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Journal articles on the topic 'Haushofer, Marlen'

Author: Grafiati

Published: 4 June 2021

Last updated: 5 February 2022

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1

Lorenz, Dagmar C. G., and Daniela Strigl. "Marlen Haushofer. Die Biographie." German Quarterly 76, no. 2 (2003): 218. http://dx.doi.org/10.2307/3252178.

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2

Battiston, Régine. "Marlen Haushofer : écrire pour transcender sa condition de femme." Germanica, no. 46 (June 30, 2010): 61–72. http://dx.doi.org/10.4000/germanica.1050.

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3

Palmer, Katarzyna. "Das Problem der Einsamkeit in den Romanen von Marlen Haushofer." Studia Germanica Posnaniensia 19 (October 29, 2018): 15–22. http://dx.doi.org/10.14746/sgp.1993.19.02.

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4

Meyer, Imke, and Rita Morrien. "Weibliches Textbegehren bei Ingeborg Bachmann, Marlen Haushofer und Unica Zurn." German Quarterly 73, no. 1 (2000): 122. http://dx.doi.org/10.2307/408193.

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5

Mathias, Dionei. "AGUÇAMENTO E INTENSIFICAÇÃO DA COMUNICAÇÃO EM DIE WAND DE MARLEN HAUSHOFER." Letras Escreve 7, no. 3 (2018): 319. http://dx.doi.org/10.18468/letras.2017v7n3.p319-339.

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<p><strong>RESUMO: </strong>O romance <em>Die Wand</em> (A parede), escrito pela autora austríaca Marlen Haushofer, foi publicado em 1963, representando uma das mais importantes obras literárias da segunda metade do segundo XX, na literatura de expressão alemã. Este artigo pretende analisar esse texto, com vistas ao papel da comunicação em seu universo diegético. Após uma introdução e a definição teórica de alguns termos, o artigo passa a explorar a questão da comunicação em três contextos: (1) o aguçamento do diálogo espaço-temporal, (2) a percepção corporal e a

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6

Doms, Misia Sophia. "Didaktische Effekte des Umgangs mit Tieren in ausgewählten Robinsonaden." Porównania 25 (December 15, 2019): 249–76. http://dx.doi.org/10.14746/por.2019.2.15.

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Der grundlegende Sammelband Robinsons Tiere (hrsg. von Roland Borgards, Marc Klesse und Alexander Kling) hat jüngst die Mensch-Tier-Interaktion in der Literaturgattung der Robinsonade näher beleuchtet. Der Fokus des Bandes liegt dabei auf der ethischen und politischen Dimension des speziesübergreifenden Umgangs miteinander. Welche didaktischen Effekte die Interaktion mit lebenden oder toten Tieren für die Protagonisten der untersuchten Robinsonaden hat, gerät dagegen kaum in den Blick. Dieser Frage widmet sich der vorliegende Aufsatz, der sich mit Daniel Defoes Prototyp und den Robinsonaden vo

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7

Poulain, Elfie. "Régine Battiston, Lectures de l’identité narrative. Max Frisch, Ingeborg Bachmann, Marlen Haushofer, W.G. Sebald." Germanica, no. 46 (June 30, 2010): 206–8. http://dx.doi.org/10.4000/germanica.1068.

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8

PEREIRA, Valéria Sabrina. "ENFIM SÓ(S). FIM DO MUNDO COMO IDÍLIO." Trama 14, no. 31 (2018): 15–25. http://dx.doi.org/10.48075/rt.v14i31.17275.

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Com as tensões da Guerra Fria, o fim dos tempos passou a ser percebido como uma realidade próxima, causando um boom de livros pós-apocalípticos. Em algumas obras, a destruição mundial parece ser a única possibilidade de reestruturar positivamente a política e a vida em sociedade; em outras, o espírito de fraternidade é raro. Em vista de um cenário no qual a própria humanidade é responsável pela destruição e o caos, ser o último sobrevivente adquire contornos mais favoráveis. Paz, contato íntimo com a natureza e tempo para consumir artes são algumas das vantagens de ser o último humano. Este ar

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9

Kargl, Elisabeth, and Aurélie Le Née. "L’adaptation cinématographique du roman Die Wand : un hommage au texte de Marlen Haushofer sur fond de thriller et de Heimatfilm." Germanica, no. 53 (December 30, 2013): 139–62. http://dx.doi.org/10.4000/germanica.2283.

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10

Chovanec, Johanna. "Marlen Haushofers ›Die Wand‹ als Thirdspace." Sprachkunst. Beiträge zur Literaturwissenschaft 1 (2017): 15–30. http://dx.doi.org/10.1553/spk45_1s15.

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11

Haberkamm, Klaus. "Zeichen an der Wand. Marlen Haushofers Roman und seine Leser." Germanica, no. 13 (December 31, 1993): 147–62. http://dx.doi.org/10.4000/germanica.2177.

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12

Lorenz, Dagmar C. G., Anke Bosse, and Clemens Ruthner. ""Eine geheime Schrift aus diesem Splitterwerk entratseln ..." Marlen Haushofers Werk im Kontext." German Quarterly 74, no. 3 (2001): 322. http://dx.doi.org/10.2307/3072801.

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13

Schmidt, Josef. "Lectures de l’identité narrative. Max Frisch, Ingeborg Bachmann, Marlene Haushofer, W.G. Sebald." Monatshefte 104, no. 2 (2012): 298–99. http://dx.doi.org/10.1353/mon.2012.0044.

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14

Graca, Joanna. "Portrayals of Women in Marlen Haushofer’s The Wall and The Loft." Studia Litteraria Universitatis Iagellonicae Cracoviensis 14, no. 1 (2019): 19–28. http://dx.doi.org/10.4467/20843933st.19.006.10083.

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15

Brainee, Hilda Jeyakumari. "The Theme of Loneliness and Perseverance in Daniel Defoe’s Robinson Crusoe and ‘The Wall’ by Marlene Haushofer." International Journal of Linguistics, Literature and Translation 3, no. 8 (2021): 136–42. http://dx.doi.org/10.32996/ijllt.2021.4.8.20.

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The current research has been developed to conduct a comparative analysis between the writings of Daniel Defoe and Marlene Haushofer. Each of the writing has been developed to highlight the various factors of life like society, individuality, isolation, and loneliness. In his writing, Daniel Defoe’s showed how people could take the driving position of life for control over loneliness. On the other hand, Marlene Haushofer in her writing showed the interconnection between modernized lifestyle and developing chances of loneliness. Both of the writers by their writing explore and depict the conseq

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16

Vinardell Puig, Teresa. "Die stumme Wut der Menschenfresser. Körpersprache und verdrängte Vergangenheit in Marlen Haushofers ›Die Mansarde‹. (241–255)." Sprachkunst. Beiträge zur Literaturwissenschaft 37 (2007): 241–56. http://dx.doi.org/10.1553/spk37_2s241.

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17

Richards, Anna. "The Friendship of Our Distant Relations”: Feminism and Animal Families in Marlen Haushofer’s Die Wand (1963)." Feminist German Studies 36, no. 2 (2020): 75–100. http://dx.doi.org/10.1353/fgs.2020.0018.

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18

Hester, Vanessa. ",,Die Schranken zwischen Tier und Mensch fallen sehr leicht“1: Die Wandlung der weiblichen Protagonistin in Marlen Haushofers Die Wand." Literatur für Leser 39, no. 3 (2018): 197–210. http://dx.doi.org/10.3726/9445_lfl_16-3_197.

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19

Richards. "“The Friendship of Our Distant Relations”: Feminism and Animal Families in Marlen Haushofer's Die Wand (1963)." Feminist German Studies 36, no. 2 (2020): 75. http://dx.doi.org/10.5250/femigermstud.36.2.0075.

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20

Bates, Julie. "The Political and Aesthetic Power of the Everyday in Beckett's Happy Days." Journal of Beckett Studies 28, no. 1 (2019): 52–66. http://dx.doi.org/10.3366/jobs.2019.0253.

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Happy Days is contemporaneous with a number of seminal contributions to the concept of the everyday in postwar France. This essay suggests that the increasingly constrained verbal and physical routines performed by its protagonist Winnie constitute a portrait of the everyday, and goes on to trace the affinities between Beckett's portrait and several formulations of the concept, with particular emphasis on the pronounced gendering of the everyday in many of these theories. The essay suggests the aerial bombings of the Second World War and methods of torture during the Algerian War as potential

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21

Kecht, Maria-Regina. "Marlen Haushofer: Recollections of Crime and Complicity." Studies in 20th & 21st Century Literature 31, no. 1 (2007). http://dx.doi.org/10.4148/2334-4415.1645.

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22

Kırgız, Şenay. "An Archetypal Examination on the work of “The Wall” by Marlen Haushofer." International Journal of Social Sciences and Education Research, October 1, 2018, 629–44. http://dx.doi.org/10.24289/ijsser.450799.

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23

GOMAA, Nihal. "Eine psycholinguistische Stiluntersuchung des paradoxen Seelenlebens am Beispiel des Romas „Die Tapetentür“ (1957) von Marlen Haushofer." Kairoer Germanistische Studien, August 2, 2020, 125–43. http://dx.doi.org/10.21608/kgs.2020.105979.

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24

Landfester, Ulrike. "Elke Brüns, Außenstehend, ungelenk, kopfüber weiblich. Psychosexuelle Autorpositionen bei Marlen Haushofer, Marieluise Fleißer und Ingeborg Bachmann." Arbitrium 19, no. 1 (2001). http://dx.doi.org/10.1515/arbi.2001.19.1.120.

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25

Kory, Beate Petra. "Julian Pölslers Verfilmung von Marlen Haushofers Roman „Die Wand“ als unabgeschlossener Wandlungsprozess." Convivium. Germanistisches Jahrbuch Polen, December 30, 2019, 47–61. http://dx.doi.org/10.18778/2196-8403.2019.03.

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2012 verfilmte der österreichische Drehbuchautor und Regisseur JULIAN ROMAN PÖLSLER sein ‚Lebensbuch‘ Die Wand, MARLEN HAUSHOFERS 1963 erschienenen Roman. Da PÖLSLER sich exakt an die Romanvorlage halten wollte, entschied er sich für den Einsatz des Voice-overs, die ihm massive Kritik seitens der Filmtheoretiker einbrachte. Dem Film wurde in der Folge als ‚Hörbuch mit Bildern‘ jegliche Originalität abgesprochen. Daher setzt sich dieser Beitrag zum Ziel, durch den Vergleich des Films mit der Romanvorlage den persönlichen Beitrag des Regisseurs zur Deutung des Romans hervorzuheben, wobei auch au

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26

Büscher, Nick. "Im Spiegel der Katze: Kulturökologische Aspekte in Marlen Haushofers ‚Kinderbuch‘ „Bartls Abenteuer“." Zeitschrift für deutsche Philologie, no. 2 (June 22, 2018). http://dx.doi.org/10.37307/j.1868-7806.2018.02.06.

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