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Dissertations / Theses on the topic 'Günter Grass: Im Krebsgang'

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Published: 4 June 2021
Last updated: 6 February 2022

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1

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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2

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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3

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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4

Jarn, Maria. "Die Wirkung der Vergangenheit auf die Gegenwart und deren Verarbeitung in der Novelle Im Krebsgang von Günter Grass." Thesis, Stockholm University, Department of Baltic Languages, Finnish and German, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-7100.

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5

Nylander, Göran. "Günter Grass: Die Einstellung zum vermiedenen Thema in der Novelle "Im Krebsgang"." Thesis, Stockholm University, Department of Baltic Languages, Finnish and German, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-6909.

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6

Furch, Hannelore [Verfasser], Volker [Akademischer Betreuer] Neuhaus, and Walter [Akademischer Betreuer] Pape. "Der Erzählerdiskurs in "Unkenrufe" und "Im Krebsgang" von Günter Grass / Hannelore Furch. Gutachter: Volker Neuhaus ; Walter Pape." Köln : Universitäts- und Stadtbibliothek Köln, 2013. http://d-nb.info/1038379563/34.

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7

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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8

Coromines, i. Calders Diana. "La traducció de la ironia en l'obra de Günter Grass. Les versions angleses, daneses, catalanes i espanyoles d'Unkenrufe i Im Krebsgang." Doctoral thesis, Universitat Pompeu Fabra, 2011. http://hdl.handle.net/10803/51246.

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Aquesta tesi se centra en l'anàlisi comparativa i descriptiva de vint passatges irònics de les obres Unkenrufe (1992) i Im Krebsgang (2002) de Günter Grass i les seves respectives traduccions a l'anglès, el danès, el català i l'espanyol. Partint de la hipòtesi que totes les versions tendeixen a atenuar la ironia excepte les daneses –per raons de proximitat lingüisticocultural amb l'alemany– ens proposem assolir dos objectius: 1) explorar l'abast macroestructural d'aquesta suposada atenuació; i 2) fer dues propostes de classificació: d'estratègies d'ironia original i d'estratègies de traducció de la ironia. Amb aquests objectius a l'horitzó, en primer lloc emprem instruments de tipus narratològic per determinar el paper de la ironia en les obres originals, i seguidament duem a terme l'anàlisi comparativa i descriptiva dels passatges irònics mitjançant eines conceptuals semàntico-pragmàtiques. Els resultats de la investigació confirmen parcialment la hipòtesi inicial i aporten noves dades sobre la naturalesa de la ironia literària; el funcionament de la seva traducció; i el paper que hi juguen les restriccions lingüisticoculturals.
This dissertation presents the comparative and descriptive analysis of twenty ironic passages from Unkenrufe (1992) and Im Krebsgang (2002) by Günter Grass and their corresponding translations into English, Danish, Catalan and Spanish. Taking as a starting-point the hypothesis that irony will tend to be toned down in all the versions – except for the Danish ones, due to the linguistic and cultural proximity between Danish and German – the study has two objectives: 1) to explore the macrostructural impact of irony downtoning, and 2) to propose two classifications: one of original irony strategies, and one of translated irony strategies. With these objectives in mind, first we use narratological tools to determine the role played by irony in the original works, and then we use semantic-pragmatic tools to carry out a comparative and descriptive analysis of the ironic passages. The results of this study partially confirm the initial hypothesis and shed new light on the nature of literary irony, how its translation works, and the role played in it by linguistic and cultural constraints.
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9

Lee, Youngju [Verfasser]. "Erinnerungspraktiken in der neuen Erinnerungsliteratur : "Erfundene Erinnerung" in den Werken Im Krebsgang von Günter Grass und Austerlitz von W. G. Sebald / Youngju Lee." Konstanz : Bibliothek der Universität Konstanz, 2017. http://d-nb.info/1144179033/34.

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10

Baumgarten, Joseph Ephraim. "Combating the Banality of Evil: Portrayals of the Literary Female Villain in Günter Grass's Danziger Trilogie and Novella, Im Krebsgang." BYU ScholarsArchive, 2005. https://scholarsarchive.byu.edu/etd/653.

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In Günter Grass's Danzig Trilogy and novella, Im Krebsgang, an antagonistic female type makes a repeated appearance. She appears in the guise of Susi Kater and Luzie Rennwand in Die Blechtrommel, and as Tulla Pokriefke in the other works, Katz und Maus, Hundejahre, and Im Krebsgang. This antagonistic female type is not like other women in these works. A review of Le Deuxième Sexe by feminist Simone de Beauvoir reveals several crucial components contributing to woman's position in society. Most essentially, a woman's natural attributes and (dis)abilities and the conventions of society have enforced her historical submission to man. This thesis analyzes how the antagonistic female type, or villain, compares and contrasts with other female figures in these works by Grass, according to a paradigm derived from Beauvoir's description of woman. From this analysis, a better understanding of the female villain's nature emerges. Indeed, such a comparison demonstrates that certain female figures in the works of Grass transcend their historically oppressed or subdued status by refusing to submit to those natural handicaps and societal restrictions identified by Beauvoir, and thus become a threat to man's status or security as an antagonistic female type, or villain. However, the villain figure is not always inherently evil, but possesses the capacity to change. The villain and victim can reconcile their differences and may even form a friendly relationship. This evolving villain-victim duality becomes most clear in Grass's work, Im Krebsgang, and suggests the possibility of assuaging contemporary conflicts as educators sympathize with the experiences of both extremist groups and victimized parties and help them come to terms with their differences.
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11

Baumgarten, Joseph Ephraim. "Combating the banality of evil : portrayals of the literary female villain in Günter Grass's Danziger Trilogie and novella, Im Krebsgang /." Diss., CLICK HERE for online access, 2005. http://contentdm.lib.byu.edu/ETD/image/etd989.pdf.

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12

Kreutz-Arnold, Heike. "Das Trauma der "Opfertäter" und die Psychoästhetik der Trauer in Günter Grass' Novelle Im Krebsgang." Thesis, Queen Mary, University of London, 2010. http://qmro.qmul.ac.uk/xmlui/handle/123456789/493.

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Erstmals hat Günter Grass, dessen bisheriges Werk eine Beschäftigung mit den Fragen um Schuld und Scham verfolgte, in seiner Novelle Im Krebsgang die Ambivalenz der "Opfertäter" aus Mitwissern, Mitläufern und Mittätern von NS-Regime und Holocaust einerseits und als traumatisierte Opfer von Krieg, Flucht und Vertreibung andererseits behandelt. Indem der Untergang des "Kraft durch Freude" - Schiffes Wilhelm Gustloff in den Kontext der Geschichte, dem Vorher und dem Nachher der Katastrophe gesetzt wird, rücken die historischen Prozesse in den Blickpunkt, die zu diesem Ereignis geführt haben und die Folgen, die daraus entstanden sind. Dieser "kontextualisierte Ansatz" erfährt insofern eine Beschränkung, als er durch die Perspektive der traumatisierten Opfertäter erfolgt. Durch die Erweiterung des Figurenensembles um eine neue Generation - Konny Pokriefke und Wolfgang Stremplin als Repräsentanten der dritten Nachkriegsgeneration - richtet die Novelle den Blick auf die Gegenwart und Zukunft aus der Vergangenheit und somit implizit auf die historische Verantwortung als Aufgabe für die nachfolgenden Generationen. Seit 1980 hat Grass mit dem Begriff der "Vergegenkunft" gearbeitet, einer Vergangenheit, die ihre Schatten auf die Gegenwart und die Zukunft werfe. Die zunächst durch Schuld und Scham besetzte Vergangenheit wird im Krebsgang erweitert um die Wahrnehmung des Traumas und seiner pathologischen Wirkung. Durch die Einführung der zweiten und dritten Nachkriegsgeneration in der Narration gewinnt die aus der Vergangenheit überschattete Gegenwart und Zukunft eine Form, die die traumabedingten Brüche der Identität als Grund für die Unmöglichkeit der Trauer offenbart. Der Stillstand der Protagonisten, der sich als Wiederholung im finalen Moment des Mordes an Wolfgang Stremplin alias David Frankfurter offenbart, entspringt im Krebsgang nicht einer melancholischen Unfähigkeit zu trauern, weil die Schuld- und Schamgefühle übermächtig sind. Vielmehr scheint das Erstarren der Protagonisten in ihren unmittelbaren und mittelbaren traumatischen Erfahrungen begründet zu sein, die sie in ihrem Bann gefangen halten. Es sind die vermeintlichen Schuld- und Schamgefühle der Nebenprotagonisten, die eine Bearbeitung des Traumas als Vorbedingung der Trauer unmöglich machen.
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13

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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14

Ley, Lisa Maria. "Zur Intertextualität und Intermedialität in Günter Grass’ Die Rättin : Das Märchen im Zeitalter seiner dystopischen Reinszenierbarkeit." Thesis, Högskolan Dalarna, Institutionen för språk, litteratur och lärande, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:du-38417.

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This study focuses on the elements of intertextuality and intermediality in the novel Die Rättin by Günter Grass. It is an attempt to place the text in a context of literary theory and contemporary society as well as in a deeply rooted tradition of storytelling that feeds the author’s inspiration and motivates a continuous dialogue between different works of fiction. It is also a reflection on the impact of different media on the development of art. The study leans on Walter Benjamin’s classic essay The Work of Art in the Age of Mechanical Reproduction and its aim is to show how the postmodern reality shapes a new form of art, which uses cross-referencing between different means of artistic expression to maintain the “aura” of originality despite mass production of stereotypical stories and works of art. Grass incorporates both the underlying art theory and art production itself in his rich narrative of the dying and resurrection of mankind and art. In Die Rättin, his original concepts of intertextuality and intermediality reach mastery. This study highlights the various ways in which Grass spins his narrative around an idea of the “Gesamtkunstwerk” of human creation.
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15

Wu, Zih-Sian, and 吳姿嫻. "Thematic and Structure of Narrative Text: A Case Study on Günter Grass' Work "Im Krebsgang"." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/35376803665678481745.

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碩士
輔仁大學
德國語文學系
99
Günter Grass (1927-) is the winner of the 1999 Nobel Prize in Literature and has been regarded as one of the famous German literature writers from the 1950s to the early 21st century. His most famous and representative work is the “Danziger Trilogie”, which is a collection includes Die Blechtrommel, Katz und Maus and Die Hundjahre. Grass is not only a novelist, playwright and poet, but also a painter and sculptor. This study has taken Im Krebsgang, a novel written by Grass and published in February 2002, as the research subject. Furthermore, the narratology by Jürgen H. Petersen and the discourse analysis theory by Klaus Brinker have adopted as the research methods to conduct the discussion and to examine the subject, structure and communication function of the narrative text. Im Krebsgang is started with the shipwreck of the “Wilhelm Gustloff” which occurred in the post-World War II. The author made a textual research based on the actual historical event and added some fictional characters and evens into the story. The story is processed in a narrative way that is similar with the “crab-like walking”, which means sometimes it employs the parallel narration and sometimes the cross narration. It has not only mentioned the various features of the Wilhelm Gustloff during World War II and its sinking process, but also referred to some politically sensitive issues, such as the German people’s thoughts on the anti-Semitism of the Nazi regime during World War II, and the fact that the people were driven to German to seek refuge after the war. This novel has taken Danzig, the birthplace of Grass, as the background of the historical event, describing the German people’s internal struggles with facing the guilty of triggering the war and the grief of losing home after the World War II. Moreover, the contrast political stances between the East German people and the West German people results in cognitive differences in history and accordingly conflicts. In such this modern social development, the indifferent interpersonal relationship due to modern networks has caused part of the German attempt to conceal and rewrite the past historical events. In addition, due to the resurgence of Nazi far-right extremism, the differences between the German people’s thoughts on historical events are even more apparent. By representing the tragic historical event and describing its influence on the social development in the 1990s, Im Krebsgang has alluded that human beings seem to repeat the same mistakes again and again. Nonetheless, repeated tragedies may be avoided if we can truly face and represent the history.
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16

Schulz, Markus [Verfasser]. ""Die Vernichtung der Menschheit hat begonnen" : Zivilisationskritik im Spätwerk von Günter Grass / vorgelegt von Markus Schulz." 2004. http://d-nb.info/974964484/34.

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17

Neuschäfer, Markus. "Das bedingte Selbst." Doctoral thesis, 2012. http://hdl.handle.net/11858/00-1735-0000-0001-BAB5-6.

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18

Köpcke, Rolf [Verfasser]. "Die Verarbeitung der Wiedervereinigung Deutschlands im Wende- und Berlin-Roman "Ein weites Feld" (1995) von Günter Grass : die Versuche der Einflussnahme des Ministeriums für Staatssicherheit (MfS) auf ihn / vorgelegt von: Rolf Köpcke." 2002. http://d-nb.info/967067979/34.

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