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Dissertations / Theses on the topic 'Kulturkritik'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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1

Deile, Lars. "Kulturgeschichte als Kulturkritik : nachfragen bei Georg Steinhausen." München M-Press, 2008. http://d-nb.info/989198197/04.

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Deile, Lars. "Kulturgeschichte als Kulturkritik Nachfragen bei Georg Steinhausen." München M-Press Meidenbauer, 2006. http://d-nb.info/989198197/04.

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3

Person, Jutta. "Der pathographische Blick Physiognomik, Atavismustheorien und Kulturkritik ; 1870 - 1930." Würzburg Königshausen und Neumann, 2003. http://deposit.ddb.de/cgi-bin/dokserv?id=2766202&prov=M&dok_var=1&dok_ext=htm.

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4

Schreiber, Kirstin [Verfasser]. "Kulturkritik in der deutschen Jugendbewegung ‚Wandervogel‘ 1896–1914 / Kirstin Schreiber." Siegen : Universitätsbibliothek der Universität Siegen, 2015. http://d-nb.info/1066911266/34.

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5

Hartmeier, Christian. ""Mich wiegt ein Lied aus Göttertagen ..." Albert H. Rausch, Henry Benrath (1882 - 1949) - Humanist, Kulturkritiker, Sympathisant der Diktatur ; eine biographisch-ideengeschichtliche Studie." Würzburg Ergon-Verl, 2008. http://d-nb.info/994986866/04.

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6

Cassier, Philip. "Der andere Weg Deutschland und der Westen in den westdeutschen Debatten 1945 - 1960." Frankfurt, M. Berlin Bern Bruxelles New York, NY Oxford Wien Lang, 2006. http://d-nb.info/997694351/04.

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7

Schmitz, Markus. "Kulturkritik ohne Zentrum Edward W. Said und die Kontrapunkte kritischer Dekolonisation." Bielefeld Transcript, 2007. http://d-nb.info/988751224/04.

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8

Vas, Christian. "Kulturkritik und Wissenschaftsbild bei Friedrich Nietzsche und Max Weber ein Vergleich /." [Frankfurt am Main] : [Univ.-Bibliothek Johann Christian Senckenberg], 2002. http://deposit.d-nb.de/cgi-bin/dokserv?idn=974204137.

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9

Neymeyr, Barbara. "Utopie und Experiment zur Literaturtheorie, Anthropologie und Kulturkritik in Musils Essays." Heidelberg Winter, 2000. http://d-nb.info/995766959/04.

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10

Heinssen, Johannes. "Historismus und Kulturkritik : Studien zur deutschen Geschichtskultur im späten 19. Jahrhundert /." Göttingen : Vandenhoeck & Ruprecht, 2003. http://catalogue.bnf.fr/ark:/12148/cb41191976m.

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11

Schmitz, Markus. "Kulturkritik ohne Zentrum Edward W. Said und die Kontrapunkte kritischer Dekolonisation /." Bielefeld : Transcript, 2008. http://books.google.com/books?id=hpnZAAAAMAAJ.

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12

Gundelach, Corinna. "Zur Rolle der Religion in der völkischen Bewegung des wilhelminischen Kaiserreichs." St. Gallen, 2007. http://www.biblio.unisg.ch/org/biblio/edoc.nsf/wwwDisplayIdentifier/03605995001/$FILE/03605995001.pdf.

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13

Dannemann, Karen. "Der blutig-obszön-banale 3-Groschen-Roman namens "Geschichte" Gesellschafts- und Zivilisationskritik in den Romanen Reinhard Jirgls." Würzburg Königshausen & Neumann, 2008. http://d-nb.info/992300312/04.

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François, Damien. "L'immédiateté : anthropologie culturelle critique /." Bern ; New York : Peter Lang, 2000. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=009117981&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.

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15

Shin, Hyeseon [Verfasser]. "Bildungs- und Kulturkritik und Adoleszenzproblematik in Schulgeschichten um die Jahrhundertwende / Hyeseon Shin." Bonn : Universitäts- und Landesbibliothek Bonn, 2013. http://d-nb.info/1042960038/34.

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16

Vries, Jan de [Verfasser]. "Aristokratismus als Kulturkritik : Kulturelle Adelssemantiken zwischen 1890 und 1945 / Jan de Vries." Göttingen : Böhlau Verlag Köln, 2020. http://www.v-r.de/.

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17

Auga, Ulrike. "Intellektuelle - zwischen Dissidenz und Legitimierung eine kulturkritische Theorie im Kontext Südafrikas." Berlin Münster Lit, 2005. http://deposit.d-nb.de/cgi-bin/dokserv?id=3064411&prov=M&dok_var=1&dok_ext=htm.

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18

Dirscherl, Berit. "Eine fremde Welt über das Verhältnis von Mensch und Raum im Erzählwerk Eduard von Keyserlings." Hamburg Kovač, 2009. http://d-nb.info/99760509X/04.

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19

Laine-Wille, Ilona. "Literatur als Spiegel : Kulturkritik in Christa Wolfs Kassandra und Margaret Atwoods der Report der Magd." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23338.

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This thesis is a comparative study of two contemporary novels: Christa Wolf's: Cassandra (1983) and Margaret Atwood's The Handmaid's Tale (1985).
Wolf's Cassandra can be interpreted as a utopian projection. It is an expression of Wolf's not so modest proposal: "Literature today ought to be research on peace."
Atwood examines the underside of hope. While describing the present time as alarming, she speculates about the future. Juxtaposing the two novels provides a view of the political and philosophical imagination of the two authors. The cultural critique is esthetically expanded through the perspective of the protagonists. Both novels can be viewed as archeological work from a female perspective, as they attempt to provide a new vision by uncovering the blind spots of our western socio-political history.
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20

Ludden, Teresa. "'Das Undarstellbare darstellen' : Kulturkritik and the representation of difference in the works of Anne Duden." Thesis, University of Warwick, 2002. http://wrap.warwick.ac.uk/63667/.

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This thesis examines Kulturkritik and the question of the representation of difference in the work of Anne Duden. It uncovers a far-reaching interrogation of Western culture in Duden's work as oppositional relations between culture-nature, mind-body, subject and object are constantly questioned. It examinesthe criticism of the treatment of the body in Western culture which appears in the texts in a variety of ways. Though oblique reference to Cartesian and Enlightenment selves, the texts question dominant modes of being in the West and the consequences of this promotion. This is examined firstly through an analysis of Duden's essays on paintings of George and the dragon where the links between Duden's thought and the radical philosophy coming out of the 1960s are investigated. Then the prose works Ubergang and Das Judasschaf are explored to highlight the criticism of binary structures which I argue needs to be understood with reference to the types of selves and bodies which are privileged in Western culture; the production of 'useful/rational' bodies and hierarchical and oppositional subject-object, mind-matter relations prevalent in Enlightenment thought. I also argue that there is not just a criticism of structures perceived to be dominant in Western culture in Duden's texts, but that different modes of being are conveyed by the writing as differences within culture. The narrators become selves through fluid processes of interchange with the environment rather than existing as fixed entities. This analysis is linked to Duden's questioning of abstract and generalised concepts which enables a reading of the experiences of the narrators not as a 'breakdown' or loss of self, but as expressions of alternative modes of being. A close examination of the narrative style in Ubergang and Das Judasschaf analyses how selves, bodies and reality are represented. I argue that the writing is centrally concerned with areas beneath fixed forms and remains immanent to the experiences of pain, dissolution, joy, panic and the semi-conscious body rather than transcending and translating them into speech. Thus the writing continually gives us the impression that it paradoxically narrates word-less experiences. This writing of the body and other realms normally considered beyond representation questions universal norms and concepts. However, the narrative does not descend into nonsense and differences and specificities are not located beyond words but expressed in the text. The avant-garde properties of Duden's texts are examined through an analysis of montage techniques and the juxtaposition of levels of time in 'Ubergang and Das Judasschaf. Narrative and formal aspects are then explicitly linked to history and politics in an examination of Das Judasschaf and the centrality of the problem of living in a post-Holocaust culture. I will argue that the text's Kulturkritik indirectly interrogates the culture which produced the Holocaust and that the breakdown of narrative can be linked to the complexities of the post-Holocaust historical state. In addition the presentation of the Holocaust through the quotation of historical documents is understood in terms of the text's inability to represent the Holocaust. Aesthetics and politics are also brought together in the examination of the Steinschlag poems. With reference to Duden's essays on aesthetics, I argue that the Steinschlag texts speak with and through the broken remains of a language left over from the atrocities of the 20th Century. The musical re-configurations of the remnants, however, produce a negative hope by speaking from the sites of the gaps in culture and history.
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21

Wasihun, Betiel. "Gewollt - nicht-gewollt Wettkampf bei Kafka ; mit Blick auf Robert Walser und Samuel Beckett." Heidelberg Winter, 2009. http://d-nb.info/1000498735/04.

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22

Kinzel, Till [Verfasser]. "Platonische Kulturkritik in Amerika. : Studien zu Allan Blooms »The Closing of the American Mind«. / Till Kinzel." Berlin : Duncker & Humblot, 2020. http://d-nb.info/1238317588/34.

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23

Rydberg, Krohné Nike. "Varför dör musikjournalistiken?" Thesis, Stockholms universitet, Institutionen för mediestudier, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-157307.

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Med reportaget hoppas jag kunna beskriva och förklara musikjournalistikens kraftigt minskade makt och försämrade utgångsläge under 2010-talet. Jag vill också att arbetet ska illustrera förändringarna inom musikbranschen och mediebranschen, samt de starka känslor som utvecklingen väcker bland svenska musikjournalister. Som helhet ska arbetet kunna vara ett underlag för en diskussion om musikjournalistikens relevans och framtid.
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24

Hoffmann, Yasmin. "Untersuchungen zur Sprach-und Kulturkritik im Erzählwerk Elfriede Jelineks : "Abgründe dort sehen zu Lehren, wo Gemeinplätze Sind"." Aix-Marseille 1, 1993. http://www.theses.fr/1993AIX10056.

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L'objet de cette these est d'etudier la critique du langage et la "kulturkritik" dans l'oeuvre d'elfriede jelinek. La these comprend une introduction generale qui fait d'une part le point sur l'etat de la recherche, et d'autre part situe l'oeuvre dans le contexte de la litterature (post) moderne. Puis partant du postulat que chaque oeuvre constitue un laboratoire ou l'auteur 10experimente sur les rapports sociaux et les aspects formels : die ausqesperrten (les exclus), die liebhaberinnen (les amantes), oh wildnis, oh schutz vor ihr, die klavierspielerin (la pianiste). L'analyse met en valeur le travailm qu'effectue elfirede jelinek sur la langue pour la faire parler, et montre que cette ecriture est la tentative non d'une ecriture qui se cherche, mais d'une ecriture qui cherche a reduire les interstices par ou se faufilent "les choses qui se nichent dans les concepts".
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25

Sobel, Wolfgang. "Kulturkritik, Geschichtsphilosophie und Politik : zum Verständnis des Politischen und seiner totalitären Gefährdung im Denken von Georg Lukács /." Köln : Hundt Druck, 1996. http://catalogue.bnf.fr/ark:/12148/cb37058290n.

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26

Schimmer, Thomas M. [Verfasser]. "Phänomenologische Kulturkritik : Praktische und kulturphilosophische Perspektiven bei Edmund Husserl, Martin Heidegger und Michel Henry / Thomas M. Schimmer." Baden-Baden : Ergon Verlag, 2018. http://d-nb.info/1212401158/34.

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27

Lippert, Hans-Georg. "Historismus und Kulturkritik, der Kölner Dom 1920-1960 : eine Untersuchung über den geistigen Hintergrund der Denkmalpflege am Dom /." Köln : Kölner Dom, 2001. http://catalogue.bnf.fr/ark:/12148/cb391211539.

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28

Petersen, Leena A. "Poetik des Zwischenraumes. Zur sprachlichen Kulturkritik und physiognomischen Historizitat am Beispiel von Walter Benjamin und ausgewahlten Schriften seiner Zeit." Thesis, University of Sussex, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.487576.

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Language and the imagistic can be regarded as key figures of modern perception. The present thesis provides a comparative analysis of the role and development of both elements in 19th and early 20th-centljry German intellectual culture, focusing particularly on Walter Benjamin's philosophical reflections. The title of the thesis, 'Poetics of the Space Inbetween', recurs on Benjamin's physiognomic historiography and his simultaneous attempt of a culture critique. By using methods of modernity, the essential imagistic elements of the 17th to the 20th century are to be permeated in an intuitive way. The space in-between can be located between language and the imagistic. It can be regarded as offering a potential physiognomic knowledge of reality.' Here. one can detect the 'caesura', with the help of' which Benjamin intends to establish a historiography of modernity beyond a methodical integration of mythical elements. The starting point of the present doctorate is the assumption that in modernity one can perceive a turn from the linguistic as medium of knowledge and world experience towards the imagistic. The transition from rational knowledge of Enlightenment ideas through and within the medium of language towards an understanding of the world as imagistic phenomenon can be located in a space in-between. Within the analysed period, reason has lost its dominating significance. Instead, doubts occur regarding the project of Enlightenment. Consequently, new ways to grasp, represent and criticise reality have to be discovered. Central concepts in this context are, e.g., the modern experience, memory, individuation, secularisation and the role of concreteness. The topic to be considered is thus the form of process, 'Verlaufsformen', to use an expression of Benjamin, in which language crisis and the rise of imagery are expressed. Benjamin's work will be examined because his writings represent a conglomeration of fin-de-siecle's tendencies on the one hand and embody a very particular form of culture critique between strategy and immanence on the other. Regarding this, both his early works as well as his late works are of concern. Sources were, furthermore, found in the literary and theoretical works listed in Benjamin's record of his own reading as well as in his correspondences and references in his own texts. The process and development of the rising imagery and language crisis was followed by introducing first the philosophical and methodical background and approach. The second chapter explores the current phenomenon of 'Bildwissenschaft': Today, a growing scholarly body is concerned with visual studies, which is based on the so-called iconic turn that aims to describe the increasing use and perception' of images in modernity. The chapter gives a ' survey on the development, origins and problems of both a conceptualisation of images fr~m the 19th century up until today as well as of the newly founded discipline. Following thIS, the ~aradigmatic earlier writings of Erwin Panofsky and Aby Warburg are analysed in a narrative approach which focuses mainly on the history of the artistic idea and a critical Imagistic historiography. The question arising from this of an epistemological basis for the outlined inauguration of the imagistic into ways of grasping the world is then addressed through a reflection of the so-called 'Lebensphilosophie', philosophy of life. The analysis of the diverse approaches of Ludwig Klages, Henri Bergson and Walter Benjamin is follow~d by the introduction of Georg Simmel's concept of historical time which becomes relevant to Benjamin's idea of historiography. . The third chapter explores Benjamin's examination of New Kantianism through Hermann Cohen as well as the consequences resulting from this for Benjamin's own work. In this context, Cohen's posit of 'ethical aniconism' is regarded as central concept. Subsequently, the study follows Benjamin's methodical corollary of physiognomic critique within the area of language which acts according to the thesis that knowledge would, nevertheless, never be image-less. An essential way to understand Benjamin's methodical approach is the ensuing - closer analysis of quite d.iverse but influential concepts such as those formulated, e.g., by Immanuel Kant, early Romanticism,' Benjamin's correspondence with Florens Christian Rang, Jean Hering's concept of the idea, Leibniz's monade, H6lderlin, Carl Gustav Jochmann, Hermann Lotze, Heinz Werner's linguistic social physiognomy or Johann Wolfang Goethe's concept of truth. The fourth chapter is devoted to an application of Benjamin's methodology by means of considering 'apparent excesses', first in Baroque and later in the 19th and early 20th century. From Benjamin's treatment of the Baroque. mourning play up to his late writings, here, the history of human individuation can be retraced: In the course of secularisation, the manifestness of the world becomes substituted by imagistic elements. Relevant aspects of the changing perception of the world such as the contemporary phenomena of melancholy and later boredom - which are also based on imagistic elements - are thoroughly discussed from the point of view of cultural history. Apart from a close reading of Benjamins's conception, this includes reflections upon the writings of e.g. Baroque drama, Goethe, BaUdelaire, Hermann Bahr, Ernst Robert Curtius, the Historical Avantgarde, Karl L6with and the critique of Nietzsche, Franz Rosenzweig's concept of tragedy and Sigmund Freud. Modernity is not characterised by total secularisation, on the contrary: the element of myth comes to play an essential role. Therefore, the last. chapter of the thesis is devoted to this very phenomenon. The interpretation includes myth critique and theories of Benjamin's time as well as their relevance for Benjamin's last fragmentary works, in particular The Arcades Project. In this context, significant corresponding ideas like those of Erich Unger, Florens Christian Rang's critique of the modern dionysian, Freud's dream theory, .Surrealism, Benjamin's examination of Marxism, and ideas developed by Siegfried Giedeon and Valery are taken into account. Following from this, the chapter discusses Theodor W. Adorno's critique according to which Benjamin's late work has to be characterised as a 'mythologising of demythologising'; furthermore, Benjamin's introduction of such categories as the 'state of exc~ption' or the 'extreme' - among others according to Carl Schmitt - is c~allenged by the askIng the conclUding question, whether or notone could still establish a space in-between of knowledge in the face of imagistic tendencies in Benjamin's late work. Moreover, by fO~lowin.g Benjamin's late perspectives on concrete images, e.g. film, the crucial question is raIsed In which respect Benjamin's work might have distanced itself from an orientation ~owards Cohen's concept of ethical aniconism. The change from enigmatic images in anguage towards two-dimension, partly concrete images, the final chapter argues, corresponds not only with changing modalities of perception in modernity but with enJamln s present time by which he - as a matter of course - is not unaffected.
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29

Schmidthorst, Burkhard. "Mythos und Primitivismus in der Lyrik von T. S. Eliot, W. B. Yeats und Ezra Pound : zur Kulturkritik in der klassischen Moderne /." Heidelberg : Universitätsverl. Winter, 2004. http://catalogue.bnf.fr/ark:/12148/cb39263081r.

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30

Bradling, Björn. "Diskurs och dissonans : "den Samme" och "den Andre" i Mary Shelleys Frankenstein ; or, the Modern Prometheus." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-35154.

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This essay – Discourse and Dissonance – deals with Mary Shelley’s gothic novel Frankenstein; or, the Modern Prometheus (1818). The focal point is the construction of “Them and Us”, as defined by scholars such as Stuart Hall, viewed in terms of the following categories: race, gender and family, class, and sexuality. Rather than applying an outside perspective, e.g. a feminist or Marxist one, to the text, I use Cultural Criticism as described by Arthur Asa Berger in order to deconstruct and reconstruct the discourse, as explained by Michel Foucault, within Shelley’s work. In doing so, I view the hermeneutics of suspicion as the starting point due to its recognition of every text’s hidden truth. Stephen Greenblatt’s term dissonance is useful for the study’s aim of finding the differences and similarities in the voices of the novel’s characters. Intersectionality functions as the tool with which I intertwine the above categories in my analysis.     In conclusion Frankenstein; or, the Modern Prometheus does not convey a message of conformity. Its class-, race- and gender-bound discourse is reproduced in the text, but simultaneously challenged. The dissonant voices of the novel show the discourse from different perspectives and make it obvious that there are cracks on the surface of the discourse, which Shelley deepens by putting it into writing – whether she was aware of it or not.
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31

Gimmel, Jürgen. "Die politische Organisation kulturellen Ressentiments : der "Kampfbund für Deutsche Kultur" und das bildungsbürgerliche Unbehagen an der Moderne /." Münster [u.a.] : Lit, 2001. http://www.gbv.de/dms/bs/toc/328364983.pdf.

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32

Gerhardsen, Anki. "En performativ tragedie : Et kulturkritisk essay etter 22. juli." Thesis, Norges teknisk-naturvitenskapelige universitet, Institutt for nordistikk og litteraturvitenskap, 2012. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-17535.

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33

Bradling, Björn. "Oi! Oi! Oi? : - en kulturkritisk studie av identitetsframställningen i Oi!-punken." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-49199.

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This master’s thesis suggests that Oi! - lyrically – gives voice to a youth community whose identity lies in everyday working class life. The identity in question is based upon class, gender, sexuality, nationality, and community awareness. As these are intertwined, the thesis shows a more complex genre than that of Matthew Worley’s “Oi! Oi! Oi!: Class, Locality, and British punk”.   On the other hand, using the above categories - derived from the studies of Kathryn Woodward – allows this essay to detect a genre identity made from a distinct “the Same” and “the Other” – us and them, as described by Stuart Hall. The latter consists of members of the middle and upper classes along with all kinds of intellectuals. “The Same” is based upon a common belonging to the working class and its local communities, but also on nationhood. On the contrary, the male gender in general and the male sexuality in particular adds to the idea of Oi!´s “the Same”. In contrast to the idea of “the Same”, Stephen Greenblatt’s idea of dissonance works to explain cracks in the façade of Oi! as explained in the spatiotemporal discourse.  Moreover, Oi!’s “the Same” is quite alike the subaltern of Antonio Gramsci. This concept suggests that the members of the proletariat are too unaware to be ideologically enlightened and therefore their culture expresses the way of working class life as it is, complete with eventual moral flaws. Whereas Gramsci uses the subaltern as a description of the rural proletariat of southern Italy and suggests folklore as the cultural outcome of that particular discourse, this essay aims to use it similarly but with Britain of the 1980’s and Oi! at its focal point.  Furthermore, this essay describes the “Circuit of Culture” - as explained by Woodward - and puts Oi! into that model, which enables an understanding of the genre as an expression of produced, consumed, regulated, and represented identity.  In conclusion, this master’s thesis do not refute Worley´s description of Oi! as a socioeconomic product, but rather adds to that by intertwining Woodward´s categories. The intersectional understanding of Oi! states that class, gender, community, sex, and nationality work together to create a genre, which represents a Gramscian subalternative proletariat. However, Hall’s “the Other” makes it perfectly clear that there is a distinct gap between Oi! and white power-music, which is also proved - throughout the essay -  by the two genres regard to whiteness studies.
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34

Hammerås, Line Langeng. "Roller og kulturkritikk : En intratekstuell lesning av Dag Solstads Genanse og verdighet." Thesis, Norges teknisk-naturvitenskapelige universitet, Institutt for nordistikk og litteraturvitenskap, 2013. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-21539.

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I denne oppgaven gjør jeg en lesning av Dag Solstads roman Genanse og verdighet. Målet med denne lesninga er å finne svaret på hva hovedpersonen Elias Ruklas raseri over en defekt paraply egentlig bunner i. For å finne svar på den gåten som raseriet representerer velger jeg å lese Genanse og verdighet i et intratektstuelt perspektiv. Dette vil si at jeg bruker resten av Solstads forfatterskap til å belyse romanen. Argumentasjonen for å bruke denne metoden er at det i Solstads forfatterskap er motiver og temaer som går igjen, og ved å se disse i sammenheng kan man få et utvidet forståelse av enkelttekstene i forfatterskapet. Til tross for at Genanse og verdighet er en relativt kort roman, tar den opp i seg både mange motiver og temaer, og den typiske essayistiske stilen fra resten av forfatterskapet. De aspektene jeg velger å fokusere på i forhold til Genanse og verdighet er et roller og identitet, og kulturkritikk. Ved å la andre tekster fra Solstads forfatterskap belyse disse to aspektene fra Genanse og verdighet forsøker jeg å gi et svar på de spørsmålene som Ruklas raseriutbrudd reiser.
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35

Green, Niclas. "Bland de överlevande : En kulturkritisk studie av den narratologiska drivkraften i två postapokalyptiska verk." Thesis, Karlstads universitet, Institutionen för språk, litteratur och interkultur, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-31254.

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Syftet med denna uppsats är att undersöka de narratologiska drivkrafterna i de två postapokalyptiska verken The Stand av Stephen King och Girlfriend In a Coma av Douglas Coupland. Med frågor som: Vad är den narratologiska drivkraften? Med kulturkritisk infallsvinkel: vad för karaktärerna med sig in i den nya tiden? Genom närläsning kommer en undersökning ske, där de narratologiska drivkrafterna lyfts fram. Resultatet visar att författarna har använt sig av två olika tekniker. The Stand använder sig av motsatspar enligt A.J. Greimas aktantmodell medan Girlfriend In a Coma använder skiftande fokalisering och berättarröst som narratologisk drivkraft. Båda verken har en katastrof som gemensam faktor. Denna katastrof är den grundläggande narratologiska drivkraften i båda verken. Läsaren vet från början att det är två verk i genren postapokalyptisk skräck, därför läses verken med vetskapen om att vad som helst kan hända, när som helst.
The purpose of this project is to find out what makes the story unfold after the end of the world has taken place in Stephen King’s The Stand and Douglas Coupland’s Girlfriend In a Coma. The project has a cultural critical standpoint. After the apocalypse; what do the characters bring into the new world? The investigation is performed by using close reading. Elements essential to the narratological force are then lifted and presented. The result shows that the authors to the two works have used different techniques. The Stand uses opposites according to A.J. Greima’s actant model, whereas the narratological driving force in Girlfriend In a Coma is the use of shifting focalization. Both works have the same beneficial narratological driving force as back bone: the apocalypse. The reader knows what to expect from this genre, the post-apocalyptic horror genre. These works are read bearing in mind that anything can happen, at any time.
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36

Schmetterling, Astrid. "Biographien jüdischer Frauen: Zur Aktualität Charlotte Salomons." HATiKVA e.V. – Die Hoffnung Bildungs- und Begegnungsstätte für Jüdische Geschichte und Kultur Sachsen, 2015. https://slub.qucosa.de/id/qucosa%3A34905.

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37

MARTELLA, Vincenzo. "Dialectics of Cultural Criticism. Adorno’s Confrontation with Rudolf Borchardt and Ludwig Klages in the Odyssey chapter of Dialektik der Aufklärung." Doctoral thesis, Università degli studi di Bergamo, 2012. http://hdl.handle.net/10446/26688.

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38

Jocksch, Konrad [Verfasser]. "Gehalte, Grenzen und Widersprüche konservativer Kulturkritik im frühen Romanwerk Evelyn Waughs / vorgelegt von Konrad Jocksch." 2005. http://d-nb.info/99393983X/34.

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