Dissertations / Theses on the topic 'Literatura nazi'

Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2016-05-11T15:36:44Z No. of bitstreams: 2 Dissertação - Juan Alberto Castro Chácon - 2015.pdf: 734205 bytes, checksum: a8b2b03bd9cb9040832140e8a25b5473 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5)<br>Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2016-05-11T15:38:19Z (GMT) No. of bitstreams: 2 Dissertação - Juan Alberto Castro Chácon - 2015.pdf: 734205 bytes, checksum: a8b2b03bd9cb9040832140e8a25b5473 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5)<br>Made available in DSpace on 2016-05-11T15:38:19Z (GMT). No. of bitstreams: 2 Dissertação - Juan Alberto Castro Chácon - 2015.pdf: 734205 bytes, checksum: a8b2b03bd9cb9040832140e8a25b5473 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2015-11-11<br>El objetivo de esta investigación es el de verificar si hay un momento de inflexión, en el repertorio temático de la Literatura Hispano-americana del siglo XX posterior al fenómeno literario Boom Latinoamericano. Para ello, analizamos el repertorio temático de la obra La literatura nazi en América (1996), del escritor chileno Roberto Bolaño, que, segúnlos críticos como Manzoni (2006) y González (2010), muestra una temática, para la narrativa, renovada, si la comparamos con el repertorio desarrollado en el Boom e incluso, con la produção anterior a este, como Historia universal de la infâmia (1935). Inicialmente, presentamos el repertorio desarrollado por la Literatura Hispanoamericana antes de Roberto Bolaño, ejemplificándolo, principalmente con productos del Boom; trátanse de temáticas reconocidas por su originalidad, según Shaw (1996), Menton (1998) e Burgos (1997). Para comprender esta primeira parte, explicamos conceptos como repertorio (EVEN-ZOHAR, 1999) y campo literario (BOURDIEU, 1997) que aclaran la estructuración de la literatura como un complejo campo de fuerzas. También, dada la discusión suscitada sobre la genericidad de La literatura nazi en América (ibídem), realizamos una breve aclaración sobre los géneros narrativos, desde los análisis de Bahktin (1987), Marcuschi (2008) y Houvenaghel (2009). Además, para entender el espacio y el tiempo de los acontecimientos en la narrativa de Bolaño, discutimos la construcción de la voz y de la visión del narrador (VILLANUEVA, 1988; FRIEDMAN, 2002), así como la forma con estos elementos dialogan, mediante la verosimilitud, con la historia del continente americano del siglo XX. En el segundo capítulo, partimos de los estudios de Manzoni (2006) y Queiroz (2013) que muestran los puntos comunes entre el repertorio de La literatura nazi en América (ibídem) y el de Historia universal de la infamia (1935) de Borges. Visamos, con la comparación entre ambas obras, analisar las críticas de Manzoni (2006), Espinosa (2004) y, sobre todo, González (2010) que apuntan un distanciamiento tanto de la temática de Borges, como la del Boom, en la narrativa de Roberto Bolaño. En el tercer capítulo, tomamos los estudios de Pierre Bourdieu, sobre el concepto de habitus (1997; 2004) para entender como el repertorio de Roberto Bolaño se relaciona a cuestiones socioculturales, en un juego metaficcional que transforma el arte literaria en producto social. Pudimos verificar, con esta investigación, que la temática desarrollada en La literatura nazi en América (ibídem) provoca el distanciamiento de la narrativa sudamericana de fin del siglo XX, de la producción anterior, representada por las obras del Boom y la mencionada obra de Borges. Esta inflexión se da cuando la narrativa de Bolaño reúne los fenómenos sociales del racismo, el clasismo, la violencia y el fracaso, para expresar la naturaleza vil de las relaciones socioculturales, en el campo de poder y en el campo cultural.<br>O objetivo desta pesquisa é verificar se há um momento de inflexão, no repertório temático da literatura hispano-americana do séc. XX, posterior ao fenômeno literário Boom Latino-americano. Para isso, analisamos o repertório temático da obra La literatura nazi en América (1996), do escritor chileno Roberto Bolaño, que, segundo críticos como Manzoni (2006) e González (2010), mostra uma temática, para a narrativa, renovada, se comparada com o repertório desenvolvido no Boom e inclusive, à produção anterior a esse, como Historia universal de la infâmia (1935). Inicialmente, apresentamos o repertório desenvolvido pela literatura hispano-americana antes de Roberto Bolaño, exemplificando-o, principalmente com produtos do Boom; trata-se de temáticas reconhecidas pela sua originalinalidade, segundo Shaw (1996), Menton (1998) e Burgos (1997). Para entender esta primeira parte, explicamos conceitos como repertório (EVEN-ZOHAR, 1999) e campo literário (BOURDIEU, 1997) que esclarecem a estruturação da literatura como um complexo campo de forças. Também, dada a discussão suscitada sobre a genericidade de La literatura nazi en América, fazemos um breve esclarecimento sobre os gêneros narrativos, a partir da análise de Bahktin (1987), Marcuschi (2008) e Houvenaghel (2009). Além disso, para entender o espaço e o tempo dos acontecimentos na narrativa de Bolaño, discutimos a construção da voz e da visão do narrador (VILLANUEVA, 1988; FRIEDMAN, 2002) e a forma como esses elementos dialogam, mediante a verossimilhança, com a história do continente americano do séc. XX. No segundo capítulo, partimos dos estudos de Manzoni (2006) e Queiroz (2013), que mostram os pontos comuns entre o repertório de La literatura nazi en América (ibidem) e o de Historia universal de la infâmia (1935) de Borges. Visamos, com a comparação de ambas as obras, a analisar as críticas de Manzoni (2006), Espinosa (2004) e, sobretudo, González (2010) que apontam para um distanciamento tanto da temática de Borges quanto da do Boom na narrativa de Roberto Bolaño. No terceiro capítulo, tomamos os estudos de Pierre Bourdieu sobre o conceito de habitus (1997; 2004) para entender como o repertório de Roberto Bolaño se relaciona com questões socioculturais, em um jogo metaficcional que transforma a arte literária em produto social. Pudemos verificar, com esta pesquisa, que a temática desenvolvida em La literatura nazi en América provoca o distanciamento da narrativa sul-americana de final do séc. XX da produção anterior, representada pelas obras do Boom e a mencionada obra de Borges. Esta inflexão se dá quando a narrativa de Bolaño reúne os fenômenos sociais do racismo, o classismo, a violência e o fracasso para expor a natureza vil das relações socioculturais no campo do poder e no campo cultural.

This thesis examines how the concept of evil was understood by opposing German perspectives during the era of National Socialist rule (1933-1945). The rise of Nazism in Germany marked a period of massive political upheaval wherein the National Socialist government encouraged the masses to view the world in terms of a great struggle between forces of good and evil. This was the central theme of their propaganda, which zealously encouraged racialist beliefs in the popular consciousness, and was based on assumptions of German superiority and Jewish evil. Despite Hitler's apparent success in creating an obedient nation, a significant number of Germans opposed his rule, amongst whom a small group of writers expressed their discontent through creative fiction. Through a comparison of the worldviews communicated through political propaganda and anti-Nazi literature, it is revealed that the crux of the divide between their opposing perspectives hinged on the meaning of evil. Since evil is a concept with many meanings, this thesis approaches the subject thematically. The comparison begins by focusing on the perception of evil as an all-corrupting force that had taken hold of Germany, followed by an exploration of how power and brutality were understood, ending with a comparison of views on how the struggle between good and evil took place on both a social and individual level. In addition to demonstrating the subjectivity of moral perspective during a tumultuous period of the recent past, this research reveals how the struggle against Nazism existed as a conflict of ideas. Moreover, the comparison of cultural sources (including Nazi art, visual propaganda, written texts such as Mein Kampf, and anti-Nazi creative fiction) demonstrates the value of art as a tool for conducting historical enquiry. Since the legacy of the Third Reich continues to directly influence modern perceptions of evil, exploring how evil was understood according to contemporary Germans – from both pro and anti-Nazi perspectives – is of particular historical interest.

The German fascination with Native Americans has been a tradition of several centuries, beginning with the first reports about the New World and its peoples. The main features of German Indian imagery have evolved since the early nineteenth century and have evoked the phenomenon of mass euphoria for Indians in the late 1800s, a euphoria which lasted for more than one hundred years. This fascination has been a source of curiosity for both Native peoples and scholars.

This thesis approaches the topic of feminine representation through comparative readings of two eighteenth-century Enlightenment tragedies, G. E. Lessing's Emilia Galotti (1772) and Charlotte von Stein's Dido (1794), as well as two twentieth-century Nazi films, Leni Riefenstahl's The Blue Light (1932) and Veit Harlan's Jew Süss (1940). In addition to the obvious diachronic dimension of this project, my framework for examination is thematically structured. Drawing on numerous theories and secondary sources, I will investigate these texts under three specific topics – namely, female sexuality, female sacrifice, and finally, the female corpse. All three chronologically represent the junctures of the rhetorical instrumentalization and abuse of the female body in these texts. In light of this, the thesis seeks to thus reveal not only the unexpected diachronic parallels between the texts and therefore between the Enlightenment and the Nazi period, but more importantly, it seeks to reinterrogate hitherto accepted readings of these texts vis-à-vis feminine representation.<br>Ce mémoire aborde le sujet de la représentation de la femme à travers des lectures comparatives de deux tragédies de l'époque de les Lumières, Emilia Galotti (1772) de G. E. Lessing et Dido (1794) de Charlotte von Stein, ainsi que de deux films nazis, La lumière bleue (1932) de Leni Riefenstahl, et Juif Süss (1940) de Veit Harlan. Outre la dimension diachronique évidente de ce projet, ma recherche est organisée par thèmes. En me référant à plusieurs théories et sources secondaires, j'explore ces œuvres en me concentrant sur trois thèmes spécifiques : la sexualité féminine, le sacrifice féminin et finalement le cadavre féminin. Ces trois thèmes illustrent les étapes de l'instrumentalisation et de l'abus rhétoriques du corps féminin dans ces œuvres. Ce mémoire révèle donc ainsi non seulement les parallèles diachroniques imprévues entre les œuvres, et, donc, entre les Lumières et le Nazisme, mais, de façon plus significative, ce mémoire remet en question les interprétations que l'on a faites de ces œuvres quant à la représentation de la femme.

The German fascination with Native Americans has been a tradition of several centuries, beginning with the first reports about the New World and its peoples. The main features of German Indian imagery have evolved since the early nineteenth century and have evoked the phenomenon of mass euphoria for Indians in the late 1800s, a euphoria which lasted for more than one hundred years. This fascination has been a source of curiosity for both Native peoples and scholars.

This project seeks to explore representations of Holocaust perpetrators in literature. Such texts, often rather controversially, seek to undo the myth of “pure evil” that surrounds the Holocaust and to reconstruct the perpetrator in more “human” terms. Accordingly, significant questions of “how” and “why” are centralised and explored, providing fertile ground for examinations of the intersections between ethics, literature and history, and enabling ongoing discussions about the characteristics and obligations of perpetrator literature as a whole. Of central concern, these humanising discourses place emphasis on the contextual or situational factors that led up to the genocide. Following these issues through to their logical conclusion, this project takes the question of determinism seriously. This is not to suggest that it disavows individual responsibility, merely that it engages fully with the philosophical problems that are invoked through allusions to external influences, especially as they relate to ideas of contingency. A significant consequence of these discussions is the impact that they have on the reader. That is because, since situational aspects are featured so heavily in these narratives, questions are raised about his or her own capacity for wrongdoing. Consequently, the reader is drawn into the narrative as a potential perpetrator. The tensions that this creates constitutes the second major focus of this work. Ultimately, I hope to expose the challenges that face the reader when they encounter perpetrator narratives, and the ways in which these tensions impact upon our understandings of these figures, and of the Holocaust more generally. In order to provide a more comprehensive overview this project makes use of a large number (in excess of sixty) primary sources, examining both fictional and non-fictional accounts. My aim is not to offer close literary analyses of each of the texts under consideration but, rather, to trace paradigms across the full spectrum of perpetrator literature. In this way, I hope to contribute to the growing body of literature that engages with this topic.

My dissertation investigates significant changes in the way the Nazi occupation of France and the Holocaust have been portrayed in fiction. Two novels published in 2006 - Didier Daeninckx's Itineraire d'un Salaud Ordinaire and Jonathan Littell's Les Bienveillantes - are essential for this study. Both of these controversial books shook existing literary models concerned with the memory of the victims of the war by making the perpetrators of atrocities central characters. These two novels allow me to contextualize the full evolution of such literary actors, beginning with the work of Robert Merle and Louis-Ferdinand Celine. My dissertation examines the portrayal of the character of the salaud (villain) in French novels, arguing that, by narrating the Holocaust from the point-of-view of the perpetrators, the author is paradoxically creating another way to remember its victims. The study of literary Nazis and their French counterparts led me to explore what Hannah Arendt called the "banality of evil," a concept that is often invoked to explain an individual's conduct, but that does not fit as well when applied to a literary character's sexuality; while the Nazis and their collaborators are depicted as "ordinary men', a terminology given special meaning though the work of Christopher Browning, their sexual preferences and lives are far from ordinary.

Founded in 1918 following the carnage of World War One until the Nazi takeover of 1933, the Weimar Republic is widely renowned as a bastion of freedom and democracy that existed only briefly between the reigns of two authoritarian regimes. The Weimar period witnessed an unprecedented prosperity of art and culture, with tremendous advancements in the fields of literature, the visual arts, and film. However, the remnants of the old Empire persisted within the new Republic, and new fascist factions rose to prominence within German society. Artists that lived through the era, both liberal and conservative, observed and provided their opinions on this phenomenon that would culminate in the advent of Nazi Germany. The purpose of this paper is to examine works of art across genres and by different artists, establish a connection with the fascist trends in Weimar Germany, and understand the attitudes of each respective artist towards the decline of German society into illiberalism and barbarism. I argue that artists anticipated fascist political and cultural developments in the years prior to the Nazi seizure of power in 1933, and look at the various artists in the realms of literature, the visual arts, and film.

En 1888, une communauté de peintres s’associe sous l’appellation « Nabis ». Ce terme, issu de l’hébreu, signifie à la fois les « prophètes » et les « initiés ». Paul Sérusier qui vécut sa rencontre avec Paul Gauguin comme une révélation est à l’origine de la formation du groupe. Une année auparavant, le symbolisme littéraire triomphe en France et suscite l’émulation parmi une nouvelle génération d’écrivains qui se cristallise autour de /La Revue Blanche/ et le /Mercure de France/. Entre les Nabis et les symbolistes s’établit dès lors un intense réseau de collaborations. Tant dans l’élaboration des décors et programmes du Théâtre de l’œuvre de Lugné-Poe que dans l’illustration d’ouvrages d’André Gide, d’Alfred Jarry ou encore de Jules Renard, les Nabis participent activement à la vie littéraire de leur temps tout en s’incarnant volontairement comme une avant-garde picturale. Les échanges nombreux entre peintres et écrivains sont alors loin de se limiter à de simples commandes. Ils aboutissent souvent à des amitiés durables comme celles qui unirent Gide à Maurice Denis et Jarry à Pierre Bonnard. La recherche s’interroge sur la motivation de cette nouvelle génération d’écrivains qui sollicita le groupe nabi, ainsi que sur la nature des projets qui les unirent. Les revues littéraires occupent une place importante dans le rassemblement entre les écrivains et ce groupe de peintres. La volonté d'identifier une aile picturale qui fasse écho dans le champ artistique au désir d'innover dans le champ littéraire stimule les sollicitations des écrivains de la seconde génération symboliste. Les Nabis, qui se méfient toutefois d'une soumission trop grande au fait littéraire, induisent par leurs développements artistiques et leurs théories les paramètres d'une nouvelle relation entre peintres et écrivains dans laquelle ces derniers ne recherchent plus la domination stratégique de l'art littéraire sur la peinture.<p>Outre ces considérations historiques, le rapprochement souhaité entre les deux groupes fut tel que la production littéraire ne put qu’être influencée par les théories des Nabis. La tendance "formaliste" représentée par ce groupe pictural a souvent conduit les chercheurs à prendre acte de l'autonomie tant du littéraire que du pictural dans les échanges entre Nabis et écrivains. Les influences sont cependant nombreuses de la peinture vers la littérature. Il est toutefois nécessaire de prendre en compte des écrivains oubliés par l'histoire littéraire, tels Romain Coolus, Gabriel Trarieux ou Louis Lormel, pour percevoir les effets de cette influence picturale. La reprise d'un dispositif de couleurs, exaltées ou déformées, le jeu poétique sur le thème de la ligne ou de l'arabesque fondent une recherche d'effet visuel dans l'écriture qui entend renouveler les images poétiques. Ce constat entre en résonance avec la rénovation picturale revendiquée par les Nabis. Des esthétiques communes entre peintres et écrivains, tournant autour des notions de synthèse, simplicité, de la référence à l'enfance ou à la fantaisie humoristique rassemblent Nabis et poètes qui les soutiennent dans une communauté d'initiés à l'art nouveau.<br>Doctorat en Langues et lettres<br>info:eu-repo/semantics/nonPublished

Text in Xhosa.<br>Thesis (MA)--Stellenbosch University, 2002.<br>ENGLISH ABSTRACT: This study examines representations of women in four Xhosa drama books, thus aiming at highlighting the interplay between culture and women's social space. A comparative approach is used to review the ways in which the Xhosa dramatists under study characterise women.Some of these representations suggest that women have the capability to achieve personal transedence rather than accept the immanence imposed by stereotyped gender relationships. In these works, it is evident that writers can change the image of women by centralising them as active people who fight for their rights. THE ASSIGNMENT IS ARRANGED AS FOllOWS: CHAPTER 1 Introduces the aim, the scope, the theories and the methods of the study. CHAPTER 2 Deals with the development of plot and attention is paid to episodes in the four dramas. These episodes depict the different phases of the dramas. The dramas under study are evaluated critically by motivating their positive and negative aspects. CHAPTER3 Deals with woman as character in Xhosa dramas under study. A critical detailed analysis of the main woman character in each drama is undertaken. CHAPTER4 Presents depiction of Xhosa culture in the Xhosa dramas. CHAPTERS Summarises the findings of the study which is the representation of women in Xhosa drama books.<br>AFRIKAANSE OPSOMMING: Hierdie studie ondersoek voorstellings van vroue in vier Xhosa dramas met die doelom die interaksie te ontleed tussen kultuurverskynsels in die vrou se sosiale ruimte. 'n Vergelykende benadering word gevolg om 'n analise te doen van hoe die dramaturge wie se werke bestudeer word vroue karakteriseer. Sommige representasies van hierdie karakterisering dui aan dat vroue die vermoë het tot persoonlike transendensie, eerder as om die onmiddellikheid te aanvaar van gestereotipeerde genderverhoudings. In die dramas wat ondersoek is, blyk dit dat die skrywers in staat is om die beeld van vroue te verander deur hulle te sentraliseer as aktiewe mense wat veg vir hulle regte. Die werkstuk word as volg georganiseer: Hoofstuk Een gee 'n uiteensetting van die doelstelling, omvang, teoretiese raamwerk en metodes van die studie. Hoofstuk Twee ondersoek die ontwikkeling van intrige en 'n analise word gedoen van die episodes in die vier dramas. Hierdie episodes beeld die verskillende fases van die onderskeie dramas uit. Die dramas word krities ge-evalueer en hulle positiewe en negatiewe aspekte word behandel. Hoofstuk Drie ondersoek die vrou as karakter in die Xhosa dramas. 'n Gedetaileerde kritiese analise word onderneem van die hoof vroue karakter in elke drama. Hoofstuk Vier ondersoek die uitbeelding van kultuur in die onderskeie Xhosa dramas. Hoofstuk Vyf gee 'n opsomming van die hoofaspekte van ondersoek en die bevindinge van die studie.

The present master's thesis undertakes to provide a comparative study of authentic and literary nazi discourse. It takes up the thread of research already carried out into the concept of original nazi language, projects existing observations on that phenomenon onto a work of Czech fine literature and examines the possibility of the drawing of parallels between authentic nazi discourse and its recreation in fiction. The method selected for the purpose is one of study and collation of the features and devices of original nazi language as described in existing linguistic and philological commentaries in parallel with a detailed analysis of the discourse of Bedřich Brenske, the prime nazi protagonist in Arnošt Lustig's novella A Prayer for Katerina Horovitzova (1964). The main focus throughout is on lexical and semantic aspects and their roles in the process of psychological manipulation; the analysis of the fictional text also casts light upon certain extralinguistic and paralinguistic aspects of Brenske's communication that are revealed to the reader through the narrator discourse. Consideration of Brenske's direct speech in the light of the original discourse of the Third Reich reveals a high degree of correspondence between the two, both on the fundamental level of linguistic features and in terms...

Exodontias de terceiros molares são procedimentos comuns realizados por médicos dentistas, e apesar de rotineiro podem causar transtornos ou complicações trans e/ou pós operatórias. Vários fatores estão ligados às possíveis complicações, como idade e o grau de impactação do dente, em casos de terceiros molares inferiores, a sua íntima relação com o nervo alveolar inferior. Existem exames imaginológicos como radiografias e tomografias computadorizadas que podem ser utilizadas no pré-operatório a fim de auxiliar o medico dentista a estabelecer a relação entre essas estruturas, evitando futuros transtornos como a parestesia. Algumas técnicas cirúrgicas vêm sendo discutidas como métodos alternativos em casos onde há a hipótese de lesão do nervo. Este trabalho realiza uma revisão de literatura sobre o tema terceiros molares inferiores e suas relações com o nervo alveolar inferior, a fim de relacionar os riscos cirúrgicos com posicionamento do terceiro molar associando exames complementares com técnicas cirúrgicas, com o fim de prever possíveis complicações.<br>Third molars extraction are common procedures performed by dentists, and despite frequency , it may cause trans and / or postoperative complications. Several factors are related to the possible complications, such as age and degree of impactation of the tooth, in cases of lower third molars, its intima relationship with the inferior alveolar nerve. There are imaging examinations such as x-rays and CT scans that can be used preoperatively to assist the dentist to establish the relationship between these structures, avoiding future disorders such as paresthesia. Some surgical techniques have been discussed as alternative methods in cases where there is a hypothesis of nerve damage. This paper presents a review of the literature on the third lower molar theme and its relationship with the inferior alveolar nerve, in order to relate the surgical risks with third molar positioning, associating complementary exams with surgical techniques, in order to predict possible complications.

Zasadniczy cel dysertacji sprowadza się do opisu wybranych nazw kamieni drogocennych. Proponowane analizy będą zmierzały do scharakteryzowania nie tylko skonwencjonalizowanego obrazu, wskazania cech uznawanych za istotne z punktu widzenia przeciętnego użytkownika języka, kamienia półszlachetnego, ale przede wszystkim do opisania obrazu wykreowanego w tekstach poetyckich dziewiętnastego wieku. Przedstawione ujęcie poruszanej kwestii wymaga odtworzenia pełnego modelu pojęciowego słowa, zwrócenia uwagi na etymologię, symbolikę, realia kulturowe oraz konotacje tekstowe. Za podstawę materiałową posłużą dane zebrane w wyniku ekscerpcji wybranych dzieł Adama Mickiewicza i Juliusz Słowackiego. Rozprawa składa się z pięciu zasadniczych rozdziałów. W części wstępnej określam cel dysertacji, wyznaczam materiał do analizy. Rozdział I nosi tytuł – Słownik, rozdział II.: Semantyczne bogactwo kamieni szlachetnych; III - Konotacje i etymologia nazw kamieni szlachetnych. Zakończenie stanowi próbę syntezy wcześniejszych dociekań. Ze zgromadzonego słownictwa dotyczącego kręgu znaczeniowego DROGIE KAMIENIE wyłania się nie tylko określony, językowy obraz świata przedstawionego w tekstach artystycznych romantycznych wieszczów, ale również – ujmując rzecz szerzej – całościowy model określonego fragmentu świata budowanego przez pisarzy.<br>Primary aim of thesis, comes down to description of valuable stone’s appellation. The analysis will focus on characterizing not only the convencionalized picture, pointing out the attributes which are recognised as essential in terms of average language’s users, semi gemstones but most of all on describing the picture which is created in the 19th century poetic text. The presented conteptualization requires recreating of whole conceptual model imagery, cultural realities and text’s connotations. As the basis I use data excerpted from Adam Mickiewicz’s works and Juliusz Slowacki’s works. The dissertation consists of five main chapters. In the introductory part I define the purpose of the dissertation, I set the material for analysis. Chapter I is entitled – Słownik, Chapter II: Semantyczne bogactwo kamieni szlachetnych; III - Konotacje i etymologia nazw kamieni szlachetnych. The ends comprise attempt the synthesis of former research. With accumulated vocabulary for semantic DROGIE KAMIENIE emerges not only a specific, linguistic picture of the world presented in the artistic texts these romantic poets, but also - to put it more broadly – a comprehensive model of a specific portion of the world built by writers.<br>Wydział Filologiczny. Instytut Filologii Polskiej.

abstract: In the time of Nazi Germany the systematic targeting of Jews for persecution and extermination was rampant. Although this was a dark time for the Jewish people in Europe, they did not simply stand idly by and let this happen to them. The Jewish people found a way to make a mockery of the situation that they wee in, as well as a way to poke fun at the people who persecuted them. The Jews used dark humor to mock the situations that they found themselves in. The interesting point here, though, is that they did not use all the aspects of dark humor that exist. The Jews used situational humor, critical humor, and gallows humor-humor about death-according to the incongruity theory of humor, to make a mockery of the plight that they were in. They did not use all of the different aspects of dark humor, but only the parts that would merge with their need to mock their situation, in order to be able to deal with the reality of what was happening in their lives. For the analysis in this thesis, I researched various collections of Jewish humor in Nazi Germany. I analyzed the jokes in relation to the different humor theories, and gave my conclusion on why these jokes were effective. Based on the evidence, I have come to several conclusions. The Jews that made these jokes only used the aspects of dark humor that would fit in with the atmosphere that they were trying to create. They would not use sexual jokes of any kind because of this. They used jokes that could be used as a shield, to comfort not only themselves but also their compatriots given their situation. The use of humor was a coping measure and a sign of defiance, that helped some of the victims of the Holocaust survive the attempted extermination of the Jews. Given the opportunity, I would widen my focus on this topic to include collective memory, as well, however the scope of such a project would be more fitting for a doctoral paper.<br>Dissertation/Thesis<br>M.A. German 2011

This dissertation is concerned with the representation and reception of Nazis in West German theater as contributions to the cultural memory of the Holocaust. It examines eight dramas and their performances: Ingeborg Drewitz's Alle Tore waxen bewacht (1955), Erwin Sylvanus's Korczak and die Kinder (1957), Rolf Hochhuth's Der Stellvertreter (1963), Peter Weiss's Die Ermittlung (1965), Thomas Bernhard's Vor dem Ruhestand (1979), Heinar Kipphardt's Bruder Eichmann (1983), Joshua Sobol's Ghetto (1984), and George Tabori's Mein Kampf (1987). This study takes into account the literary criticism of the plays and reviews of the world premieres and subsequent stagings. It highlights the role of the media in influencing the formation of public awareness of a text as well as a staged play. The playwrights created a space for the perpetrator memory that has been a taboo in the national discourse about the past since the end of Word War II. They targeted the suppression of this memory in German society's recurrent tropes of denial, invoking “Nazism as a demonic force,” “Germans as victims of Nazism,” the “Nuremberg defense” of “just following orders,” or “just cogs in a machine,” or “just puppets.” The dramatists challenged such cultural myths by revealing their Nazi characters in situations of choice and exposing an individual motivation (anti-Semitism, sadism, fear, careerism) that led to the issue of individual culpability. The playwrights asked their German audiences to accept the perpetrators as human beings similar to themselves and to contemplate their own complicit relationship with and memory of the Holocaust. Despite the ostentatious confrontation with the perpetrator memory, the reviews of the plays' stagings indicate that the media, for the most part, ignored or played down the perpetrator performative in favor of other aspects of the plays. They also tended to conflate the victim and perpetrator categories in plays by Sobol and Tabori that presented Jews as fallible human beings. Nevertheless, there were some critics who did point out the significance of the Nazi characters for a German audience. Overall, the disparity of views expressed shows that dealing with the perpetrator memory has been an ongoing struggle in German society.

碩士<br>東吳大學<br>德國文化學系<br>97<br>Siegfried Lenz and Günter Grass, well-known German authors, had written lots of novels and dramas. All of their works reflect the core concept: the thought of the anti-Nazi, such as their criticism of the German blind obedience during World War II. The main Characters of the novels seem like inability to think or make any decision on their own, because they follow blindly. It is a point that Lenz and Grass criticize acutely. Therefore, in this thesis I aim to make use of the Schiller’s “duty and inclination”, in order to commend the positive meanings of the traditional obligation. Deutschstunde and Katz und Maus disclose how the Nazi manipulates the power of medium to control the thoughts of people in Germany during World War II, even the Nazi mislead the people into thinking that obligation should be blind and absolute. Although Germany has the history of obligation, the Nazi represents the negative thinking. Since Martin Luther’s Reformation in the 15 century starts the religious obligation to God. Due to Immanuel Kant’s “categorical imperative” and Friedrich Schiller’s “duty and inclination” is there a complete system of the conception of obligation in the 18 century. Later, Friedrich Hegel developed the concept of “national philosophy”, which discussed the Prussia’s patriot and law-abidance. Therefore, this is a great contribution to obligation by Kant, Schiller and Hegel. As a result, this thesis is a contribution to the understanding of the postwar literature in Germany. The concept of obligation is the key idea in the discussion of a comparative study of the German literary works: Deutschstunde and Katz und Maus. In this thesis, we aim to investigate into the main concept “obligation” in Lenz’s and Grass’s fiction. Siegfried Lenz and Günter Grass, the most important postwar German authors, attempt to express their “writing strategy of anti-Nazi”. In the first thing, they criticize that the Nazi mislead the obligation of people. Secondly, they advocate the beauty of traditional obligated concept, in order to clarify confusion and bring things back to order. Lenz and Grass try to make the Nazi obligation back to Kant’s and Schiller’s. That is exactly their strategy against Nazi, and also our main viewpoint to analyze the fictions.

This thesis explores the capacity of literature about flight and migration to contribute to shaping a community of solidarity in contemporary German society. It analyses three novels published after the 2015 refugee “crisis” – Ohrfeige by Abbas Khider, Gott ist nicht schüchtern by Olga Grjasnowa and Gehen, ging, gegangen by Jenny Erpenbeck. To examine the impact of such literature on readers, I apply Rita Felski’s theory about the uses of literature, and in particular in relation to the first two novels, its capacity to create shock and deliver social knowledge. In Ohrfeige, I argue that ‘shock’ is used as a strategy to arouse uneasiness, in order to encourage thoughtful listening and understanding about the frustration experienced by asylum seekers. In Gott ist nicht schüchtern, readers are encouraged to expand their empathy while negotiating traumatic stories of war, torture and despair. In the interpretation of Gehen, ging, gegangen, I apply the theories of memory studies scholars such as Aleida Assmann and Michael Rothberg to highlight the parallels between refugees’ memories of fleeing and Germans’ memories of the Nazi and East German communist past. These parallel memory spheres resonate with each other and can lead to critical self-reflection among the German and European communities. Across these three chapters, this thesis argues that literature about flight and migration has the power to evoke empathy towards refugees and strengthen solidarity across differences in society.

碩士<br>國立中正大學<br>教育學研究所<br>98<br>The analysis of gender ideology in the content of Chinese literature textbooks at junior high school level - taking three publishers: Nani, Kang Hsuan, and Hanlin as the examples Abstract Taiwan has implemented nine-year integrated curriculum from first grade of elementary school since academic year 2001-02 and it has open the textbooks market for the diversity. However, the context of textbooks is embedded the inequality of gender ideology and teachers rely on the textbook contents. Also, it has shifted to political democratization, the combination of political democratization and economic development which facilitate the rise of feminism and the growth of gender ideology, thus, the analysis of gender ideology is more important. This study aims to discuss the gender ideology in the Chinese literature textbooks of academic year 2008-09 at junior high school level from three publishers, Nani, Kang Hsuan and Hanlin, and discuss whether they contain the stereotyped image, prejudice and discrimination of genders. It conducted context analysis on volume 1 to 6 of the Chinese literature textbooks of academic year 2008-09 at junior high school level from the three publishers. It exams three aspects in the “gender ideology”: “gender class”, “gender characteristics” and “gender relations”; and then extending to seven topics from the three aspects: “Gender distribution”, “division of housework”, “professional role”, “personality”, “features of clothing”, “marital relationship” and “heterosexual relationship”. The results show that: 1. There are more pictures of male in average showing in the Chinese literature textbooks at junior high school level. Thus, female pictures are overlooked. 2. The concept of household division represented in the Chinese literature textbooks at junior high school level is that “men are the breadwinner and women are the homemaker”. 3. The occupations shown in the Chinese literature textbooks at junior high school level are gender differentiation. 4. The characteristics of the gender presented in the Chinese literature textbooks at junior high school level are “strong man and weak woman”. 5. The features of clothing in the pictures shown in the Chinese literature textbooks at junior high school level is gender differentiated by the idea of “men are cold and women are warm”. 6. The marital relationship represented in the Chinese literature textbooks at junior high school level is also “men are the breadwinner and women are the homemaker”. 7. The heterosexual relationship in the Chinese literature textbooks at junior high school level is that “men were superior to women”. 8. The Chinese literature textbooks at junior high school level contain more descriptions of the male’s contribution than those of female’s and males play the leading role. Though the Chinese literature textbooks at junior high school show the gender contrasts, however, the character clothing in the pictures has the tendency of the blurred stereotypes. Obviously, Hanlin deals with this part more perfectly. However, the texts of “How to Run the Relationships of Love and Marriage” and of “Diversified Families” are still insufficient. Overall speaking, among the Chinese literature textbooks of academic year 2008-09 at junior high school level from three publishers, Nani, Kang Hsuan and Hanlin, those of Kang Hsuan have less gender ideology while those of Nani have the most gender ideology. gender ideology, gender class, gender characteristics , gender relations