autobiográfico e como o autor problematiza as particularidades de sua escrita, sobretudo a partir do trânsito entre o factual e o ficcional, que gera a ambiguidade do texto e coloca o leitor em dúvida quanto ao caráter da obra. Para isso, serão discutidos conceitos fundamentais como autobiografia, ficção e autenticidade. Além disso, apresentaremos como o escritor trabalha ao longo de sua obra ficcional a utilização do eu autobiográfico em obras fundamentais para a construção do que viria a ser sua autobiografia, além da utilização de sua obra ficcional como horizonte de seu texto autobiográfico.
For many years, when asked in interviews about the possibility of writing an autobiography, Günter Grass used to answer that everything in his life that was worth making a register of was somehow already in his fictional work, therefore an autobiography was not necessary. In 2006, he published his autobiographical volume Beim Häuten der Zwiebel. This release was surrounded by literary and mediatic discussion, mainly due to the revelation that the author had been a member of the Waffen-SS. Central point in the published analyses on the book, this confession raised questioning of ethical nature and, above all, debates on a new validation of the authors anthology, which before was considered as the voice of the German consciousness. According to part of the critique, the fact that the writer kept his past hidden for so long from his readers and only disclosed it publically so late determines the strategies chosen by him for the whole elaboration of his narrative: an ambiguous narration, neither objective nor clear on the authors participation in World War II. This evaluation will be the focus of the discussion, for it is therefrom that one can characterize that Grass autobiographical narration, in certain moments, could be examined as fictional, which puts in question the general categorization of the text. The present thesis objective is to analyze, specifically, in which manner Günter Grass autobiographical text is constructed and how he problematizes the particularities of his writing style, especially from the transition between factual and fictional, which generates the ambiguity of the text and allows for the reader to have doubts relative to the nature of such text. To do so, the thesis will discuss some fundamental concepts such as autobiography, fiction and authenticity. Besides, we will present how the author utilizes the autobiographical I in his fictional books as something fundamental towards the latter construction of the autobiography itself, as well as the utilization of his fictional anthology as the horizon of his autobiographical text.
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Paulson, Mats. "Im Krebsgang von Günter Grass : Eine Analyse nach Gattungskriterien." Thesis, Mälardalens högskola, Akademin för utbildning, kultur och kommunikation, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:mdh:diva-39991.

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Die vorliegende Spezialarbeit ist eine Untersuchung innerhalb des C-niveaus des Deutschstudiums an der Mälardalen Hochschule, die sich mit den Novellenkriterien und dem Buch Im Krebsgang von Günter Grass beschäftigt. Der Hauptinhalt der Arbeit ist die Untersuchung und Analyse der Novellenkriterien im Buch– welche zu finden sind, wie sie verwendet werden und was sie dadurch vermitteln oderbedeuten. Genauer gesagt soll dort untersucht werden, in welchem Ausmaß diese Gattungskriterien dort zu finden sind. Der Autor hat bewusst dem Titel die Worte "eine Novelle" hinzugefügt, und damit von Anfang an seine Schrift dieser Gattung zugeordnet. Was bedeutet das für den Text und wie kommen diese Novellengattungskriterien im Text zum Ausdruck?
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Kinding, Björn. "Wirklichkeit und Fiktion in Günter Grass Im Krebsgang : Eine erzähltheoretische Analyse." Thesis, Högskolan Dalarna, Tyska, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:du-4742.

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Die Novelle, Im Krebsgang, von Günter Grass ist eine Mischung aus Zeitgeschichte, persönlicher Biografie des Autors und lebhafter Fantasie. Diese Komponenten auseinanderzuhalten könnte die Verständigung der Novelle verbessern. Nach den Annahmen, dass der engste Personenkreis um die Familie Pokriefke Fiktion ist, und die Geschichten um den U-Boot-Kommandanten Marinesko, den Medizinstudenten Frankfurter, den Nationalsozialisten Gustloff und das KdF-Schiff Wilhelm Gustloff faktual sind, wurden sechs Textabschnitte ausgewählt. Durch eine literaturwissenschaftliche Analyse dieser Textabschnitte wurden sechs Punkte gefunden, die die Trennlinie zwischen den fiktionalen und faktualen Textabschnitten identifizieren. Gefunden wurde, dass in den faktualen Texten der Erzähler immer auktorial, aus großer Distanz berichtet, und immer von der Fokalisierung getrennt ist. In den fiktionalen Texten aber liegt immer die Fokalisierung beim Erzähler, der stets szenisch erzählt.
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Deckner, Wilfried Frank Rüdiger. "A study of Günter Grass's poetry." Thesis, University of Oxford, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670381.

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Pedro, Elisandra de Souza. "Estratégias narrativas em O tambor: o diálogo entre a literatura e o cinema." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8144/tde-01122009-145523/.

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A discussão sobre adaptações de obras literárias em realizações cinematográficas já passou do campo moralista da fidelidade ou traição para uma discussão menos valorativa. Isso significou uma focalização no estudo da intertextualidade entre a adaptação cinematográfica e o romance original, tendo como pontos de observação o tipo de seleção feita no processo da realização fílmica, a concretização visual do texto literário, a atualização de determinados temas abordados na obra e o foco narrativo, por exemplo. O que se pretende com este trabalho é a análise da estrutura narrativa do romance O tambor (Die Blechtrommel) de Günter Grass e do filme homônimo dirigido por Volker Schlöndorff, observando a forma como o romancista articula a construção complexa de seu foco narrativo e como o cineasta trabalha essa estrutura em seu filme, o que resulta em diferentes formas de perceber e interpretar tanto o narrador-personagem quanto o universo no qual está inserido.
Debates on the adaptation of literary works to the cinema have already surpassed moral judgments related to fidelity and treason, finding a more objective approach. It implies, for example, the comparison between the movie adaptation and the original work focusing on intertextuality and using, as points for analysis, the selection of literary material made during the filmic realization process, the visual achievement of the literary text, the update of some of the themes brought out by the writer and the narrative focus, among others. This work aims at analyzing the narrative structure of Günter Grass novel The Tin Drum (Die Blechtrommel) and Volker Schlöndorffs homonymous movie by observing the complex articulation of Grass narrative focus and the directors rendering of that structure, which results in different ways of perceiving and interpreting both the narrating character and the universe he is placed in.
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Dolliat, Laure Anne. "Genèse et écriture de l’Histoire : "Mein Jahrhundert" de Günter Grass." Thesis, Lyon 2, 2014. http://www.theses.fr/2014LYO20107.

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L’objectif de la présente recherche est double: il s’agit dans un premier temps de proposer une autre lecture de Mein Jahrhundert de Günter Grass à partir des manuscrits en adoptant une perspective génétique au plus près du texte. À partir d’un corpus d’étude restreint, mais représentatif, recelant des documents sources explicites et montrant les différentes phases rédactionnelles nous avons mis en évidence un certain nombre de procédés caractéristiques de l’écriture grassienne et de phénomènes tant endogénétiques qu’exogénétiques révélant le recours à une intertextualité protéiforme déclarée ou dissimulée. Cette entreprise descriptive et interprétative s’est ensuite doublée d’une démarche herméneutique destinée à vérifier si l’ouvrage satisfait aux ambitions didactiques affichées par l’auteur en matière de transmission de l’Histoire, une transmission à finalité civique visant à prévenir ses bégaiements. En optant pour la polyphonie et le récit par le bas Grass entend également combler les lacunes du discours historiographique officiel. À l’issue d’un travail de recherche des sources avérées ou hypothétiques, nous avons mis en évidence que Grass a essentiellement recours à des sources journalistiques lui permettant d’ancrer le récit dans la réalité historique et d’inscrire son livre dans une veine populaire. La présence d’une matière documentaire implicite souvent dense requiert toutefois un savoir extratextuel de la part du lecteur, ce qui va à l’encontre d’une écriture populaire de l’Histoire, même si plusieurs degrés de lecture sont possibles. Le recours à la polyphonie prétendument garant d’une narration pluriperspective est un leurre en raison du marquage axiologique négatif de certains narrateurs laissant transparaître la position idéologique de l’auteur. Le choix des narrateurs, qu’ils soient empruntés à la réalité historique ou fictifs, comme celui des événements s’inscrit dans un système de valeurs univoque faisant constamment référence au discours épitextuel de l’auteur qui peut faire figure d’intertexte. L’écriture de l’Histoire s’appuie ainsi sur une rhétorique de la répétition polymorphe et transversale qu’elle soit autotextuelle, thématique, picturale ou concerne les procédés narratifs, ce qui accrédite la thèse d’un haut degré d’autoréférentialité de l’ouvrage et d’une perception autocentrique du siècle
Our research has a dual aim: first to offer a new reading of Mein Jahrhundert by Günter Grass from the manuscripts and from a genetic perspective while remaining as close as possible to the text. Using a restricted but representative corpus of studies with explicit source documents and pointing to various phases of writing, we have highlighted a certain number of procedures which are characteristic of the way Grass wrote, as well as phenomena of both an endogenous and exogenous nature which show his recourse to declared or hidden proteiform intertextuality. This descriptive and interpretative undertaking was then doubled with a hermeneutic approach aimed at establishing whether the work fulfils the didactic ambitions the author asserts regarding the conveying of History with a civic agenda aimed at overcoming the author’s stuttering. By opting for polyphony and a narrative from below, Grass also intends to fill gaps in the discourse of official historiography. After researching proved or hypothetical sources, we were able to demonstrate that Grass essentially uses journalistic sources which allow him to anchor his narrative in historic reality while writing his book in a popular vein. The presence of often dense implicit documentary material nevertheless makes far‐reaching extra‐textual knowledge on the part of the reader necessary, even if various layers of reading are possible.Recourse to the polyphony which is put forward as a guarantee for a narration from differing perspectives is misleading because of the negative value judgements of certain narrators revelatory of the author’s ideological position. The choice of narrators, whether borrowed from historic reality or fictional, just as the choice of the events is part of an unequivocal value hierarchy which constantly refers to the author’s epitextual discourse, which may be read a an inter‐text. The writing of History thus is based upon a rhetoric which consists of polymorphous and transversal repetition, ranging between autotextual, thematic, and pictorial and absorbed by narrative procedures. This corroborates the hypothesis that the work is highly self‐referential and based upon a self‐centred perception of the century
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Schulz, Markus. "'Die Vernichtung der Menschheit hat begonnen': Zivilisationskritik im Spätwerk von Günter Grass / The destruction of mankind has started : criticism of civilisation in Günter Grass' later work." Gerhard-Mercator-Universitaet Duisburg, 2005. http://www.ub.uni-duisburg.de/ETD-db/theses/available/duett-02242005-142018/.

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In the 80s and 90s of the 20th century Günter Grass treated the various chances of a sudden extinction of mankind for instance the decline by overpopulation and nuclear destruction. So the study deals with five main aspects to show Grass' own criticism of civilisation. The thesis at hand shall be a contribution to describe the significance of these various topics concerning Grass' prose, essayistic works and statements during the last 25 years.
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Solback, Karin. "Günter Grass - Im Krebsgang : Das deutsche Volk als Opfer und Täter." Thesis, Högskolan Dalarna, Tyska, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:du-11758.

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Schirrmacher, Beate. "Musik in der Prosa von Günter Grass : Intermediale Bezüge —Transmediale Perspektiven." Doctoral thesis, Stockholms universitet, Institutionen för baltiska språk, finska och tyska, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-38895.

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The thesis explores the role of music in Günter Grass’s novels. In pointing out the vital role of intermediality for Grass’s narrative strategies, the thesis opens up for a new, intermedial perspective on his work. It shows how references to music are used to realise Grass’s poetological concept “paspresenture” – the simultaneous presence of past, present and future – as well as his constant strive towards concreteness. The study draws on theories of intermediality, with a special focus on the role of transmedial media characteristics. It develops a transmedial methodology for analysing intermedial references, stressing how the notion of “musicality” within the text is created by media characteristics shared by both music and literature. Intermedial references are conceived as highlighting structures that are inherent in literature. The textual analyses of The Tin Drum (1959), Too Far Afield (1995) and Crabwalk (2002) are divided into three steps. First, explicit musical references in the narratives are interpreted as indexes pointing towards transmedial structures relevant to this specific context. Second, the examination demonstrates the prominent role of transmedial characteristics such as repetitivity, contrast, simultaneity and performativity within the texts. Third and last, the function of musical reference is discussed: in all three narratives, the focus on transmedial structures supplies a more consistent interpretation of passages which otherwise prove difficult to decipher. In Grass’s fiction, issues appear not to be discussed but performatively reenacted and thus remind more of musical than literary development. What is more, music – as handled by Grass – does not appear absolute or transcendent; rather, its manipulative potential is always prominent. However, the way musical references are used to realise Grass’s poetological aims stresses the bodily presence of musical performance, thus making music appear as the performative realisation of time.
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Santos, Bruno Mendes dos 1980. "Memória e ficção : o teor testemunhal na obra de Günter Grass." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270054.

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Orientador: Márcio Orlando Seligmann Silva
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-25T13:12:14Z (GMT). No. of bitstreams: 1 Santos_BrunoMendesdos_M.pdf: 1426800 bytes, checksum: d5e451f4db00da1f0cfd93ce9ad5765b (MD5) Previous issue date: 2014
Resumo: Este trabalho trata dos limites entre memória e ficção em algumas obras de Günter Grass (1927-) - a saber, O tambor (1959), Gato e rato (1961), Anos de cão (1965) e Nas peles da cebola (2006) - tendo em vista o seu teor testemunhal sobre o período entre guerras e pós-guerra, levando em conta a situação do autor como sujeito e objeto social, em um dos ambientes mais representativos da história global no século XX. Com o suporte de teorias da literatura, da cultura e da filosofia, além do aparato de textos críticos, ensaísticos e jornalísticos, bem como de outros textos literários sob perspectiva comparativa, deseja-se observar os processos de ficcionalização da memória individual, de romanceação da autobiografia e de construção da memória cultural através da literatura
Abstract: This work deals with the boundaries between memory and fiction in some pieces of Günter Grass (1927-) - namely, "The tim drum" (1959), "Cat and mouse" (1961), "Dog years" (1965) and "Peeling the onion" (2006) - taking into account its testimonial content from Nazism and postwar era, considering the author's position as social subject and object, in one of the most representative environments of world history in the twentieth century. Using theories of literature, culture and philosophy as support, as well as critics, essays and journalistic texts, besides other literary texts in a comparative perspective, it aims to observe the processes of fictionalizing individual memories, writing an autobiography in the form of a novel and building cultural memory through literature
Mestrado
Teoria e Critica Literaria
Mestre em Teoria e História Literária
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Books on the topic "Günter Grass"

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Reich-Ranicki, Marcel. Günter Grass. Frankfurt am Main, Germany: Fischer-Taschenbuch-Verlag, 1994.

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Mayer-Iswandy, Claudia. Günter Grass. Munich, Germany: Deutscher Taschenbuch Verlag, 2002.

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Neuhaus, Volker. Günter Grass. Stuttgart: J.B. Metzler, 2010. http://dx.doi.org/10.1007/978-3-476-05086-1.

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Neuhaus, Volker. Günter Grass. Stuttgart: J.B. Metzler, 1993. http://dx.doi.org/10.1007/978-3-476-04093-0.

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Günter Grass. 3rd ed. Stuttgart: J. B. Metzler, 2010.

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Pelster, Theodor. Günter Grass: Im Krebsgang. Stuttgart, Germany: Philipp Reclam, 2004.

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Grass, Günter. Günter Grass: Catalogue raisonné. Göttingen: Steidl, 2007.

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Rarisch, Klaus M. Günter Grass als Plagiator? Hamburg: Robert Wohlleben, 1994.

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Grass, Günter. The Günter Grass reader. Orlando: Harcourt, 2004.

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Ossowski, Mirosław. Günter Grass: Werk und Rezeption. Gdańsk: Wydawnictwo Uniwersytetu Gdańskiego, 2013.

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Book chapters on the topic "Günter Grass"

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Zimmermann, Harro. "Grass, Günter." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_6528-1.

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Zimmermann, Harro. "Günter Grass." In Kindler Kompakt: Deutsche Literatur, 20. Jahrhundert, 136–42. Stuttgart: J.B. Metzler, 2015. http://dx.doi.org/10.1007/978-3-476-05520-0_23.

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Neuhaus, Volker. "Grass, Günter." In Metzler Autoren Lexikon, 274–76. Stuttgart: J.B. Metzler, 1997. http://dx.doi.org/10.1007/978-3-476-03720-6_135.

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Frank, Søren. "Günter Grass." In Migration and Literature, 31–77. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230615472_2.

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Neuhaus, Volker. "Autobiographisches und Biographisches." In Günter Grass, 1–2. Stuttgart: J.B. Metzler, 2010. http://dx.doi.org/10.1007/978-3-476-05086-1_1.

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Neuhaus, Volker. "örtlich betäubt." In Günter Grass, 127–34. Stuttgart: J.B. Metzler, 2010. http://dx.doi.org/10.1007/978-3-476-05086-1_10.

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Neuhaus, Volker. "Aus dem Tagebuch einer Schnecke." In Günter Grass, 135–42. Stuttgart: J.B. Metzler, 2010. http://dx.doi.org/10.1007/978-3-476-05086-1_11.

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Neuhaus, Volker. "Literatur und Politik bei Günter Grass." In Günter Grass, 143–54. Stuttgart: J.B. Metzler, 2010. http://dx.doi.org/10.1007/978-3-476-05086-1_12.

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Neuhaus, Volker. "Der Butt." In Günter Grass, 155–68. Stuttgart: J.B. Metzler, 2010. http://dx.doi.org/10.1007/978-3-476-05086-1_13.

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Neuhaus, Volker. "Das Treffen in Telgte." In Günter Grass, 169–75. Stuttgart: J.B. Metzler, 2010. http://dx.doi.org/10.1007/978-3-476-05086-1_14.

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