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Dissertations / Theses on the topic 'Literature, Comparative Literature, Comparative German literature'
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1
Ritchie, Amanda Ross. "Margaret Fuller and the politics of German sensibility." Diss., The University of Arizona, 2000. http://hdl.handle.net/10150/289215.
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This study seeks to accomplish two goals. First, it will reestablish Margaret Fuller (1810-1850) as America's first important interpreter of Johann Wolfgang Goethe (1749-1832), Germany's best-known lyric poet. The study includes full transcription and complete annotation of Fuller's Reading Journal O manuscript detailing the experimental series of Conversations on Goethe that Fuller conducted in the spring or summer of 1839. The manuscript suggests that Fuller was an expert on all of Goethe's works, not just on his literary oeuvre. The experimental series of Conversations on Goethe was a prototype for the Boston Conversations for Women, those watershed events in the history of the American women's movement that Fuller envisioned and then carried out between the fall of 1839, and the winter of 1844. Second, this study will examine Fuller's debt to German sensibility as she found it in Goethe and other German writers of the eighteenth and early nineteenth centuries. Fuller learned Innerlichkeit, inwardness, and Gelassenheit, or serenity, from her long study of German letters. Her incorporation of German sensibility was useful to her in two ways. First, German sensibility was important to Fuller's unique pedagogical philosophy. By encouraging her students to practice German sensibility, Fuller taught them how to educate themselves through their own initiatives. Second, German sensibility facilitated Fuller's critical stance, thereby aiding in the development of her feminism. Fuller's discussion of Iphigenia, the heroine of Goethe's classical play called Iphigenia at Tauris, displays the extent of her reliance on German sensibility in creating her most insightful feminist writings. Fuller wrote about Goethe's Iphigenia in the July 1841 issue of the transcendentalist journal called the Dial. Her remarks a there prove that her feminism was fully developed two years before she wrote "The Great Lawsuit: Man vs. Men, Woman vs. Women," the essay she expanded and later published as Woman in the Nineteenth Century.
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Meyertholen, Andrea Noel. "Blurring the lines| The invention of abstract in German literature since 1800." Thesis, Indiana University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3620621.
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<p> In December 1911, the public exhibition of Kandinsky's Komposition V shattered the world of Western illusionism as audiences knew and understood it - or so the traditional tale goes. Yet the relative abruptness with which abstraction supposedly shocks the art world not only presents a misleading impression; it in effect creates a great riddle. If the Western art world spent centuries organized under a unifying goal of perfecting imitation, why would it now so suddenly turn its back on its institutional underpinnings by challenging, negating, or exploding the principles it had worked so hard to develop? This project responds by rejecting the presuppositions of the riddle and arguing against the traditional narrative, claiming instead that the invention of abstract art in the 1910s was neither abrupt nor unprecedented, but was already being described, theorized, or created in the 19<sup>th </sup> century, only in literature rather than painting. Through close reading and literary analysis, I present three moments in the German literary canon in which abstract art is imagined or becomes theoretically possible: Heinrich von Kleist's Empfindungen vor Friedrichs Seelandschaft (1810), Johann Wolfgang von Goethe's poem "Howards Ehrengedächtnis" (1821), and Gottfried Keller's Der grüne Heinrich (1855, 1879). Composing these moments are three different authors who write at three different decades, speak through three different genres, and conceive three different modes of abstraction, none of which contemporaneously achieved painted form. Connecting these moments is the following argument: each constitutes an example of the invention of abstract art in a 19<sup>th</sup>-century literary text prior to the visual actualization of abstract art in the early 20<sup>th</sup> century. With such images in circulation well before 1911, this study features the crucial role of literature in foregrounding the cultural developments essential for abstract artworks to "speak for themselves" in the medium of painting by establishing certain preconditions involving need, spectatorship, and the self-awareness of the artist. Thus by conceptualizing abstract images in their writing, these three 19<sup>th</sup>-century German authors also produce necessary components of the theoretical grounding required for the 20<sup>th</sup>-century birth of abstract art.</p>
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Smith, Dorin. ""Strange American scion of the German trunk"| Charles Brockden Brown and the Americanization of the gothic novel." Thesis, California State University, Long Beach, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1527344.
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<p> This thesis recontextualizes the politics of Charles Brockden Brown's gothic novels in terms of the literary development of Gothicism (Friedrich Schiller) and Romanticism (Friedrich Schlegel) in Germany. This recontextualization highlights the ways in which Brown's work is participating in a transatlantic conversation about the relation of epistemology and politics in art, while underscoring how Brown's use of the gothic addresses the vital issues of grounding democratic politics in the early republic. The argument is that between his earliest extant gothic novel and his later gothic novels Brown uses Schiller's model of the gothic tale and its appeal to methodologies of epistemological verification to support democratic politics. However, in the later novels, he disregards method and uses the state of uncertainty to articulate radical subjectivity as the basis of democratic politics—<i>pace</i> Schlegel's defense of democracy.</p>
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Vossen, Julia. "Transnational 'rubble literature' : a comparative study of German and British post-war texts." Thesis, King's College London (University of London), 2018. https://kclpure.kcl.ac.uk/portal/en/theses/transnational-rubble-literature(ee82a050-5a68-4fa2-ac92-7c67e8e82c75).html.
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In this PhD thesis I analyse and compare German and British texts of the immediate post-war years. By identifying common topics and themes, motifs and symbols, as well as elements of a transnational aesthetic of post-war literature, I argue that there is one transnational genre of post-war literature, which I call rubble literature, instead of two very distinct genres of German post-war literature and British post-war literature. Although the new, transnational genre derives its name from the existing German genre of ‘Trümmerliteratur’, it differs from it and significantly broadens it. It does so not only by including non-German texts, but also with regards to contents. According to my concept of the transnational genre of rubble literature, the central motif of rubble does not just refer to the physical ruins of German and British cities, but also to the psychological ruins of post-war individuals, as well as to the social, political, and ideological ruins of the post-war societies they are living in. I argue that the motif of rubble, fragmentation and disintegration is inscribed in the form, as well as the content of German and British post-war literature. My research ties in with the national analyses and interpretations of the literature of the post-war years, but at the same time my comparative approach allows me to identify new and transnational characteristics of post-war texts. In doing so, my thesis offers novel and unique perspectives on the literature of the immediate post-war years, revealing that which takes place beyond and across national categories.
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Gurska, Daniel Paul. "Peering Down the Bottomless Well| Myth in Thomas Mann's Joseph Tetralogy." Thesis, Pacifica Graduate Institute, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10277390.
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<p> This dissertation focuses on Thomas Mann’s <i>Joseph and His Brothers</i> and addresses the following questions: what does Mann’s novel have to offer to the field of comparative mythology and how might this biblical retelling be relevant for contemporary readers? One approach the dissertation takes in addressing these questions is examining the novel’s relationship to the biblical book of Genesis and to Jewish midrashic traditions. Through a biographical study of Thomas Mann, the dissertation also examines his primary motivations in writing the novel in the first place. The dissertation focuses on detailed discussion of particular stories in Mann’s retelling and how his versions expand the biblical narrative by weaving in parallels from other myths spanning multiple traditions. This ultimately leads to an exploration of the novel’s contemporary significance. </p><p> Considering modern day parallels to the nationalistic one-sidedness of Thomas Mann’s time, the study concludes that Mann’s Joseph tetralogy is just as relevant today as when it was originally written. The assertions made throughout the dissertation point to how this novel can serve as a model for how myths of diverse religious traditions can respectfully interact. </p>
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Schnippering, Claudia. "Literature of the Holocaust perpetrator. A comparative literary analysis of Jonathan Littell's "The Kindly Ones" with German Väterliteratur (Father literature)." Thesis, University of Canterbury. School of Language, Social and Political Sciences, 2014. http://hdl.handle.net/10092/10338.
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Undoubtedly the historical settings and aspects of the Nazi Holocaust have been examined for many decades. Research has focused much on the victims of the Holocaust. However, the examination of the perpetrators of the Nazi Holocaust continues to cause anxiety and controversy.
In my thesis I examine what possible constraints are imposed on authors/narrators and also readers by the sensitive and explosive subject of the representation of Holocaust perpetrators. I compare four texts of German Väterliteratur with Jonathan Littell’s “The Kindly Ones” to examine the questions of aesthetics and ethics in the literary representation of Holocaust perpetrators, and if we can deduce their motives and motivations from these representations. The examination of these Holocaust perpetrator representations is an important contribution to our understanding of the past as well as a contribution to the formation of public cultural memory and identity.
All of the examined narratives form part of a continuously growing body of literary expressions of the Holocaust perpetrator and highlight a distinct obligation to the history they narrate – be it fictional or real.
My research includes a comparative literary analysis of authentic narratives featuring fictional perpetrators in order to find meaning in these representations that enable the reader to form not only a connection with a dark part of the German past but also with post-war and post-unification debates on the representation of the Holocaust. It also demonstrates a recognition that Holocaust perpetrators are as multifaceted and multidimensional as the narratives they occupy.
My thesis is not an exhaustive compilation but rather forms a small sample discussion that enables the reader to emphasise the Holocaust perpetrator. The narratives representing Holocaust perpetrators in contemporary literature serve to transmit history into the future as part of public and personal memory discourse, and the remembrance of history.
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Hales, Barbara 1962. "War and death: A comparison of Freud's ideas with four works of German World War I literature." Thesis, The University of Arizona, 1990. http://hdl.handle.net/10150/291638.
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Sigmund Freud has much to say about the subject of war and death in his later work, written after 1914. Freud explores the effect of war on the soldier, his adjustment to war, his retreat to the primitive, the development of neuroses in combat, and the soldier's reaction to death. War and death are also important subjects found in German literature of the First World War. The aim of this thesis is to briefly review Freud's ideas on the individual in war, and to juxtapose these ideas to various accounts provided by German soldiers of the First World War. The four works of German World War I Literature used in this comparison are: Im Westen Nichts Neues by Erich Maria Remarque, Feuer und Blut by Ernst Junger, Seelenleben des Soldaten an der Front by Ludwig Scholz, and Kriegsbriefe gefallener Studenten edited by Philipp Witkop.
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O'Neil, Joseph D. "The impossible birth of the political language and crisis in Gracián, Goethe, and Kleist /." [Bloomington, Ind.] : Indiana University, 2009. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3380120.
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Thesis (Ph.D.)--Indiana University, Depts. of Comparative Literature and Germanic Studies, 2009.<br>Title from PDF t.p. (viewed on Jul 14, 2010). Source: Dissertation Abstracts International, Volume: 70-12, Section: A, page: 4669. Adviser: William W. Rasch.
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Bachmann, Rachel E. "Germans and Latin Americans trade places intercultural experience and writing against dictatorship /." [Bloomington, Ind.] : Indiana University, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3344552.
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Thesis (Ph.D.)--Indiana University, Dept. of Germanic Studies, 2008.<br>Title from PDF t.p. (viewed on Oct 5, 2009). Source: Dissertation Abstracts International, Volume: 70-02, Section: A, page: 0575. Adviser: Marc Weiner.
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Schroeder, Elfrieda Neufeld. "Fragmented identity, a comparative study of German Jewish and Canadian Mennonite literature after World War II." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/NQ60565.pdf.
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Schwalen, Anja Margarethe. "American dream and German nightmare? identity, gender, and memory in the autobiographic work of Esmeralda Santiago and Emine Sevgi Ozdamar." [College Station, Tex. : Texas A&M University, 2007. http://hdl.handle.net/1969.1/ETD-TAMU-1905.
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Moura, Magali dos Santos. "A poiesis orgânica de Goethe: a construção de um diálogo entre arte e ciência." Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/8/8144/tde-09082007-141708/.
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O objetivo deste trabalho é promover um cotejamento entre as idéias estéticas e científicas de Goethe compreendidas entre o período do Sturm und Drang e o primeiro Classicismo (Frühklassik). Através dessa comparação é delineada a importância que a inter-relação entre arte e ciência desempenhou no desenvolvimento dos conceitos goethianos relativos a essas duas áreas de sua produção.<br>Nature is the starting point of Goethe in relation to science and art He feels united to the spirit of the creator from the moment he is involved with the natural and the perception of the presence of the divine in nature. When Goethe discovered his creative and intellectual capacities, he used them to create new forms and to further understand the world. Nature in its constant process of transformation gives rise to the creation of an art under the sign of metamorphosis, whose laws Goethe presents as Polarity (Polariãt) and Intensification (Steigerung). The art presented by Goethe is not a copy of nature as a simple formal element, but the reflection of the representation of nature\'s own laws. Thus both science and art integrate with each other and, consequently, they become interdependent. The art of Goethe is constructed from the dialogue between the world and the use of its capacity to create elaborating new forms; therefore, respecting the same laws which originate the natural world. This study presents the formation of goethian\'s organic poiesis created by the dialogue between art and science.
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O'Brien, Catherine Mary. "Women's fictional responses to the First World War: a comparative study of selected works by French and German writers." Thesis, University of Hull, 1993. http://hydra.hull.ac.uk/resources/hull:3120.
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Xin, Yuchen. "Wittgenstein's Tractatus logico-philosophicus and Kafka's Oktavhefte| A comparative stylistic and philosophical analysis." Thesis, University of Colorado at Boulder, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1552100.
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<p> In the mid 1920s, reflecting the concerns of the "<i>Sprachkrise </i>", Ludwig Wittgenstein and Franz Kafka composed writings deeply concerned with language's ability to express human thought. In his <i>Tractatus Logico-Philosophicus</i>, Wittgenstein attempted to draw the boundary of meaningful language. During the same period, Kafka developed his thoughts on language and ethics in his <i>Oktavhefte</i>. I compare these works, showing that they share an understanding of language as a domain bound within the physical world and incapable of expressing our spiritual being. Presenting itself as rigorous philosophical writing, Wittgenstein's <i> Tractatus</i> constantly reminds its reader of the limitations of its own logical and philosophical language by claiming itself to be "nonsense" and only a ladder the reader should climb and get rid of. Kafka, without constructing rigorous logical arguments, composed a critique demonstrating the unnaturalness of natural language and showing that its poetic nature lets language transcend its own boundaries.</p>
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Karyekar, Madhuvanti. "Translating observation into narration| The "sentimental" anthropology of Georg Forster (1754-1794)." Thesis, Indiana University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3621890.
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<p> This dissertation explores the nature of the anthropological writings of Georg Forster (1754-94), the German world-traveler (who accompanied Captain Cook on his second voyage in the South-Seas 1772-75), cultural-historian and translator in the late eighteenth century, showing how his anthropology proposes an "ironic" or "sentimental" (in the Schillerian sense) mode of narration. Although many others at the time were exploring what it is to be human, my dissertation argues that Forster's anthropology concerned itself primarily with what it means to <i>write</i> about humanity when one supplements the empirical-rational method of observation with an emphasis on "self-reflexive" and "ironic" (à la Hayden White) modes of writing anthropology, or the story of humanity. This study therefore focuses on those writings gathered around three salient concepts in his anthropological understanding, to which he returns frequently: observation, narration, and translation, presented in three chapters. The thesis not only undertakes close readings of Forster's texts centering on observation, narration, and translation but, crucially, places them within the historical context of late eighteenth century aesthetic and anthropological discourses in Germany. This study ultimately underscores the manner in which Forster's concepts of "sentimental" – i.e. self-reflexive, ironic, and striving towards the goal of perfectibility – observation and narration allow him to accept the fragmentary, exploratory, and temporary nature of knowledge about humanity. At the same time, his "aesthetic" – sentient and open to testing – translation allows him to engage and educate his readers' tolerance towards a provisional, composite and temporal truth in anthropology. In highlighting the self-reflexive as well as an open-to-testing attitude of Forster's anthropology, this dissertation underscores the mutual interaction between eighteenth century aesthetic and anthropological modes of thought.</p>
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Bragion, Alexandre Mauro. "A música do diabo : aspectos musicais no Fausto de Thomas Mann." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270104.
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Orientador: Mário Luiz Frungillo<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem<br>Made available in DSpace on 2018-08-23T14:31:58Z (GMT). No. of bitstreams: 1
Bragion_AlexandreMauro_D.pdf: 1552608 bytes, checksum: 965c78de173cb0327f8b839002571a50 (MD5)
Previous issue date: 2013<br>Resumo: A presente tese toma como corpus de análise o romance alemão Doutor Fausto, escrito por Thomas Mann entre os anos de 1943 a 1947. Objetivando reconhecer e apontar nele possíveis influências e aspectos pertencentes diretamente ao universo composicional da música erudita, este texto - pautando-se no processo metodológico de comparação entre a literatura e a música apresentado por Steven Paul Scher e Solange Ribeiro de Oliveira - relaciona o referido romance de Mann com a musicografia do compositor austríaco Arnold Schönberg; e propõe, a partir de tais relações, uma leitura de Doutor Fausto à luz das ideias e teorias expostas pelo filósofo Theodor W. Adorno em seus livros Filosofia da Nova Música e Dialética do Esclarecimento<br>Abstract: The present thesis takes as corpus the analyze of the german novel Doktor Faustus written by Thomas Mann between 1943 and 1947. Aimed to recognize and point out in it possible influences and aspects arising directly from the erudite music compositional universe - and based on the methodological process to compare literature to music presented by Steven Paul Scher e Solange Ribeiro de Oliveira - this work relates Mann's novel with the musicography of the Austrian composer Arnold Schönberg; it also proposes, from such relations, a reading of Doktor Faustus enlightened by Theodor W. Adorno's theories from the books Philosophy of New Music and Dialectic of Enlightenment<br>Doutorado<br>Literatura Geral e Comparada<br>Doutor em Teoria e História Literária
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Wilks, Thomas. "Experimentation and the autobiographical search for identity in the projects of Michel Leiris and Hubert Fichte." Thesis, Royal Holloway, University of London, 2003. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.406287.
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Follmer, Carl R. "Envisioning the fascist "reality": ideology in the children's literature of Hitler's Germany and Franco's Spain." Diss., University of Iowa, 2016. https://ir.uiowa.edu/etd/2207.
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This dissertation examines the fascist propaganda for children produced in Hitler’s Germany and the early years of Franco’s Spain. The central aim of this project is to identify the formation of fascist discourse and its construction of political “reality” (or what Kaja Silverman calls a “dominant fiction”) by German and Spanish propagandistic authors. I will also determine the extent to which the fascist thought formed in the works I am studying depends on the national context in which it appears. The fascist children’s literature produced in Germany and Spain provides a body of writing that will allow me to answer if there are literary elements specific to the historical moment and national context in which they were produced, or if fascist writing is the same from one country to the next.
For the German context, I will begin by examining works written for children during the Weimar Republic (1918-1933). By placing works from Erich Kästner and Wolf Durian into a historical context, I read these books as cultural artifacts that express the views of their authors and reflect those of many democratic supporters of the Republic. Beginning with the first Nazi novels for children and youth that appeared in 1932, I proceed to trace the elements National Socialist authors chose to retain from their left-wing Weimar counterparts, and then put forth a model that explains the influence fascism had on children’s literature in Germany during this time. Once this model is established, I will compare and contrast this body of German writing with the children’s literature produced in Spain between 1939 and 1943, the immediate post-Civil War period, a time-frame that most historians view as the moment when fascist ideology flourished under the emerging Franquist regime. Taking the fascist children’s periodical Flechas y Pelayos (Arrows and Pelayos) as a case in point, I demonstrate the ways in which Franco’s government sought to nationalize the family unit in order to place the children of Spain in the service of the new regime. Finally, I conclude the project by synthesizing my findings of both fascist contexts as they pertain to the creation of “realities” in children’s literature and the subsequent formation of the role of the state.
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Nash, Patricia Helena. "A body, a notion: translating Karla Reimert's 'Picnic with black bees'." Thesis, University of Iowa, 2016. https://ir.uiowa.edu/etd/6229.
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Coşan, Leyla. "Frauenliteratur der 70er Jahre in Deutschland und in der Türkei." Frankfurt : Lang, 2009. http://catalog.hathitrust.org/api/volumes/oclc/406143198.html.
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Young, Primrose May Deen. "Bourgeois ambivalence : a comparative investigation of Thomas Mann's Der Zauberberg and T.S. Eliot's The Waste Land." Thesis, University of Birmingham, 2017. http://etheses.bham.ac.uk//id/eprint/7250/.
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The thesis explores important similarities and differences between responses to bourgeois society in Thomas Mann’s Der Zauberberg (1924) and T. S. Eliot’s The Waste Land (1922). It examines these texts’ presentations of the shifting morality of bourgeois culture, the prevailing sense of paralysis and fragmentation at the beginning of the twentieth century, and compares the authors’ use of allusions to myth, and their explorations of concepts of time. However, by considering the ambivalent responses to bourgeois society as they are presented within these texts, and a selection of Mann and Eliot’s other creative and critical works, the thesis also highlights significant differences in the authors’ responses to bourgeois society, which are indicative of the broader divergent traditions in which they positioned themselves. Eliot subscribes to a tradition based upon the framework of the Christian faith, and the classical literary canon, with an ‘impersonal’ approach to artistic creation. By contrast, Mann places the German ‘burgher’ at the core of the tradition to which he subscribes, emphasising personality, and favouring a humanistic approach, which values the individual’s capacity for ethical judgement based on reason. This framework demonstrates that the thematic similarities and common allusions in Mann and Eliot’s creative works are underscored by radically different authorial approaches and belief systems.
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Pomari, Gerson Luis. "Vício e verso - as histórias ilustradas de Wilhelm Busch no sistema literário brasileiro." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8144/tde-10112009-151153/.
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Esta tese estuda a presença das histórias ilustradas de Wilhelm Busch (1832- 1908) no sistema literário brasileiro. Para tanto, ela analisa como o sistema literário alemão, registra a produção de Busch e como esta se constrói a partir de dois pólos de influência: a tendência humorística do periódico Fliegende Blätter (1845-1944), de que as histórias ilustradas buschianas parecem herdar uma porção, e a postura crítica em relação ao contexto sócio-histórico da comunidade de expressão alemã na segunda metade do século XIX, com o qual as histórias ilustradas buschianas mantêm uma relação dialógica. O estudo que aqui se desenvolve parte da prática da reflexão sobre o texto literário, de sua leitura e análise, a partir das quais foi possível encarar as histórias ilustradas buschianas não como fenômeno isolado de seu contexto nem como puro reflexo dele, mas como um dos elementos que influenciam e são influenciados no conglomerado sistêmico que é o ambiente cultural e literário de uma nação. Com essa concepção, este trabalho revela que, em que pese a permanência de sua obra no horizonte da literatura brasileira desde sua primeira tradução, em 1901, a imagem de Busch no cânone literário brasileiro, ou da literatura alemã instituído a partir do Brasil, apresenta uma assimetria com a que ele têm no sistema cultural alemão. Tal assimetria decorre da redução do potencial de significação que as histórias ilustradas buschianas apresentam nas suas versões traduzidas para o português, resultante da atuação de alguns dos agentes literários envolvidos nesse processo de transposição intercultural.<br>The present thesis points out the presence of Wilhelm Buschs picture stories (1832-1908) in the Brazilian literary system. For that matter, it analyses how the German literary system registers Buschs production and how it is constructed from two influence poles: the humorous tendency of the weekly German humor magazine Fliegende Blätter (1845-1944), from which it seems to have inherited a portion, and the critical posture related to the socio-historic context of the expressive German community in the second half of the XIX century, with which Buschs picture stories has a dialogic relationship. The study that here develops comes from the reflection about the literary text, its reading and analysis, from which it is possible to face Buschs picture stories, not as a phenomenon isolated from its context or as its reflex, but as one of the elements that both influence and are influenced within the systemic conglomerate, which is a nations cultural and literary atmosphere. With that conception in mind, this paper reveals that, despite the perpetuation of this work on the Brazilian literature horizon starting with its first translation, in 1901, Buschs image in the Brazilian literary canon, or the German literature established from Brazil, presents an asymmetry in relation to the one he has in the German cultural system. Such asymmetry comes from the reduction of the potential of meaning that Buschs picture stories bear in their versions translated into Portuguese, as a result of some of the literary agents involved in this intercultural transposition process.
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Theobald, Pedro. "Formas e tendências da historiografia literária : o caso da literatura alemã no Brasil." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2008. http://hdl.handle.net/10183/15565.
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Tentativas de se escrever uma história da literatura alemã no Brasil têm sido recorrentes desde o século XIX. Assumiram diversas formas, do estudo comparativo à antologia, da história autônoma ao ensaio, da história da literatura universal às listas canônicas. Foram consideradas na presente tese, recebendo ênfase as histórias autônomas, modalidade em que se produziram dez títulos entre 1936 e 1997. O interesse que tais histórias apresentam passa por diversos campos: a historiografia literária, o comparativismo e a tradução. Observou-se como os autores lidam com a importante questão de escrever história da literatura para estrangeiros e das realidades a serem consideradas na execução dessa tarefa. Desde o primeiro estudo aqui analisado houve interesse em colocar a literatura alemã em confronto com outras literaturas. Tal fato se tornou mais expresso nas primeiras histórias autônomas, que, apesar de deficientes, faziam referências ao Brasil e à sua literatura. A década de 1960 pode ser considerada um divisor no ensino de língua e literatura alemã no Brasil, bem como na historiografia brasileira da literatura alemã. Em uma polêmica entre historiadores da área, constatavam-se as deficiências das obras existentes, reivindicando-se outras que apresentassem a literatura alemã de um ponto de vista secular, objetivo e de bases científicas. Simultaneamente, começavam a ocorrer congressos de professores latinoamericanos de Germanística, em cujos relatos transparece o desejo de um ensino de língua e literatura voltado para a realidade do país de destino. Tais reivindicações assumiram, nas décadas seguintes, a forma da Germanística Intercultural, modo específico de comparativismo na área em questão. As histórias da literatura, no entanto, pouco uso fizeram dos princípios propugnados por essa corrente, ficando, em parte, presas a modelos historiográficos ultrapassados. Em meio a teorias que apontam para a construção da história e desconfiam da produção de qualquer relato da totalidade e em meio a grandes projetos historiográficos comparativos desenvolvidos em outros países, resta ao Brasil encontrar um caminho para produzir a sua primeira grande história da literatura alemã.<br>Attempts of writing a history of German literature for Brazil have been recurrent since the 19th century. They have taken several forms, from comparative study to anthology, from literary histories in book form to short essay, from histories of world literature to canonical lists. All these forms have been considered in the present doctoral thesis, special emphasis having been given to the histories in book form, ten titles of which could be traced between 1936 and 1997. The interest of such histories relates them to several fields: literary history writing, comparative literature and translation studies. Special attention was paid to how the authors deal with the relevant question of writing a literary history for non-natives and of the realities to be considered in the execution of such a task. From the first study analysed it becomes evident that there was an interest in confronting German literature with other literatures. The fact became more conspicuous in the first histories in book form; notwithstanding their deficiencies, they frequently referred to Brazil and its literature. The 1960s may be considered a turning point not only in the teaching of German and its literature in Brazil but in German literary history writing in Brazil as well. In a feud among historians the deficiencies of the existing works were exposed in the press, and a claim for new ones made itself heard. These should present German literature from a secular point of view, objectively and on a scientific basis. At the same time occurred the first meetings of Latin- American Germanists, whose reports evince their expectations towards language and literature teaching practices in which the realities of the target country are taken into consideration. In the following decades such claims took the form of Intercultural Germanistics, a specific mode of comparative studies in this area. Literary histories, however, did not exactly follow the principles proposed by that current; on the contrary, several of them remained attached to the models of the past. Between the extremes of theories that point at the construction of literary histories and suspect the validity of any attempt of producing narratives of totality and, opposing them, great projects of comparative literary history writing being developed in other countries, Brazil still faces the challenge of producing its first great history of German literature.
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Taylor, Judith Louise. "The specificity of Simenon : on translating 'Maigret'." Thesis, St Andrews, 2009. http://hdl.handle.net/10023/713.
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Chaker, Dana. "Speaking the unspeakable : a comparative approach to representations of child sexual abuse in English- and German-speaking literature of the twentieth century." Thesis, University of Kent, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.499841.
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Grünewald, Heidi. "Joan Maragalls Rezeption deutscher Literatur im Identitätsdiskurs der Moderne." Doctoral thesis, Universitat de Barcelona, 2012. http://hdl.handle.net/10803/84097.
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Gegenstand der Dissertation ist die eingehende Beschäftigung des katalanischen Dichters Joan Maragall i Gorina (1860-1911) mit Goethe, Nietzsche und Novalis. Diese Rezeption prägt in großem Maße auch seine Überlegungen zu Fragen individueller und nationaler Identität und reflektiert insgesamt einen Prozess der Selbstfindung und Positionierung im Identitätsdiskurs der europäischen Moderne um 1900.
Dementsprechend entfaltet Maragall einen Diskurs, der sich zum einen auf das kulturelle und gesellschaftspolitische Feld Kataloniens bezieht und zeitkritische Themen (Phänomen der Masse, Naturalismus- und Dekadenzkritik etc.) aufgreift, zum anderen aber auch Raum für Identitätsentwürfe schafft, die seine persönlichen Lebensprojektionen und sein Dichtungskonzept betreffen. Darüberhinaus impliziert sein Identitätsdiskurs eine zivilisationskritische Perspektive, da seine Reflexionen immer auch Aspekte der Menschheitsentwicklung allgemein berühren. – Die vorliegende Untersuchung erörtert Maragalls Lektüre deutscher Schriften nicht nur im Hinblick auf sein dichterisches Schaffen, sondern insgesamt als bestimmenden Faktor seiner intellektuellen Tätigkeit, und fragt nach Bedeutung und Funktion seiner produktiven Rezeption im kulturellen Neuerungsprozess Kataloniens. Die Arbeit fokussiert in diesem Zusammenhang sowohl die von Maragall rezipierten Primärtexte als auch seine Lektüre von Sekundärtexten (Rezensionen, Einleitungen, zeitgenössische Literaturkritik) zu deutschen Autoren und Werken, denen er vor allem in französischen Zeitschriften begegnete. Der Rückgriff auf diese Quellen erlaubt, Maragalls Identitätsdiskurs mit einem in der Maragall-Forschung bisher wenig beachteten intellektuellen Feld in Verbindung zu bringen. Dazu zählen einflussreiche Chronisten und Literaturkritiker der Epoche, die mit Nietzsche, Goethe und Novalis ihre eigenen weltanschaulichen Überzeugungen exponierten. Sie brachten Maragall nicht nur mit den irrationalen Strömungen einer neuen Spiritualität und dem zeitgenössischen Monismus, sondern auch mit dem Goethekult des Kaiserreichs in Berührung. – Dabei ist festzustellen, dass Maragalls Nietzsche-Rezeption, ungeachtet des viel zitierten Artikels von Ludwig Stein (Deutsche Rundschau, 1893), in großem Maße von den Nietzsche- Bildern der französischen Kritiker Henri Albert, Theodor de Wyzewa und Georges Valbert sowie von den Kommentaren des Zarathustra-Herausgebers Peter Gast (d.i. Heinrich Köselitz) beeinflusst wurde. Auch die von Maragall verfassten Artikel zu Goethe und Novalis tragen Spuren der zeitgenössischen Rezeption dieser Autoren: Einerseits bezieht sich Maragall auf den Goethe-Philologen Herman Grimm und den Nietzscheaner Heinrich von Stein, dessen Studie über Goethe und Schiller er besonders schätzte, andererseits zitiert er längere Textabschnitte aus Bruno Willes Einleitung zu Heinrich von Ofterdingen (1898). – Diese erweiterte Rezeptionsperspektive führt zu einer kritischen Betrachtung des »direkten« Vergleichs zwischen Maragall und den rezipierten Autoren (vgl. Titelformulierungen wie z.B. »Maragall und Novalis«), da dieses Verfahren Maragalls Rezeptionshabitus vorwiegend im Rahmen persönlicher Entwicklungsphasen fokussiert und den offensichtlichen Einfluss der Rezeptionstendenzen um 1900, insbesondere die thematischen Verschränkungen von Nietzsches Zarathustra, Goethes bzw. Emersons Persönlichkeitskult und Novalis’ Dichterimago, unberücksichtigt lässt. Diese spezifische Themenkonfiguration prägte jedoch auch Maragalls Vorstellungen von einem dem zwanzigsten Jahrhundert entsprechenden Katalonien, von einer dem Leben gehorchenden Literatur, sowie von einem ethisch und ästhetisch gelungenen Leben. – Die eigene Kultur diagnostiziert der katalanische Dichter im Spiegel des Fremden und Universalen. Seine entschiedene Hinwendung zu deutschen Autoren und sein großes Interesse an der deutschen Bildungkultur impliziert aber nicht uneingeschränkte Empathie. Aus der Perspektive des Mediterranen distanziert er sich von ausgeprägt deutschen Eigentümlichkeiten, bewundert allerdings die im Kaiserreich gewonnene Dimension kultureller Repräsentation. Als Intellektueller bemüht er sich, die katalanische Kultur an der Schwelle zum 20. Jahrhundert für ein neues Selbstverständnis zu öffnen und einer kosmopolitischen Dimension zuzuführen, genauso wie er versucht, im subtilen inneren Ich-Diskurs das Paradigma der Moderne zu durchleuchten und – ähnlich wie andere Zeitgenossen der europäischen Moderne – seine innere persönliche und poetische Bildung an Nietzsche, Goethe und Novalis auszurichten, um den Unbestimmtheiten des neuen Jahrhunderts sowie dem unaufhaltsamen materiellen Fortschritt mit einer entschiedenen geistigen Haltung begegnen zu können, denn der menschliche Fortschritt ist nach Maragall nur in der unendlichen Vergeistigung der Materie zu verorten. In seiner Dichtkunst treten Gefühl und Intuition (»paraula viva«) an die Stelle der ästhetischen Konstruktion.<br>“Joan Maragall’s Reception of German Literature within the Discourse of Identity of the Modern Age”
This dissertation addresses the Catalan author Joan Maragall i Gorina‘s (1860-1911) extensive preoccupation with Goethe, Nietzsche and Novalis. His reception of their works greatly shapes his reflections on questions of individual and national identity and generally reflects a process of self-discovery and positioning that was taking place in the discourse of identity in European modernism around 1900. Accordingly, Maragall develops a discourse that relates, on the one hand, to the cultural and socio-political concerns of Catalonia and to contemporary issues (the phenomenon of crowds, criticism of naturalism and decadence, etc.), while, on the other hand, creating room for models of identity which affect his personal life as well as his concept of literature. Furthermore, his discourse on identity implies a perspective that is critical of civilization, since his reflections always touch upon aspects of the development of humanity. This study discusses Maragall‘s reception of German texts not only with respect to his literary output, but also as a determining factor in his intellectual activity in general, and it searches for the meaning and function of his productive reception in the cultural regeneration of Catalonia. In this regard, this work focuses both on the primary texts which Maragall read as well as on his readings of secondary texts (reviews, introductions, contemporary literary criticism) about German authors and works, most of which he encountered in French magazines. Focusing on these sources, one is able to link Maragall’s discourse of identity with an intellectual field that, thus far, has scarcely been examined in the research on Maragall. Very influential literary critics and commentators who introduced their own world view by interpreting Nietzsche, Goethe and Novalis, brought Maragall into contact with the irrational tendencies of a new spirituality and with contemporary monism, as well as with the Goethe cult of the empire. This expanded perspective of reception leads to a critical view of “direct” comparisons (i.e. titles such as “Maragall and Novalis”), since this treatment does not take into account the obvious influence of contemporary patterns of reception, particularly the thematic interconnections of Nietzsche’s Zarathustra, Goethe’s or Emerson’s personality cult and Novalis’ representation of the poet. This specific configuration of themes also influences Maragall’s idea of a nation in the twentieth century, as well as what determines that literature complies with life, and what is life when it is successfully lived ethically and aesthetically. He defines his own culture through the mirror of the foreign and the universal, in the same way as he consistently tries to measure himself spiritually as a poet and a person via a subtle inner discourse. Therein lies his modernity.
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Allan, Shona Millar. ""Das Lebend'ge will ich preisen" : from Ästhetik to Humanität : a comparative study of Byron and Goethe with special reference to Don Juan and the West-östlicher Divan." Thesis, University of Glasgow, 1999. http://theses.gla.ac.uk/1185/.
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This comparative study of Byron and Goethe seeks to explore the idea that there may be a far more fundamental similarity between the mode of writing of these two poets than has been noted to date. Although there has been, and continues to be, much written about each poet individually there has been little produced on the two poets considered together since the first half of the 20th century - the biographical coincidences and the influence of Goethe's Faust on Byron's Manfred having been exhausted. The initial chapter of this thesis examines this debate before proceeding, in Chapters 2 and 3, to an examination, first of all Goethe's reception of Byron as revealed in his letters, journals, conversations and reviews and then, similarly, to Byron's reception of Goethe. Suspecting that the uniquely aesthetic, vital quality of Byron's and Goethe's poetry may well be the common factor in both, it is an exploration of this 'particularity' that provides the focus in Chapter 4. Having established that there is a fundamental link between Goethe and Byron in their views about art, aesthetics and the function of poetry, it is to close textual analysis of the West-östlicher Divan and Don Juan that I turn in Chapter 5. This close examination illuminates these connections better than any purely theoretical analysis could, and thus appropriately supports Goethe's and Byron's view that the only way to express the particular is precisely through the particular.
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Tully, Carol Lisa. "Creating a national identity : a comparative study of German and Spanish Romanticism with particular reference to the Marchen of Ludwig Tieck, the Brothers Grimm and Clemens Brentano and the Costumbrismo of Blanco White, Estebanez Calderon and Lopez Soler." Thesis, Queen Mary, University of London, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.338921.
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Hörner, Heidrun Gudrun [Verfasser], Immacolata [Akademischer Betreuer] Amodeo, Ludwig [Gutachter] Pfeiffer, Nicola [Gutachter] Spakowski, and Günter [Gutachter] Berger. "Europe’s New Chinese Literature. Authors of Chinese Origin Writing in French and German A Comparative Analysis / Heidrun Gudrun Hörner ; Gutachter: Ludwig Pfeiffer, Nicola Spakowski, Günter Berger ; Betreuer: Immacolata Amodeo." Bremen : IRC-Library, Information Resource Center der Jacobs University Bremen, 2019. http://d-nb.info/1186968788/34.
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French, Rebecca S. C. "The devil in disguise : a comparative study of Thomas Mann's "Doktor Faustus" (1947 and Klaus Mann's "Mephisto" (1936, focussing on the role of art as an allegory of the rise and fall of Nazi Germany /." Thesis, Rhodes University, 2008. http://eprints.ru.ac.za/1634/.
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Rigault, Tom. "Yoko Tawada, ou le Comparatisme : l’œuvre et la critique en dialogue." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL175.
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Yoko Tawada, écrivaine contemporaine d’expression japonaise et allemande, mène depuis trente ans une carrière qui connaît un succès critique considérable dans ses deux langues et pays d’écriture. Œuvre hybride à la croisée des genres, des langues, des cultures et des littératures, définie par une démarche autoréflexive et métalinguistique, c’est un sujet de choix pour la littérature comparée, avec laquelle elle partage des affinités fondamentales. Pourtant, elle n’est encore que peu étudiée par les comparatistes ; cette thèse se donne donc pour objet de combler en partie cette lacune. Au long d’un parcours à travers les champs de recherche et plusieurs problématiques de la littérature comparée, nous éclairons réciproquement le fonctionnement de l’écriture tawadienne et les enjeux comparatistes contemporains dans le but de démontrer l’intérêt d’un véritable dialogue entre la démarche critique et son objet. La première étape consiste à établir la pertinence et la nécessité d’une approche comparatiste. Ensuite, mimant le geste autoréflexif de l’écrivaine, nous analysons les rapports de la critique à l’œuvre littéraire afin de déterminer leurs apports mutuels. Puis nous étudions le traitement littéraire et épistémologique de la notion d’espace, et plus précisément celle de passage, centrales dans la poétique tawadienne comme dans la pratique comparatiste, avant de nous pencher sur l’Europe, espace géographique et culturel au cœur de la création chez Tawada et de la définition de la littérature comparée. Enfin, nous achevons ce parcours sur une réflexion dans les termes de Tawada sur la traduction littéraire et la littérature en traduction, nœud gordien du comparatisme<br>Contemporary bilingual writer Yoko Tawada has received much critical acclaim for both her German and her Japanese literary work since 30 years now. Her hybrid writing between genres, languages, cultures and literatures, defined by a characteristic self reflexive and metalinguistic stance, is an ideal research topic for Comparative Literature. However, it has yet to be thoroughly studied by comparatists. In our thesis, we endeavour to fill part of this gap by connecting Tawada’s writing to comparative research fields and issues, in order for them to shed light on each other. Thus we aim to demonstrate what we can gain from a real dialogue between the researcher and its object of study. The first step will be to assess the meaningfulness and use of a comparative approach in the case of Tawada’s literature. Then, we will mimic the writer’s own self reflexive gesture in order to analyse the relationship between literary work and criticism and determine how they might benefit each other. Afterwards, we will study closely the epistemological and literary uses of space and passage, two crucial notions both for Comparatism and Tawada’s writing, before focusing on a more specific geographical and cultural space: that of Europe, which is also central to the writer’s literary journey as well as the very definition of Comparative Literature. Lastly, we will close with a study of Tawada’s thought-provoking take on the Gordian knot of Comparative Literature: literary translation and literature in translation
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Boyle, Mary. "To be a pilgrim : a comparative study of late medieval accounts of pilgrimage from Germany and England to the Holy Land." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:8f1b780c-642e-4ab1-9878-7068f9634ffa.
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As a large-scale international cultural phenomenon, the Jerusalem pilgrimage must be approached comparatively. This project compares the pilgrimage accounts of two Germans and two Englishmen who travelled to Jerusalem in the second half of the long fifteenth century. The texts are those of William Wey, (written c.1470), Bernhard von Breydenbach (printed 1486), Arnold von Harff (written 1499) and the 'Pylgrymage of Sir Richard Guylforde', composed by his anonymous chaplain (printed 1511). Each chapter focuses on a pilgrim, and one of four thematic topics: genre, the religious other, curiosity and print. This project treats these works as literary texts which can be approached from the perspective of cultural history, rather than as historical sources. The project, therefore, is more a consideration of how the pilgrimage is represented than it is about the events of each pilgrimage, and so it looks at the pilgrimages created in writing. Pilgrimage writings tend to focus on Jerusalem's spiritual significance, rather than its worldly position. In this sense, textual representations of travel to Jerusalem represent something of a disconnect with travel to other physical destinations, and the conceptual space of pilgrimage will be of key significance to this thesis. This has implications for practice as well as writing, and therefore the thesis will address how the writers consider their journeys, as well as the idea of virtual pilgrimage. The thesis engages with questions of identity, and how it is presented, as well as the authors' relationship with their audiences. This necessitates analysing collective identity, as well as the different audiences for printed and manuscript texts. The most important research question, bringing together these issues, considers whether the authors' different geographical origins affect their self-presentation and understanding of pilgrimage. This leads to my central contention: that pilgrimage must be portrayed as a single, unified experience.
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O'Sullivan, Emer. "Comparative children's literature /." London [u.a.] : Routledge, 2009. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=018910995&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.
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Paula, Breno Rodrigues de. "Estudo comparativo acerca do espaço e do tempo em "O gato preto" e O processo /." Araraquara : [s.n.], 2012. http://hdl.handle.net/11449/91513.
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Orientador: Luiz Gonzaga Marchezan<br>Banca: Karin Volobuef<br>Banca: Rauer Ribeiro Rodrigues<br>Resumo: O espaço e o tempo são elementos estruturais de fundamental importância na narrativa literária, podendo assumir funções diversas. Os métodos e os recursos narrativos de que o escritor dispõe são variados. A sua instauração gera uma relação entre ambos de valores estéticos e narrativos muitas vezes diferentes para cada obra. Cada escritor projeta-os segundo a sua concepção estético-literária e ao seu estilo. Partindo deste axioma, que é a existência do espaço e do tempo como categorias narrativas, analisamos duas obras literárias específicas: o conto "O gato preto", de Edgar Allan Poe, e o romance O Processo, de Franz Kafka. A partir da análise das respectivas obras, verificamos como ambas as categorias narrativas se apresentam em um conto e em um romance e como elas auxiliam na obtenção de efeitos pré-definidos, como, por exemplo, os efeitos elencados na filosofia da composição e no realismo fantástico, respectivamente. Objetivamos ressaltar as especificidades de como Poe e Kafka retratam o espaço e o tempo em ambas narrativas. Pretendemos estudar, desta forma, os principais aspectos narrativos do conto e do romance em questão de modo a ressaltar as suas especificidades, elencando as suas funções narrativas, para tanto trabalhamos com os conceitos de espaço tópico e descrito, além dos aspectos do tempo a partir do nível narrativo e do nível diegético<br>Abstract: Space and Time are structural elements of fundamental importance in literary narrative, and may take several functions. The methods and narrative procedures the writer arranges are diverse. Their establishment generate a relationship between them which aesthetic and narrative values are often different for each work. Each writer designs them according to their style, as well as their aesthetic-literary conceptions. From this axiom, which is the existence of space and time as narrative categories, we analyze two specific literary works: the short story called "The Black Cat" by Edgar Allan Poe, and the novel The Judgment by Franz Kafka. Drawing on the analysis of their works, we see how both categories are presented in a short story and in a novel and how they assist in achieving predefined effects, such as the ones listed in "The Philosophy of Composition" and in the Fantastic Realism, respectively. Our aim is to highlight the specificities of how Poe and Kafka portray Space and Time in both narratives. By doing so, we intend to study the main narrative aspects of the short story and the novel in question so as to highlight their specific features, listing their narrative functions. Therefore, the concepts of topic and described Space, in addition to the aspects of Time from the narrative and diegetic levels are focused<br>Mestre
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Dickson, Polly Letitia. "The stakes of mimesis : tracing narrative lines in the works of E.T.A. Hoffmann and Honoré de Balzac." Thesis, University of Cambridge, 2017. https://www.repository.cam.ac.uk/handle/1810/269768.
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My project offers a set of comparative close readings of texts by E.T.A. Hoffmann and Honoré de Balzac. Balzac’s early fiction, I contend, grapples with questions relating to the representational practice of mimesis through an explicit engagement with Hoffmann’s work. Hoffmann’s fiction, in turn, proves itself repeatedly to contain the traces of a proto-realist tendency, through its playful interventions into the staging of narrative creation. The contribution of my project to scholarship is twofold. First, it offers comparative readings of texts that have not yet been drawn together, hoping to re-adjust the common ascriptions of ‘Romanticism’ and ‘Realism’ to Hoffmann and Balzac respectively, and to identify a new complication in the relationship of those generic categories. Second, it articulates a new account of mimesis. By drawing on the work of twentieth-century theorists such as Erich Auerbach, Walter Benjamin and Merleau-Ponty, it shows that ‘mimesis’ refers not merely to the imitation of an object, but rather to the reproduction of a particular sensory experience of that object. This perspective on mimesis allows me to unfold new readings of the two authors. How is life compromised in the name of fiction, of the artwork? This question recurs compulsively in Hoffmann’s tales, figured in repeated and near-repeated scenarios in which the everyday is pitted against an ideal or delusional alternative. When Balzac imitates or repeats this mimetic question in the works I consider, it is invariably figured in the image of Hoffmann, called upon as a fictional co-author or authorial double, or as a para-textual element, often in highly visual terms. The thesis thus addresses what I have come to term the ‘stakes of mimesis’. If a particular compromise, or particular stakes, are involved in the creation of fictions, for Balzac those stakes are drawn in distinctly Hoffmannesque terms. The thesis is structured according to the conviction that the relationship between the two writers is not simply a linear one of filiation or influence, but one led by a more complicated sense of imitation. To this end, I take to task the conventional figure of the narrative ‘line’ and follow it through various Romantic and modernist complications. My first chapter, ‘Chiasm’, works as a conceptual introduction to the readings, tracing a particular account of literary mimesis from Plato to Maurice Merleau-Ponty. The four subsequent chapters each read a pair of texts by Hoffmann and Balzac alongside one another. Chapter Two, ‘Line’, focuses on the arabesque lines of Der goldne Topf and La Peau de chagrin. Chapter Three, under the emblem ‘Trope’, examines the paper identities of characters in Die Abenteuer der Sylvester-Nacht and Le Colonel Chabert. Chapter Four, ‘Figure’, considers the delusional artist figures and ekphrastic narrative frameworks of Der Artushof and Le Chef-d’œuvre inconnu. Finally, Chapter Five, ‘Cross’, examines questions of inheritance between Die Elixiere des Teufels and L’Élixir de longue vie. In unfolding these emblematic figures as models of reading, I seek new ways of thinking about the relationship between these two authors, and about the act of comparative reading.
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Volkmann, Abigail J. "River Basin Management and Restoration in Germany and the United States: Two Case Studies." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/165.
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The uses and management of water resources play an important role in the development of a culture and the health of its environment and population. Humans throughout history have consistently exploited rivers, which degrades water quality and leads to water scarcity. This thesis is an examination of two river restoration projects, one on the Oder River in Germany and the other on the Klamath River in the United States, that represent each country's efforts to reverse river exploitation. These cases in Germany and the United States demonstrate the importance of achieving a better understanding of the political instruments and strategies for mitigating environmental issues on a global scale.
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Jané, Lligé Jordi. "La recepció de Heinrich Böll a Espanya." Doctoral thesis, Universitat Pompeu Fabra, 2006. http://hdl.handle.net/10803/7585.
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En la tesi doctoral "La recepció de Heinrich Böll a Espanya" s'analitza el procés de divulgació a Espanya de l'obra de l'escriptor alemany contemporani que s'hi ha reeditat més vegades, i se'n proposa una periodització. L'estudi se centra en dos àmbits: la recepció externa de Böll (editorials que se n'ocupen, reaccions de la crítica i el món acadèmic); i l'anàlisi textual d'una selecció de traduccions seves al català i al castellà. En el primer apartat es parteix d'un enfocament sociològic i es compara la recepció espanyola i catalana amb l'alemanya; en el segon es pren com a base el model de la lingüista Juliane House per a l'avaluació de traduccions (que parteix també de la comparació amb els originals), adaptant-lo a l'estudi de textos narratius de ficció. S'ha intentat relacionar aquests dos enfocaments d'anàlisi sempre que les metodologies aplicades ho han permès. El treball no parteix d'un ànim avaluatiu, sinó descriptiu.<br>En la tesis doctoral "La recepción de Heinrich Böll en España" se analiza el proceso de divulgación de la obra del escritor alemán más veces reeditado en este país y se propone una periodización de ese proceso. El estudio se centra en dos ámbitos: la recepción externa de Böll (editoriales que se ocupan del autor, reacciones de la crítica y del mundo académico); y el análisis textual de una selección de traducciones de obras suyas al catalán y al castellano. En el primer apartado se parte de un enfoque sociológico y se compara la recepción española y la catalana con la alemana; en el segundo se toma como base el modelo de la lingüista Juliane House para la evaluación de traducciones (que parte también de la comparación con los originales), adaptándolo al estudio de textos narrativos de ficción. Se ha intentado relacionar ambos enfoques de análisis siempre que las metodologías aplicadas así lo han permitido. Este trabajo no parte de un ánimo evaluativo, sino descriptivo.<br>The doctoral thesis "The reception of Heinrich Böll in Spain" analyzes the spreading process of the work of the most published contemporary German writer in this country, and proposes a periodization for it. The work is based on two wide fields of study: on the one side the 'external reception' of the process (role of publishers and reactions of literary criticism, scholars and of the academic world) and on the other side the 'textual analysis' of some in Catalan and Spanish translated works of the author. For the first area a sociological perspective is adopted and the Spanish and Catalan processes are compared with the German one, for the second area the Juliane House model for translation quality assessment is used (which is also based on textual comparison) and adapted for the analysis of fictional narrative texts. I have attempted to relate the two perspectives of analysis as far as the methodological procedures have allowed it. My work does not pursue an evaluative aim, rather a descriptive one.
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Jones, Jared. "Winging It: Human Flight in the Long Eighteenth Century." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1565963832584991.
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Akalay, Mohamed. "Las maqāmāt y la picaresca al-Hamad̲ānī y al-Ḥarīrī, Lazarillo de Tormes y Guzmán de Alfarache /." Mohammedia, Maroc : Imprimerie de Fédala, 1998. http://books.google.com/books?id=4ZVZAAAAMAAJ.
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Elkhair, Nawal Mohamed [Verfasser]. "Comparative studies on acid-base status in calves (Germany) and young camels (Sudan) as influenced by experimentally induced metabolic acidosis : Introduction and the objectives of the study, Literature review, Materials and Methods, Results, Discussion, Summary, Zusammenfassung, References, Appendixes, Curriculum Vitae, Acknowledgements, Selbtständigkeitserklärung / Nawal Mohamed Elkhair." Berlin : Freie Universität Berlin, 2008. http://d-nb.info/1022942166/34.
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Mattson, Christina Phillips. "Children's Literature Grows Up." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17467335.
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Children’s Literature Grows Up proposes that there is a revolution occurring in contemporary children’s fiction that challenges the divide that has long existed between literature for children and literature for adults. Children’s literature, though it has long been considered worthy of critical inquiry, has never enjoyed the same kind of extensive intellectual attention as adult literature because children’s literature has not been considered to be serious literature or “high art.” Children’s Literature Grows Up draws upon recent scholarship about the thematic transformations occurring in the category, but demonstrates that there is also an emerging aesthetic and stylistic sophistication in recent works for children that confirms the existence of children’s narratives that are equally complex, multifaceted, and worthy of the same kind of academic inquiry that is afforded to adult literature.
This project investigates the history of children’s literature in order to demonstrate the way that children’s literature and adult literature have, at different points in history, grown closer or farther apart, explores the reasons for this ebb and flow, and explains why contemporary children’s literature marks a reunification of the two categories. Employing J. K. Rowling’s Harry Potter novels as a its primary example, Children’s Literature Grows Up demonstrates that this new kind of contemporary children’s fiction is a culmination of two traditions: the tradition of the readerly children’s book and the tradition of the writerly adult novel. With the fairy tales, mythologies, legends, and histories that contemporary writers weave into their texts, contemporary fictions for children incorporate previous defining characteristics of children’s fantasy literature and tap into our cultural memory; with their sophisticated style, complex narrative strategies, and focus on characterization, these new fictions display the realism and seriousness of purpose which have become the adult novel’s defining features.
Children’s Literature Grows Up thus concludes that contemporary children’s fiction’s power comes from the way in which it combines story and art by bringing together both the children’s literature tradition and the tradition of the adult novel, as well as the values to which they are allied. Contemporary writers for children therefore raise the stakes of their narratives and change the tradition by moving beyond the expected conventions of their category.<br>Comparative Literature
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Sham, Hok-man Desmond, and 岑學敏. "Sinophone comparative literature: problems, politics and possibilities." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2009. http://hub.hku.hk/bib/B42182530.
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Sham, Hok-man Desmond. "Sinophone comparative literature problems, politics and possibilities /." Click to view the E-thesis via HKUTO, 2009. http://sunzi.lib.hku.hk/hkuto/record/B42182530.
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Li, Shunxing. "Utopia, where East and West meet : a comparative study of hybrid utopias in twentieth-century Chinese and western literature /." Thesis, Connect to this title online; UW restricted, 1995. http://hdl.handle.net/1773/6679.
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Kattemalavadi, Chinmayi. "(An) Unsettled Commons| Narrative and Trauma after 9/11." Thesis, Wayne State University, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10261366.
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<p> This dissertation examines fictional responses to the events of September 11, 2001. It argues for the importance of one kind of fictional response, one which focuses on representing the feeling of "unsettledness" that can be one effect of trauma, with the aim of making that unsettledness itself a locus of a shared common experience. I posit that in articulating the events of 9/11 in the context of, in relation to, and as one in a series of traumas, violences, and histories, these narratives make the unsettlements shareable. Focusing on four works of fiction that were published after 9/11—Joseph O’Neill’s <i>Netherland</i>, Junot Díaz’s <i> The Brief Wondrous Life of Oscar Wao (Oscar Wao)</i>, Teju Cole’s <i> Open City</i>, and Jennifer Egan’s <i>A Visit From the Goon Squad (Goon Squad)</i>—I explore representations of the effects of and the attempts to cope with traumatic experiences including 9/11 itself.</p><p>
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Giaccardi, Chiara. "Advertising on television : a comparative sociosemiological analysis." Thesis, University of Kent, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.303325.
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Sung, Ho Yeon. "A Comparative Study of Shao Xunmei's Poetry." The Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392984862.
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Dundzila, Audrius Vilius. "Maiden, mother, crone Goddesses from prehistory to European mythology and their reemergence in German, Lithuanian, and Latvian Romantic dramas /." 1991. http://catalog.hathitrust.org/api/volumes/oclc/24514194.html.
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Thesis (Ph. D.)--University of Wisconsin--Madison, 1991.<br>Vita. Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves: 277-291).
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Driscoll, Kári. "Toward a Poetics of Animality: Hofmannsthal, Rilke, Pirandello, Kafka." Thesis, 2014. https://doi.org/10.7916/D8V69GNK.
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Toward a Poetics of Animality is a study of the place and function of animals in the works of four major modernist authors: Hugo von Hofmannsthal, Rainer Maria Rilke, Luigi Pirandello, and Franz Kafka. Through a series of close readings of canonical as well as lesser-known texts, I show how the so-called "Sprachkrise"- the crisis of language and representation that dominated European literature around 1900 - was inextricably bound up with an attendant crisis of anthropocentrism and of man's relationship to the animal. Since antiquity, man has been defined as the animal that has language; hence a crisis of language necessarily called into question the assumption of human superiority and the strict division between humans and animals on the basis of language. Furthermore, in response to author and critic John Berger's provocative suggestion that "the first metaphor was animal" I explore the essential and constantly reaffirmed link between animals and metaphorical language. The implication is that the poetic imagination and the problem of representation have always on some level been bound up with the figure of the animal. Thus, the "poetics of animality" I identify in the authors under examination gestures toward the origin of poetry and figurative language as such.
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Tuckerova, Veronika. "Reading Kafka in Prague: The Reception of Franz Kafka between the East and the West during the Cold War." Thesis, 2012. https://doi.org/10.7916/D84J0C5K.
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This dissertation explores the transmission, reception, and appropriation of Franz Kafka in Czechoslovakia during the Cold War, against the background of the contemporary international readings of Kafka, especially in West Germany.
The first chapter examines Paul Eisner's translation of the Trial in the context of his influential triple "ghetto theory" and from the perspective of his contemporary translation discourse as well as recent translation theories. The second chapter focuses on the reception of Gustav Janouch's Conversations with Kafka, and the reasons why this controversial text was welcomed in the West and dismissed in the East as a forgery. The chapter uses new archival discoveries about Janouch and discusses questions of witness and testimony. The role of "witness" took an ominous turn in the case of Eduard Goldstücker, who is the focus of the third chapter. Goldstücker was tried in the Slánský show trials in the early 1950s and forced to testify against Slánský. The chapter explores how Goldstücker attempted to come to terms with his past through reading of Kafka. The secret police files that were kept on him provide new insights on Goldstücker's published texts, public persona, and the Liblice Conference that succeeded in rehabilitating Kafka in 1963. The last chapter examines the samizdat publications of Kafka's works. This chapter spans the 1960s to the 1980s Underground culture and examines the appropriation by Ivan Jirous of the "ghetto" topos and Kafka for the Czech Underground.
I address the following topics: the status of witness as a legitimization of an "authentic" reading, censorship, the interplay between politics and literature, and the construction of authorship.