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Stamova, Darina. "Melancholia in W. G. Sebald's "The Rings of Saturn"." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 115 p, 2009. http://proquest.umi.com/pqdweb?did=1654488641&sid=2&Fmt=2&clientId=8331&RQT=309&VName=PQD.
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Jones, Emily Erin. "Verschachtelte Räume: Writing and Reading Environments in W. G. Sebald." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10296.
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This dissertation focuses on the construction of the narrated environment in W. G. Sebald's <em>Die Ausgewanderten</em>, <em>Die Ringe des Saturn</em>, and <em>Austerlitz</em>. Drawing on a constellation of ecocritical theories, I examine the ways in which memory and history are embedded in images of the built environment and how, in turn, this spatialization of the past contributes to a criticism of traditional linear narration. Sebald's texts create postmodern textual environments, urban, domestic, faux-pastoral, and heterotopian, that unite disparate times and spaces, demonstrating the need for innovative narrative in untangling and portraying complex, sometimes contradictory layers of history. An examination of the labyrinth and garden in <em>Die Ringe des Saturn</em> and of urban spaces in <em>Austerlitz</em> demonstrates the potential of the environment to seize agency and exert force on the human subject in the environment. The domestic environment also contains this potential, but in <em>Austerlitz</em>, the protagonist reclaims agency and uses the domestic environment as a medium for recovering memory. Finally, drawing on theories from Michel Foucault and Marc Augé, I examine the effect heterotopian spaces have on the characters experiencing them in all three of Sebald’s major prose works. More importantly, I demonstrate the way in which Sebald exploits the heterotopian potential of the text itself, creating a textual “environment” that pushes back against the reader, reinforcing the meaning of its content, but also drawing attention to the textual structures it deploys to create meaning.
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Waller, Dorian. "Der heimatlose Bastler : die Melancholie des Ausgewanderten und ihre Bedeutung für die Textgestalt von W. G. Sebalds "Max Aurach" /." kostenfrei, 2008. http://othes.univie.ac.at/2713/.
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Ceuppens, Jan. "Vorbildhafte Trauer W. G. Sebalds "Die Ausgewanderten" und die Rhetorik der Restitution." Eggingen Ed. Isele, 2009. http://d-nb.info/1000386155/04.
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Salmon, Rachel. "Anselm Kiefer and W. G. Sebald: Intersecting Approaches to German History." Master's thesis, Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/522928.
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Art History<br>M.A.<br>The German artist Anselm Kiefer and German author W. G. Sebald are prominent and innovative figures in their individual fields whose works deal with many of the same themes, such as destruction, memory, and mourning. Their historical retellings are mediated by their own experiences of growing up in postwar Germany and hover between reality and fiction. Kiefer and Sebald are not the only German artist and author to address themes related to World War II and the Holocaust; however, their works share similar approaches to those themes that are not universally utilized by their peers. Despite this, there is no in-depth analysis of the similarities between the artist and author. This paper examines multiple works by Kiefer and Sebald in order to analyze shared approaches that are evident in Kiefer’s artworks and Sebald’s novels. Their works focus heavily on the archive, take advantage of the documentary aspect of photography, and feature the histories and responses of Holocaust survivors. By examining these similarities, insight is gained into a postwar mindset shared by both Kiefer and Sebald.<br>Temple University--Theses
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Marques, Ana Martins. "Paisagem com figuras fotografia na literatura contemporânea (W. G. Sebald, Bernardo Carvalho, Alan Pauls, Orhan Pamuk): fotografia na literatura contemporânea (W. G. Sebald; Bernardo Carvalho; Alan Pauls; Orhan Pamuk)." Universidade Federal de Minas Gerais, 2013. http://hdl.handle.net/1843/ECAP-97ZLNU.
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Esta tese propõe uma investigação sobre a incorporação de imagens fotográficas em alguns textos literários contemporâneos. A partir da leitura de livros de W.G. Sebald, Bernardo Carvalho, Alan Pauls e Orhan Pamuk, busca-se analisar alguns dos efeitos produzidos pela presença de fotografias na narrativa, considerando, sobretudo, as relações que aí se estabelecem entre texto e imagem. De gênero dificilmente definível, os livros do alemão W. G. Sebald transitam entre a memória, o perfil biográfico, o relato de viagem, a ficção e o ensaio. Marcados por um tom digressivo e melancólico, os livros do autor caracterizam-se ainda pela reprodução de um grande número de fotos, sem legendas e em preto e branco. O emprego que W.G. Sebald faz das imagens fotográficas em sua obra, em especial em Os emigrantes e Austerlitz, é examinado aqui em articulação com os demais elementos narrativos, com o propósito de discutir o modo como a prosa sebaldiana problematiza o estatuto documental da fotografia, as associações entre imagem, memória e arquivo e o papel da fotografia na construção das narrativas pessoais e familiares, mas também históricas e coletivas. A tese procura ainda examinar o recurso à fotografia em Nove noites e Mongólia, do brasileiro Bernardo Carvalho, em articulação com o motivo da viagem e da representação do 'outro' e com o emprego de estratégias documentais e autoficcionais, bem como avaliar o impacto da incorporação de imagens fotográficas sobre as fronteiras entre texto e paratexto. Por fim, a partir da leitura de A vida descalço, do argentino Alan Pauls, e de Istambul, do turco Orhan Pamuk, em interlocução com outros livros que conectam fotografia e 'escrita de si', a tese se volta para as relações entre fotografia, ficção, ensaio e autobiografia.
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Campos, Lucie. "Fictions contemporaines et conscience historique : J. M. Coetzee, I. Kertész, W. G. Sebald." Poitiers, 2010. https://acces.bibliotheque-diderot.fr/login?url=https://doi.org/10.15122/isbn.978-2-8124-4250-6.
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Les oeuvres de J. M Coetzee, I. Kertész, W. G. Sebald témoignent d'un effort spécifique du littéraire pour répliquer à la violence des évènements qui ont forgé la conscience historique du 20e siècle. A la pression d'un réel historique des évènements inassimilable et destructeur, ces écrivains répondent par un travail d'écriture et de clarification soucieux à la fois de son inscription dans un champ politique et de ses limites philosophiques. .<br>The literary works of J. M Coetzee, I. Kertész and W. G. Sebald confront the violent events that have shaped the historical consciousness of the twentieth century with the specific tools of literature and fiction. In an effort to respond to the pressure of a destructive historical reality that is difficult to assimilate, these writers have sought to clarify their position within a political and philosophical field. .
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Orr, Jeffrey David. "Visuality, genre and translation in selected works of Michael Ondaatje and W. G. Sebald." Thesis, University of Leeds, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.424895.
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Julien, Aurélie. "Errance identitaire, errance scripturale : Patrick Modiano, W. G. Sebald, Fred Wander et la littérature de l'après." Thesis, Rennes 2, 2016. http://www.theses.fr/2016REN20036/document.
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Le Français Patrick Modiano (1945-), l’Allemand W.G. Sebald (1944-2001) et l’Autrichien Fred Wander (1917-2006) : trois écrivains de l’errance, affectés par l’absence des témoins, la disparition des traces et les lacunes du passé au sortir de la Seconde Guerre mondiale. Leurs oeuvres sont hantées par les blancs de la mémoire et les brisures identitaires : exilés contraints de quitter leur Heimat afin d’êtres sauvés du nazisme, ou bien exilés volontaires lorsqu’ils entreprennent des voyages identitaires, les personnages des trois auteurs sont construits de ruines, de pièces manquantes. Les trous de mémoire, les failles de l’être, les incertitudes et les dialogues avec le hors-texte (l’espace extérieur, l’Histoire passée, la mémoire de chacun, le lecteur, les oeuvres antérieures) constituent la matière même de l’écriture. Errant entre fiction et réalité, oscillant entre roman, (auto)biographie, roman de formation, rapport d’enquête et mémoires, Voyage de noces et Dora Bruder de Modiano, Les Émigrants et Austerlitz de Sebald, Hôtel Baalbek et Das gute Leben de Wander sont des récits hybrides qui entremêlent les voix, brouillent les pistes, rassemblent mémoire collective, individuelle et culturelle et semblent laisser le sens des textes (en termes de direction, voire de fin, et de signification) et leur transmission en suspens. L’errance investit dès lors l’identité et la mémoire des textes eux-mêmes et renouvelle la question de la tâche dulecteur après 1945<br>The French writer Patrick Modiano (1945-), the German writer W.G. Sebald (1944-2001) and the Austrian writer Fred Wander (1917-2006) consider the relationship between errance and literature after 1945: They are moved by the absence of the witnesses and the disparition of the past after World War II. Their books are haunted by memory lapses and identity disorder and they present a lot of trips accross worlds ; the characters of Modiano, Sebald and Wander are in exile or in transit, far away from their Heimat, and there are searching for missing peaces of their identity. The memory gaps and errors, the difficulty of being, the uncertainties and the dialogues with the out of text world (the space outside the text, the past History, the recall, the reader, the intertextuality and intermediality) compose the matter of writing. The books by the three writers, Honeymoon and Dora Bruder by Modiano, The Emigrants and Austerlitz by Sebald, Hôtel Baalbek and Das gute Leben by Wander, are wandering between fiction and reality and not corresponding the literary norms: are they novels,Bildungsromane, investigation reports, memoirs, or (auto)biographies? These hybrid and multi-level narratives combine voices, confuse the issue, collect the individual, collective and cultural memory and keep the meaning and the direction of the texts, so the narrative transmission, in suspense. The trope of errance leads also to the exploration of the identity and the memory of the texts themselves and the (re)consideration of the role of the reader after 1945
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Bussius, Julia Teixeira. "'E o que resta não destrói a memória': história, memória e ficção na obra de W. G. Sebald." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-31082010-144951/.
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A presente dissertação de mestrado pretende analisar como o escritor alemão W.G. Sebald (1944-2001) enxerga a história, a memória e a ficção nos seus quatro livros em prosa. As narrativas desse autor lançam mão do procedimento de colecionar diversas pistas e fragmentos do passado, que surgem por meio de encontros com pessoas, imagens, objetos, paisagens e lugares da memória - algo que nos remete ao historiador arqueólogo-colecionador que Walter Benjamin dizia ser necessário para enxergar o passado de um modo crítico. Dividido em três capítulos, que tratam do deslocamento como modo de pensar, da elaboração da memória e da história em Sebald, esse trabalho buscou verificar relações entre a história e a literatura, tomando a obra singular desse autor como exemplo de que a ficção é uma ferramenta essencial para se apreender o passado.<br>The aim of this dissertation is to analyze how German writer W.G. Sebald (1944-2001) talks about History, Memory and Fiction in his four prose books. The narratives of this author act by collecting several trails and fragments from the past through encounters with people, images, objects landscapes and places of memory - something that recall us of the historian who should be like an archeologist or a collector that Walter Benjamin thought necessary to understand and think critically about the ruins of History. Divided by three chapters - about the displacement as a way of thinking, the elaboration of memory and about History in literary narratives - this work has tried to deal with the connections between History and Literature by taking the singular work of a writer as an example that fiction makes it possible to have a different relationship with the past.
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Engels, Andrea. "W. G. Sebalds Nach der Natur. Ein Elementargedicht." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1236033480.
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Distler, Anton. "Kein Verstehen ohne fundamentale Ontologie eine philosophische Analyse des Werks von W. G. Sebald aufgrund der "existentiellen Psychoanalyse" Jean-Paul Sartres." Würzburg Königshausen & Neumann, 2007. http://d-nb.info/990565793/04.
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Cawood, Megan Jane. "Passing on: "The Weight of Memory" and the Second Generation Fiction of Anne Michaels, W. G. Sebald and Bernhard Schlink." Doctoral thesis, University of Cape Town, 2014. http://hdl.handle.net/11427/12752.
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Includes bibliographical references<br>The value of second generation fiction for Holocaust studies can be found in its self-conscious examination of what might constitute an ethical response to the testimony of another. I bring together the fictional texts of three authors of the generation after, Anne Michaels’s Fugitive Pieces, W. G. Sebald’s The Emigrants and Austerlitz and Bernhard Schlink’s The Reader, in order to investigate the textual strategies each text employs to bear witness on behalf of another and pass on what Sebald has called "the weight of memory" . While Sebald uses the phrase to describe the burden of memory experienced by survivors, I use his phrase as a point of departure to consider how the second generation responds to the burden of memory. Rather than portraying fictional examples of "vicarious witnessing" (Zeitlin) or "witness by adoption"(Hartman), these texts present a form of structural witnessing that models how one storyteller can carry and pass on the story of another as a kind of caretaker. I argue that such forms of witnessing on behalf of or for another comprise ethical acts in which the other’s story is accepted as distinct from one’s own. Rather than simply examining "the weight of memory" thematically, each text develops strategies for passing on this weight, and its resultant sense of responsibility, to the reader. I examine the structural and aesthetic strategies employed in these four texts to show how these devices set up the terms by which the text becomes the site of response. I pay particular attention to narrative structures that both model and perform instances of literary address and which create layered structures of "proxywitnessing"(Gubar) within the space of the text. I consider how fragmentation and failure inform the aesthetics of these authors whose representational strategies may be considered productively "barbaric," to appropriate Adorno’s misunderstood aphorism, as the texts present narratives that are unsettling and yet engaging. The work of the gene ration after is that of carrying memory, but not so as to appropriate it or unduly over -identify with it, but rather to respond and demonstrate response in a gesture which then provokes alternative and continued responses.
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Conant, Chloé. "La littérature, la photographie, l'hétérogène : étude d'interactions contemporaines : C. Boltanski, W. Boyd, S. Calle, G. Davenport, J. Roubaud, W.G. Sebald." Limoges, 2003. http://www.theses.fr/2003LIMO2008.
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La rencontre interartistique entre littérature et photographie, manifestant l'hétérogénéité d'un medium traditionnel et d'un medium technologique, pose à la fin du XXe siècle des questions spécifiques. Cette période qualifiée de postmoderne, vit sur le mode de la multiplicité, mais aussi de la perte, la relation au réel. C'est ce qu'expriment plusieurs artistes (plasticiens et écrivains) à travers des oeuvres hybrides que l'on peut qualifier d'expérimentales au sens propre du terme : elles permettent aux créateurs et aux lecteurs/spectateurs d'appréhender le monde de façon ludique et interconnectée. Le premier temps de l'étude, qui concerne l'hétérogénéité interne de l'oeuvre, rend compte de la relation antagonique qu'ont longtemps entretenu l'écriture et la photographie, cette dernière n'ayant accédé que difficilement à la dignité de medium artistique à cause de son lien très fort avec le réel. Les oeuvres jouent sur cet écart, tout en parvenant à mettre en place une dynamique d'échange et d'interactions entre les composantes. Mais l'hétérogénéité des mediums crée des liens, des traversées de frontières qui ouvrent l'oeuvre sur l'extérieur. La deuxième étape de l'analyse s'attache donc à définir ces oeuvres comme poreuses vis-à-vis du réel. Celui-ci s'y inscrit de façon massive, ce qui entraîne leur décanonisation en termes de statut artistique. Pourtant, on observe finalement que l'oeuvre d'art hétérogène met en place toutes sortes de stratégies d'appropriation de ce réel, qui se retrouve alors contaminé, malmené par la fiction. Le monde de référence est tout d'abord mis en doute dans l'oeuvre, qui parvient à dépasser les répartitions traditionnelles de la littérature et de la photographie en ce qui concerne leur fidélité au réel. Il est ensuite mis en scène, ce qui constitue sur le mode du jeu une opération radicale, analysable comme la création d'une interface entre ces deux éléments, les plus hétérogènes sans doute, que sont l'être et le monde
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Schmucker, Peter [Verfasser], Nicolas [Gutachter] Pethes, and Monika [Gutachter] Schmitz-Emans. "Grenzübertretungen : Aspekte der Intertextualität im Werk von W. G. Sebald / Peter Schmucker ; Gutachter: Nicolas Pethes, Monika Schmitz-Emans ; Fakultät für Philologie." Bochum : Ruhr-Universität Bochum, 2011. http://d-nb.info/1154307484/34.
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Nascimento, Larissa Silva. "Para além das cercas de arame farpado : o Holocausto em Maus, de Art Spiegelman, e em Os emigrantes, de W. G. Sebald." reponame:Repositório Institucional da UnB, 2012. http://repositorio.unb.br/handle/10482/10276.
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Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, Programa de Pós-Graduação em Literatura, 2012<br>Submitted by Alaíde Gonçalves dos Santos (alaide@unb.br) on 2012-04-18T14:08:53Z
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2012_LarissaSilvaNascimento.pdf: 3069035 bytes, checksum: 95f66d67a6c2b2cafacbf7aeea0962ae (MD5)<br>Esta dissertação tem por objetivo evidenciar a expansão das possibilidades representativas que ocorre na literatura sobre o Holocausto. Para tanto, analisam-se dois livros – a obra Maus, escrita por Art Spiegelman, um romance gráfico no qual há uma inexorável interação entre imagem e texto, e o romance Os emigrantes, de W. G. Sebald, no qual também existe um diálogo entre fotografias selecionadas pelo autor e prosa literária – procurando-se investigar como esses textos ultrapassam aqueles discursos padronizados, o lugar-comum, que rondam as representações do Holocausto. Apesar de reconhecer e, ainda, de analisar os discursos que ressaltam os aspectos irrepresentáveis do evento em questão, este trabalho caminha em sentido contrário ao assinalar as novas possibilidades de representação do tema que surgem com a atualização dos meios de comunicação e das mídias na sociedade ocidental contemporânea. Essas mudanças notórias, como a ascensão da imagem como uma forma de expressão que antecipa o declínio da leitura linear da escrita, acontecem desde o imediato pós-guerra (meados de 1940), e isso se reflete na expressão da literatura que tem o Holocausto como objeto de representação. Graças a este estudo, pode-se notar que a ampliação das formas de representação do Holocausto se dá de forma mais evidente a partir da inclusão da imagem junto ao texto literário. É importante compreender também que, assim como se deu a expansão da forma literária, com a inserção de imagens, seu conteúdo, ou seja, a referência a sentimentos, tempos, espaços e vítimas do Holocausto, sofreu, igualmente, evidente ampliação. No que se refere às obras estudadas, Maus e Os emigrantes demonstram que o Holocausto ultrapassa o período da Segunda Guerra Mundial, de 1939-1945. Além disso, elas põem em evidência outros lugares em que a repressão nazista esteve presente que não só os campos de concentração, como também ressaltam a existência de inusitadas vítimas, por exemplo, emigrantes que fugiram da perseguição hitlerista. ____________________________________________________________________________ ABSTRACT<br>This work aims to evidence the expansion of representative possibilities that occurs in the literature about the Holocaust. For this, two books will be analyzed – the book Maus, written by Art Spiegelman, a graphic novel in which there is an inevitable interaction between image and text, and the novel The emigrants, written by W. G. Sebald, in which there is also a dialogue between photographs selected by the author and literary prose – seeking to investigate how these texts beyond those standardized discourse, the commonplace, that surround the representations of the Holocaust. Despite of recognize and, also, analyze the discourses that highlight aspects unrepresentable of the Holocaust, this work is moving in the opposite direction to signal the new possibilities of representation of the theme that come with the update of media of the contemporary occidental society. These remarkable changes, as the rise of the image as a form of expression that anticipates the decline of reading linear writing, have been held since the immediate post-war (Mid 1940), and this reflects in the expression of literature that has the Holocaust as representation object. Thanks to this study, it may be noted that the expansion of forms of representation of the Holocaust takes more evident from the inclusion of the image with the literary text. It is also important to understand that just as the expansion of the literary form with the inclusion of the image, the content, namely, the reference to feelings, time, space and Holocaust victims, suffered equally clear magnification. With regard to the works studied, Maus and The emigrants show that the Holocaust exceeded the period of World War II, of 1939-1945. Moreover, they highlight other places where the Nazi repression was present that not only the concentration camps, they also show the existence of unexpected victims, for example, immigrants who fled Hitler persecution.
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Lee, Youngju [Verfasser]. "Erinnerungspraktiken in der neuen Erinnerungsliteratur : "Erfundene Erinnerung" in den Werken Im Krebsgang von Günter Grass und Austerlitz von W. G. Sebald / Youngju Lee." Konstanz : Bibliothek der Universität Konstanz, 2017. http://d-nb.info/1144179033/34.
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Engelmann, Sarah [Verfasser]. "Erzählkonstruktionen - W. G. Sebalds 'Kafka Fundstücke' / Sarah Engelmann." Hannover : Gottfried Wilhelm Leibniz Universität Hannover, 2019. http://d-nb.info/1185067159/34.
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Napoli, Diana. "Les fragiles frontières de l'historiographie : une réflexion à partir de Michel de Certeau." Paris, EHESS, 2012. http://www.theses.fr/2012EHES0016.
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Cette thèse a pour but d’interroger l’historiographie contemporaine ; d’enquêter sur elle à partir de sa légitimation sociale et de son statut disciplinaire, suite à la diffusion de pratiques et d’éléments s’étant avérés susceptibles de mettre en doute sa fonction traditionnelle, à savoir signifier le passé, le représenter, lui donner un lieu hors du présent, le déplacer du présent sans pour cela le perdre. À ce propos, nous avons choisi de prendre en considération une partie de l’œuvre de Michel de Certeau. Cet historien jésuite, sans avoir directement interrogé les nœuds constituant la trame de notre présent historiographique, a questionné de manière radicale la pratique historiographique, poussant à la limite ses faiblesses et sa fragilité, de sorte que son œuvre ouvre un espace inédit où la réflexion historiographique s’exerce à parcourir les impasses et les contradictions du présent. Notre réflexion a croisé aussi l’historien allemand Reinhart Koselleck (qui, de sa part, a essayé de reconstruire les modalités possibles de construction de l’expérience historique) pour s’achever enfin sur la figure littéraire de Jacques Austerlitz, le protagoniste du roman homonyme de l’écrivain allemand W. G. Sebald. Suivre la marche de ce professeur constitue un moyen pour interroger de manière « oblique » l’historiographie contemporaine ; Austerlitz devient, dans le cadre de notre démarche, une image d’historien. Il s’agit d’une image d’historien vaincu, la seule image, pourtant, capable de redonner sens à la pratique historiographique, le vaincu étant une catégorie essentielle de la possibilité de l’expérience historique et de son écriture<br>The aim of this thesis is to call into question contemporary historiography; to inquire on it starting from its social legitimation and its essence as a discipline, now that some practices and elements have been capable of putting its traditional function in doubt. With traditional function I mean the ability to give meaning to the past, to represent it, giving it a place outside the present, putting it out of the present without loosing it. In this regard, I have taken in consideration a part of Michel de Certeau’s work. This Jesuit historian has not reflected in a direct way on the framework of present historiography, but has radically confronted its practice, pushing its weaknesses and frailties to the limit. His work throws new light on the discipline opening a field of research in which historiographical thought tries to inhabit the impasses and the contradictions of the present. I have discussed some essays of the German historian Reinhart Koselleck (who has tried to analyse the structure and the ways of construction of historical experience) finishing my analysis of the literary figure of Austerlitz, main figure of W. G. Sebald’s homonymic novel. Following the trail of this professor we try once again to call into question present historiography in an oblique way. Austerlitz becomes in our research, a figure of the historian. It is the figure of a defeated historian, but it is the only one still capable of giving meaning to the practice of historiography. The defeated is the essential and inescapable category of the possibility of experiencing and writing history
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Jakobs, Harald [Verfasser]. "Irre Blicke : Intermedialität in W. G. Sebalds „Schwindel.Gefühle.” / Harald Jakobs." Aachen : Hochschulbibliothek der Rheinisch-Westfälischen Technischen Hochschule Aachen, 2014. http://d-nb.info/1054632839/34.
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Häckel, Martin [Verfasser]. "Zur Rezeption der Philosophie Ludwig Wittgensteins im literarischen Werk W. G. Sebalds / Martin Häckel." Frankfurt a.M. : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2021. http://d-nb.info/1230718265/34.
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Klein, Moritz [Verfasser], and Christiane [Akademischer Betreuer] Solte-Gresser. "Traumarbeit als Wirklichkeitsdiagnostik in literarischen Künstlerkrankengeschichten : eine komparatistische Fallstudie zu Heinar Kipphardts "März" und W. G. Sebalds "Schwindel. Gefühle." / Moritz Klein ; Betreuer: Christiane Solte-Gresser." Saarbrücken : Saarländische Universitäts- und Landesbibliothek, 2019. http://d-nb.info/1194928420/34.
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Aquino, Maysa Macedo de. "A memória como cinza em W. G. Sebald: um itinerário." Master's thesis, 2020. http://hdl.handle.net/10451/44224.
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This paper seeks to investigate the nuances of the memory as ashes in the work of the writer W.G. Sebald. Centered on the effects of destruction, Sebald's writing continuously supports the idea of retention. Having The Rings of Saturn as central framework, due to its strong tone of compendium and the amplitude of the examined theme, the following itinerary registers the flux of the rescue of the ashes – understood as residue, reminiscence – through three essential points of convergence: Space, Image and Literature. The abovementioned categories will consider recurring aspects of the author's work, seen through the lenses of the proposed framework. Among them, the following shall be highlighted: the theme of pilgrimage – fundamental strategy of Sebald's narratives, in which the notion of the mobilization of space is intrinsically connected to the mobilization of memory; the strong interest towards the work of art and photography – especially, the understanding of the work of art as a residue; and the constant literary incidences – of the references evoked by the writer to register the memory of the dead, who are, essentially, also writers. Lastly, this paper endeavors to criticize Sebald's work under the perspective of the crossing between the dimensions of memory and oblivion, and, consequently, of the rescue made through his works. When examining Sebald's writing, it is possible to affirm that the author has the formalization of an absence as a principle. This procedure, which will be examined through this work, aims to contribute to the understanding of the work of art through the appreciation of what is forgotten – and must be rescued. It is within this context that the writer's obsessive preoccupation with the past is configured. In correlation, the followed itinerary seeks to replicate this movement of rescue and to unveil the author's intents.
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Watts, Andrew Michael School of English UNSW. "Metonymy and trauma: re-presenting death in the literature of W. G. Sebald." 2007. http://handle.unsw.edu.au/1959.4/40456.
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Novel: Fragments of a Former Moon The novel Fragments of a Former Moon (FFM) invokes the paradoxical earlier death of the still-living protagonist. The unmarried German woman is told that her skeletal remains have been discovered in Israel, thirty-eight years since her body was interred in 1967. This absurd premise raises issues of representing death in contemporary culture; death's destabilising effect on the individual's textual representation; post-Enlightenment dissolution of the modern rational self; and problems of mimetic post- Holocaust representation. Using W G Sebald's fiction as a point of departure, FFM's photographic illustrations connote modes of textual representation that disrupt the autobiographical self, invoking mortality and its a-temporal (representational) displacement. As with Sebald's recurring references to the Holocaust, FFM depicts a psychologically unstable protagonist seeking to recover repressed memories of an absent past. Research dissertation: Metonymy &Trauma: Re-presenting Death in the Literature of W. G. Sebald. The dissertation centres on the effect of metonymy in the rhetoric of textually-constructed identity and its contemporary representation in the face of death. I concentrate on the effect of Holocaust trauma on representation and memory, relating trauma theory to the metonymy of W G Sebald's fiction, and situating representations of the traumatised self within the institution of modern bureaucracy. Using Ronald Schleifer's theory of metonymy I explore the rhetorical process by which Sebald seeks to depict the unrepresentable within Holocaust history, arguing that Sebald's correlation of text with image evokes problems of Holocaust discourse because it re-presents the past while recognising inadequacies within conventional narrative. Photography's function as an indexical trace of the past grounds my account of Sebald's use of imagery in questioning conventional forms of representation. I argue that Sebald construes the institutionalised constitution of the modern self through civic architecture, emphasising the metonymical associations of contemporary Western life and death. I maintain ultimately that the ethically displaced modern self typifies a culture capable of committing - and simultaneously repressing the representation - of technologised mass genocide: Sebald's texts critique modern society by apprehending modes of intersubjective memory and narrative responsibility through acknowledgement of the arbitrary, indexical capacity of metonymical representation.
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Massicotte, Claudie. "Architectures de la mémoire : Peter Eisenman, Robert Lepage et W.G. Sebald." Thèse, 2009. http://hdl.handle.net/1866/7910.
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Dupuis-Morency, Clara. "Le temps des formes : l'œuvre de la cécité chez Marcel Proust et W. G. Sebald." Thèse, 2016. http://hdl.handle.net/1866/18450.
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Robalo, Maria Inês. "Memória traumática e limiares da representação em Die Ringe des Saturn e Austerlitz de W. G. Sebald." Master's thesis, 2016. http://hdl.handle.net/10451/26107.
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Esta dissertação de mestrado centra-se no estudo da representação de traumas e da memória do
Holocausto em dois textos literários de W.G. Sebald, a saber Die Ringe des Saturn (1995) e
Austerlitz (2001). Neste âmbito avançaremos a ideia de que a obra de Sebald converge entre si na
problematização da literatura enquanto veículo de memórias traumáticas, trazendo consigo
implícita uma reflexão acerca das relações entre estética e ética como horizonte crítico. Assim,
mostraremos como os narradores, e os mediadores em geral, permitem a Sebald o tratamento
desta questão sob o prisma da aproximação e/ ou afastamento face ao acontecimento traumático
e desse modo descobrir várias modalidades de veicular passados traumáticos. Atentar-se-á
também em figuras e imagens de limiares, que serão a base para se argumentar que a relação entre
a linguagem literária, a fotografia e a memória se configura na obra de Sebald como um conjunto
de interacções que produzem ambiguidade.<br>This dissertation presents itself as a study of representations of trauma and Holocaust memory in
two literary texts by W.G. Sebald, namely Die Ringe des Saturn (1995) and Austerlitz (2001). In
this scope Sebald’s texts will be understood in their convergence toward the problematizing of
literature’s stances as carrier of traumatic memories, which implies a reflection about ethical and
aesthetical relations at its critical horizon. Thus I will try to show how narrators and mediators in
general enable Sebald to treat the question of traumatic memory transmission through the lens of
approximation and/or detachment, and consequently foster various modalities of traumatic pasts’
mediation. Attention will also be devoted to various figures and images of liminality, and I will
argue that it is through these images that the relationship between literary language, photography
and memory is configured in Sebald’s works as sets of relations that produce ambiguity and
blurriness.
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Bocchi, Gianmarco. "The Rhetoric of images in W. G. Sebald´s narratives: The Emigrants, The Rings of Saturn and Vertigo." Master's thesis, 2017. http://hdl.handle.net/10362/23096.
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Sebald’s writing would be greatly impoverished without his use of images. Beginning with
this statement as my starting point, this dissertation will investigate the complicated relationship
between photographs and text in three of W. G. Sebald's narratives: The Emigrants, The Rings of
Saturn and Vertigo. The introductory chapter will establish the research questions and it will provide
a preliminary overview of fundamental issues, which one has to take into account when
approaching Sebald's works. These include the question of memory, the reasons and implications of
using photographs in fiction and the use of black and white images. I will then focus my attention
on the “hybrid” and intriguing nature of photography and by relying on Berger, Barthes and
Sontag's works in particular,1 I will be able to enrich the discussion and to provide my critical
insight on the role of photographs in Sebald's works. By considering concepts such as manipulation
and indexicality, I will determine the reasons behind Sebald's use of this medium. A considerable
portion of this work will focus on the analysis of the three books, both separately and combined.
Besides specific thematic issues, the core of this dissertation will be based on the identification of
sylistic devices within the visual apparatus of Sebald's narratives. By investigating Sebald's visual
narratives, I recognized many sequences that generate such stylistic devices. In doing this, I will
shed light on the rhetorical aspect of Sebald's visual apparatus, which represents a new critical
interpretation. By ʻwalkingʼ through Sebald's memories and images, I will also establish
connections between the three works. By using a series of comparative diagrams, I will contribute
to the critical body of work on Sebald's way of organizing both his verbal and visual apparatus.
Thanks to the critical positions that I will display throughout the dissertation and thanks to my focus
on the rhetoric of images, the conclusion will finalize the discussion by providing answers that will
open new direction to Sebald's scholarship.
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Mikulinsky, Romi. "Photography and Trauma in Photo-fiction: Literary Montage in the Writings of Jonathan Safran Foer, Aleksandar Hemon and W. G. Sebald." Thesis, 2009. http://hdl.handle.net/1807/19529.
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Located on the interstice between Media Studies and Literary Theory, my dissertation explores the emerging genre of photo-fiction -- literary works that incorporate photographic images into the manuscripts -- and its impact on the commemoration of traumatic historical events. I argue that the way we represent and remember historical traumas is dependent on the media in which images emanating from these events are produced and circulated; put differently, the context of these images shapes our engagement with them. By examining literary works that incorporate photographs into their printed text, I explore textual and visual representations of historical trauma (such as the two World Wars, the Balkan wars of the Nineties, and 9/11).
The authors whose works I analyze (Jonathan Safran Foer, Aleksandar Hemon, W.G. Sebald) grant photography a new status: the inserted images transcend traditional “authentification strategies” and draw attention to the convergence of realism and indexicality featured by these photographs. These authors’ employment of photographs from various media (television, internet, printed press, encyclopedias and archives) questions not only the technical qualities of each medium but the veracity and accuracy of evidence. Photography’s capacity to secure and store information is put radically into question, not only because the new contexts of these images, but because of the manipulations and reconfigurations the movement between media has brought about.
Drawing on Walter Benjamin’s concept of the literary montage, I suggest that literature provides an apt arena to examine the reception to images. By literary montage I mean the opening up of a new dimension in which visual and verbal elements are juxtaposed, and the disjunctions and gaps between them encourage readers to become active participants in the creation of narrative. Photo-fiction’s interplay between images and texts therefore not only sheds light on the mechanics of representation, but demand from its audience to reflect on the way we interpret and respond to historical traumas in a society saturated with images.
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McArthur, Elizabeth Andrews. "Narrative Topography: Fictions of Country, City, and Suburb in the Work of Virginia Woolf, W. G. Sebald, Kazuo Ishiguro, and Ian McEwan." Thesis, 2012. https://doi.org/10.7916/D89Z9BV7.
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This dissertation analyzes how twentieth- and early twenty-first- century novelists respond to the English landscape through their presentation of narrative and their experiments with novelistic form. Opening with a discussion of the English planning movement, "Narrative Topography" reveals how shifting perceptions of the structure of English space affect the content and form of the contemporary novel. The first chapter investigates literary responses to the English landscape between the World Wars, a period characterized by rapid suburban growth. It reveals how Virginia Woolf, in Mrs. Dalloway and Between the Acts, reconsiders which narrative choices might be appropriate for mobilizing and critiquing arguments about the relationship between city, country, and suburb. The following chapters focus on responses to the English landscape during the present era. The second chapter argues that W. G. Sebald, in The Rings of Saturn, constructs rural Norfolk and Suffolk as containing landscapes of horror--spaces riddled with sinkholes that lead his narrator to think about near and distant acts of violence. As Sebald intimates that this forms a porous "landscape" in its own right, he draws attention to the fallibility of representation and the erosion of cultural memory. The third chapter focuses on Kazuo Ishiguro's Never Let Me Go, a novel in which a cloned human being uses descriptions of landscape to express and, more often, to suppress the physical and emotional pain associated with her position in society. By emphasizing his narrator's proclivity towards euphemism and pastiche, Ishiguro intimates that, in an era of mechanical and genetic reproduction, reliance on perspectives formed in past and imagined futures can be quite deadly. The fourth chapter analyzes Ian McEwan's post 9/11 novel, Saturday--a reworking of Woolf's Mrs. Dalloway. In reading these two novels side-by-side, it reveals how London, its suburbs, and the English countryside might be imagined differently in the contemporary consciousness. Together these chapters investigate why novelistic treatments of the English landscape might interest contemporary readers who live outside England (and/or read these works in translation), especially during an era in which the English landscape has ceased to function as the real or metaphorical center of empire.
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Zelenková, Alena. "Od lingvistických anomálií k subverzi moci: Narušování jazyka moci a vyjádření vykořeněnosti skrze střídání a míšení jazyků v literatuře." Master's thesis, 2016. http://www.nusl.cz/ntk/nusl-352561.
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This thesis explores literary code-switching, i.e. multilingual aspects within a single speech, as a key polyphonic structural element in the selected works. First, it analyzes Gloria Anzaldúa's Borderlands: The New Mestiza = La Frontera (1987) as a work, where the author seeks to establish a literary tradition that would reflect the life in borderlands and the given community through a new language. Secondly, the language of photography and multilingual speech patterns in W. G. Sebald's The Emigrants (1992) are considered as vital elements of the authenticity play. The following chapter deals with Franz Kafka's short stories, where gestures form an essential part of, if not the whole stories, and determine the fragmentary nature of such writing. Finally, the importance of language of power, the discourse of social realism altogether with their emergence into private and intimate discussions through repetitions and variations is commented upon in Václav Havel's play The Garden Party (1963).