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1
Hutchins, Michael D. "Tikkun: W.G. Sebald''s Melancholy Messianism." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1307321149.
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Madden, Christopher. "W.G. Sebald and the work of narrative melancholia." Thesis, University of Sheffield, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.531240.
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Savaton, Christine. "W.G. Sebald, Die Ausgewanderten : radiographie d'une écriture de l'exil." Phd thesis, Université Michel de Montaigne - Bordeaux III, 2012. http://tel.archives-ouvertes.fr/tel-00735697.
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Cette thèse consacrée à Die Ausgewanderten de W.G. Sebald (1992) procède à une étude microscopique et détaillée de l'écriture dans sa singularité, une radiographie du texte et de sa matérialité hétérogène. L'étude montre la structure binaire sous-jacente de l'ouvrage, la complexité des stratégies stylistiques et narratives, la manière dont le signifiant se soumet à l'impératif catégorique du signifié mais aussi la prééminence de signes tangentiels et obliques ; elle s'intéresse également à la singularité de l'enchaînement des discours rapportés et met en lumière le geste mélancolique du narrateur sébaldien. Il apparaît que l'intertextualité revêt une spécificité particulière puisque la polyphonie sébaldienne est orientée différemment de celle envisagée par M. Bakhtine. La deuxième partie s'attache à étudier la critique de la civilisation (Kulturkritik) dans une œuvre fortement marquée par la constellation idéologique de l'École de Francfort et plus précisément par " La Dialectique de la Raison " de Horkheimer et d'Adorno. La prose allemande muséale de l'auteur, qui rappelle celle d'Adalbert Stifter mais aussi, par ses emboîtements narratifs, emprunte la virtuosité bernhardienne, est incrustée de " moments " de bonheur ou de beauté qui mettent en évidence et soulignent l'inouï du monde concentrationnaire. Les thématiques de l'exil et du pays natal sont au centre des intérêts de la troisième partie. L'étude s'attache à montrer que l'ouvrage réécrit en quelque sorte une littérature de l'exil que l'auteur, professeur de littérature de langue allemande, a eu l'occasion de fréquenter mais aussi d'analyser. C'est un " chœur d'exilés " qui se fait entendre dans Die Ausgewanderten et qui manifeste la tragédie de l'homme moderne.
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De, Villiers Wynand Gideon. "Die uitvoering van Barokklawerbordwerke op die klavier / W.G. de Villiers." Thesis, North-West University, 2007. http://hdl.handle.net/10394/1138.
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When Baroque keyboard works are performed on the piano, some pianists try to imitate
the sound of the harpsichord and clavichord. Others try to avoid this by applying
performance practices of the Romantic period to Baroque keyboard works, for the sake
of musical expression. The aim of this study is to determine which alterations can be
made to the performance of Baroque keyboard works on the piano to ensure a musically
expressive, yet stylistically acceptable result.
The following aspects are investigated:
The production and quality of sound, as well as technique of playing at the
harpsichord, clavichord and piano. The possibilities of musical expression at
these instruments are also compared.
The manner of accomplishing musical expression within a Baroque keyboard
work, in terms of appropriate tempo, dynamics and articulation.
The extent to which the sound qualities of the piano can be utilised when
performing Baroque keyboard works on the piano.
This study proves that the alterations made to the performance of Baroque keyboard
works on the piano can be of such nature that the unique sound possibilities of the piano
are utilised, but that the performance still corresponds to Baroque performance practice.Thesis (M.Mus.)--North-West University, Potchefstroom Campus, 2007.
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Gestermann, Jon [Verfasser]. "Vergegenwärtigungen der Vergangenheit. : Geschichtsbilder in W.G. Sebalds Prosa / Jon Gestermann." Bielefeld : Aisthesis Verlag, 2020. http://d-nb.info/121101259X/34.
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Cawood, Megan. "Invisible landscapes : landscape, memory and time in W.G. Sebald's Austerlitz." Master's thesis, University of Cape Town, 2007. http://hdl.handle.net/11427/7464.
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Includes bibliographical references (leaves 82-84).The eponymous protagonist of Austerlitz, W.G. Sebald's final prose novel, is haunted by landscapes of loss. Both Austerlitz and the narrator are acutely aware of the signs of destruction and of the invisible histories of loss in the landscapes through which they travel. Through the gaze of both these characters Sebald exposes the haunted wasteland of post -war Europe and describes the sites of many of the atrocities of the Holocaust. While much has been written about Sebald's use of landscape and his emphasis on memory, there is very little research to date that has taken a phenomenological approach to Sebald's texts. There are specific affinities, for example, between the musings of the protagonist and the narrator of Sebald's Austerlitz and Merleau-Ponty's philosophy of perception. This dissertation explores the implications of Merleau-Ponty's existential phenomenology as an approach to Sebald's Austerlitz, by showing that while phenomenology provides a valuable conceptual framework through which to engage the novel, there are aspects of this phenomenological approach which Sebald's work, in its narrative form, is able to extend beyond the boundaries of philosophical discourse. The central argument is that Austerlitz's perception of architectural sites is inextricably linked to aspects of memory and narrative. This dissertation first explores the thematic concerns of the outworking of traumatic memory in the spaces of architecture, in the subjective experience of time, and in the act of perception; after which it examines how Sebald's narrative technique creates a text-scape which implicates its reader's gaze.
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Ceuppens, Jan. "Vorbildhafte Trauer : W.G. Sebalds "Die Ausgewanderten" und die Rhetorik der Restitution /." Eggingen : Isele, 2010. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=018973359&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA.
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Riedl, Eva [Verfasser]. "Raumbegehren : Zum Flaneur bei W.G. Sebald und Walter Benjamin / Eva Riedl." Frankfurt a.M. : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2016. http://d-nb.info/1122004346/34.
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Lavis, Grahame J. "Pastoral modes in the poetry and prose fiction of W.G. Sebald." Thesis, Goldsmiths College (University of London), 2015. http://research.gold.ac.uk/12489/.
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In this thesis I extend the discussion of the works of W.G. Sebald beyond the more commonly discussed themes of melancholy, trauma, loss and memory. To this end I examine his long prose poem After Nature and his four books of prose fiction Vertigo, The Emigrants, The Rings of Saturn and Austerlitz to expose underlying pastoral modes and structural forms in these texts. In After Nature I make the case for this poem to be read as an anti-pastoral text which runs true to the elegiac form but exhibits a subtext of pastoral and anti-pastoral tension. The first published work of prose fiction, Vertigo, I argue demonstrates the pastoral structural device, integral to pastoral form, of the double-plot and in so doing, extend William Empson’s original thesis. In The Emigrants, I examine the parallels between Heimat and Pastoral by exposing the characters’ difficult relationships with displacement both physically and psychologically and argue for an anti-Heimat mode expressed largely in anti-pastoral imagery. The Rings of Saturn demonstrates the impossibility of utopia by constantly deferring a potential pastoral both spatially and temporally during the narrator’s “pilgrimage” across the Suffolk countryside. And finally in Austerlitz, we have a coalescence of pastoral modes structured as a discourse of retreat and return which, I argue, qualifies this work as a truly pastoral novel. In the final chapter I discuss the four short pieces of prose fiction in Campo Santo, which, although too brief to exhibit a pastoral form, demonstrate pastoral tropes commensurate with those discussed in the previous works.
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Covindassamy, Mandana. "À l'épreuve du dépaysement : W.G. Sebald : cartographie d'une écriture en déplacement." Paris 4, 2007. http://www.theses.fr/2007PA040163.
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W. G. Sebald lie intimement la recherche stylistique à une visée éthique et politique. Le présent projet consiste à mettre en lumière la cohérence poétologique de sa prose narrative en élaborant la notion d’écriture en déplacement. Loin d’une description thématique, elle se définit par un cadre que les stratégies d’écriture remettent sans cesse en question : le déplacement fondamental auquel procède Sebald réside dans la subversion des positions de discours. Tandis que la perspective générale des récits est assurée par la présence familière d’un narrateur à la première personne, le lecteur est désorienté par des procédés examinés pas à pas, depuis leur dimension concrète jusqu’à leurs implications éthiques. Une étude de la matérialité du texte révèle les affinités d’une telle écriture avec le bricolage lévistraussien. La prose allemande est émaillée d’images et de passages cités dans des langues étrangères, mais leur relation ne relève pas de l’insertion. Sans légende ni traduction, les matériaux résistent à leur inclusion. Au sein du récit, une pratique singulière de la citation et du discours rapporté animent l’écriture d’un mouvement allologique : un entrelacs de voix aux frontières poreuses se substitue à la prééminence d’une instance d’énonciation. Au plan de la construction, la structure cède le pas au réseau, en raison de sa plasticité. De tels procédés traduisent une vision archéologique du temps qui se reflète dans la syntaxe et la sémantique, ponctuées d’archaïsmes et de régionalismes. Par son regard mélancolique où perce parfois l’humour, la poétique de Sebald sait susciter l’émotion d’un lecteur confronté à une vision lucide du monde et de son histoireW. G. Sebald intimately binds stylistic pursuit with an ethical and political design. This project spotlights the poetological coherence of his narrative prose by developing the notion of shifting writing. Far from a hematic description, it represents a frame that is incessantly reassessed by the writing strategies : Sebald’s key use of displacement lies in subverting the positions of speech. If the general perspective of the narratives is provided by the familiar presence of a first person narrator, the reader is nonetheless disorientated by the various techniques which are examined here, step by step, from their tangible aspects to their ethical implications. Studying the materiality of the text reveals the affinities of Sebald’s writing with Levi-Strauss’s “bricolage”. The German prose is sprinkled with images and quotations in foreign languages, but these cannot be said to be inserted : in the absence of captions or translations, the materials resist inclusion. Within the narrative, a singular use of quotation and reported speech animates the writing with an allological movement : the preeminence of the enunciator gives way to a mesh of voices with porous boundaries. As for the construction, its plasticity means that network prevails over structure. Such techniques convey an archaeological vision of time which is reflected in the syntax and the semantics, punctuated with archaisms and regionalisms. With a melancholic, sometimes humourous outlook, Sebald’s poetics skilfully arouses the emotions of the reader who is faced with a lucid vision of the world and its history
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Knittel, Susanne C. "Spaces of memory in Giorgio Bassani, Ruth Klüger and W.G. Sebald." [S.l. : s.n.], 2004. http://www.bsz-bw.de/cgi-bin/xvms.cgi?SWB11244072.
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Selikowitz, Gillian. ""Connected but not Congruent": W.G Sebald and the Writing of his Generation." Thesis, The University of Sydney, 2015. http://hdl.handle.net/2123/15076.
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W.G. Sebald is widely perceived as a literary phenomenon, and critics assert the uniqueness of his prose fiction, and its position in the context of post-war German literature. In this study, I challenge the widely-held view that the narrative prose of W.G. Sebald is aloof from that of his generation, and demonstrate that his writing reveals not only significant thematic connections with that of his generation, but an intensification of the resentment and ambivalence that mark the earlier writing of his generation. My study is a comprehensive comparative reading of Sebald’s narrative prose and the writing of the German “second” generation, and builds on a small body of work by Morgan, Taberner, Davies and others. Exploration of Sebald’s prose fiction within a generational paradigm reveals significant connections between his writing and the literary, social, and political preoccupations that define the earlier, ambivalent writing of his generation. My study challenges the widespread perception of Sebald’s uniqueness, as well as the tendency to mystification that exists in critical appreciation of Sebald’s writing. Situating Sebald in a generational context has significant implications for our reading of his work: it allows us to identify his narrative prose as a belated, intensified, and elaborately figurative confrontation with the inheritance that troubled his second-generation cohort. My readings show that Sebald’s narrative prose continues to reflect the ambivalence towards national identity and recent traumatic history that marks the conflicted writing of his generation, born during or shortly after the war, and expressed in the anti-authoritarian writing of the 1960s, the intergenerational conflicts of the Väterliteratur, and the neo-Romantic writing of the 1980s. Placing Sebald in a generational context exposes the incongruity of his position in relation to the trajectory followed by many writers of his generation: while their concerns change over time to reveal a more empathetic approach to the National Socialist past and the imbrication of the parent generation in it, Sebald continues to express the discourse of loss and resentment that characterizes the earlier writing of this generation.
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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.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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Nabben, Ragnhild. "Om samspillet mellom det essayistiske og det fortellende i Austerlitz av W.G. Sebald." Thesis, Norges teknisk-naturvitenskapelige universitet, Institutt for språk og litteratur, 2013. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-24140.
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Pompeu, Douglas Valeriano. "As sombras do real em Austerlitz: investigação sobre a fotografia em W.G. Sebald." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8144/tde-24072012-161500/.
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No ano de 2001, foi publicado o último livro do já então célebre escritor alemão W. G. Sebald, Austerlitz. Marcado pela digressão, pelo tom melancólico, pelo emprego de remissões factuais e pelo uso de fotografias, o livro se caracteriza como um gênero híbrido entre o factual e o fictional, que também pode ser denominado de autoficção. A presente dissertação se concentra na função da fotografia em Austerlitz, valendo-se justamente de sua relação com o texto, com os limites da representação e com a memória. Embora trate-se de uma narrativa assumidamente ficcional, procurase na presente investigação averiguar como o caráter indicial da imagem fotográfica é manipulado pelo autor e como a manipulação da fotografia enquanto documento indicativo de evidência e testemunho atua na composição de uma narrativa que pode servir como uma saída para o impasse da representação na literatura e na memória pós-Auschwitz. Para tanto, a análise a seguir, embora em alguns momentos procure apresentar em sua própria estrutura o caráter digressivo da narrativa sebaldiana, foca sua atenção na tematização e na reprodução da fotografia no texto, assim como nos procedimentos poéticos revelados pelo espólio do autor, preservado em Marbach am Neckar, Alemanha.In 2001 was published the last book of the renowned German author W.G. Sebald, Austerlitz. The digression, the melancholic tone, the use of factual references and photographs in the text are characteristic for the narrative, which is also marked by its hybrid genre between the factual and the fictional, that can also be called autofiction. The objective of this dissertation is to analyze the function of photographs in Austerlitz, especially in conjunction with the text, with the limitation of their illustrations and with memory. Even if Austerlitz actually is called a fictional narrative, the present investigation seeks to ascertain how the indicative nature of photographic images can be manipulated by the author and how the manipulation of the photograph as evidence and witness account acts in the composition of a narrative, which can be a solution to the representation\'s problem in the literature and in the memory after Auschwitz. The analysis, which in part attempts to introduce the digressive character of the sebaldian narrative, focuses on the topicalization and reproduction of photography inside the text, and on the poetic technique which may be revealed by the author´s heritage stored in Marbach am Neckar, Germany.
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LASH, DANIEL JAMES. "TRANSLATION AND REPETITION: AN ARCHITECTURAL TRANSLATION OF W.G. SEBALD'S THE RING OF SATURN." University of Cincinnati / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1084457394.
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Cowan, Judith Marjorie. "Creating the British feature film industry : W.G. Barker and G.B. Samuelson, 1909-1916." Thesis, Birkbeck (University of London), 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.500057.
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Frick, Jo-Hannes. "A critical evaluation of W.G. Kümmel's interpretation of 1 Corinthians 7:36-38." Theological Research Exchange Network (TREN), 2002. http://www.tren.com.
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Lash, Daniel J. "Translation and repetition an architectural translation of W.G. Sebald's "The Rings of Saturn" /." Cincinnati, Ohio : University of Cincinnati, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=ucin1084457394.
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Mosbach, Bettina. "Figurationen der Katastrophe : ästhetische Verfahren in W.G. Sebalds "Die Ringe des Saturn" und "Austerlitz" /." Bielefeld : Aisthesis-Verl, 2008. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016409980&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA.
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Waters, Hywell George. "Colonial photography in nineteenth century Grahamstown: an analysis of the Dr W.G. Atherstone Bequest." Thesis, Rhodes University, 2000. http://hdl.handle.net/10962/d1002222.
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The research for this degree comprises of a theoretical dissertationand a practicalcomponent of exhibited photographs. The theoretical research investigates the original photographic prints and glass-plate negatives taken betweenthe 1840's and 1890's, by the late Dr. W.G. Atherstone - an enthusiastic, Grahamstown amateur photographer. Dr W. G Atherstone's prints and negatives were examined by the author to deduce and establish his photographic abilities, his numerous techniques, diverse subject matter and the pictorialconstructionof his images. Selected works will be examined in order to interpret and illustrate his diverse interests and approaches towards photography. The selection of these photographs was determined by their pertinence to subject matter, and to the pictorial and historical considerations of the candidate. These issues are finally examined in relation to the candidates's own approach to photography today.
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Bates, Michael. "This being called human : nature and human identity in W.G. Sebald and Samuel Beckett." Thesis, University of Sheffield, 2015. http://etheses.whiterose.ac.uk/10501/.
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This thesis examines the representation of human identity in regards to the relationships and interactions with non-human nature in the writing of W.G. Sebald and Samuel Beckett. Through a discussion of the processes through which humans inhabit, delineate, and preserve settlements and cultural artefacts, the analysis proceeds to interrogate the impact of these upon the depiction of the urban and rural landscapes, and the interaction of humanity with the natural world. This approach depends upon a phenomenological strand of ecocritical thought, informed by the writing of Martin Heidegger and Robert Pogue Harrison, in order to establish the underlying signification of human landscapes via land ownership and memorialisation. The thesis then approaches the impact of modern technology and modes of living, particularly in industrial cities, upon the process of human self-identification, and the impact of this upon human interactions with animals. The discussion that follows approaches the fluidity of the human state, informed by Eric L. Santner's writing on creatureliness, and Carolyn Merchant's research regarding the role of empiricism in setting the precedent for human domination of the natural world. This leads to an analysis of the pastoral trope and notions of land ownership, through which the narrators of Sebald's and Beckett's writing hope to elide the human/nature division so that they might escape the dehumanising influence of the modern city, and the ecophobic worldview preserved within it.
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Schumacher, Viking Alex. "Jet Stream Velocity fromAzipod on Stadsgården : A Litterature Study of PIANC W.G. 180Application for Stadsgården." Thesis, KTH, Marina system, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-243091.
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The ferry line company VIKING LINE has put in an order for a new vessel with a planned delivery for the year 2020. The vessel will berth and depart daily from the Stockholm port, Stadsgården. The vessel is equipped with two 10 MW Azipod propeller systems. This new propulsion system has the capability of rotating the direction of the propeller thrust 360° which is different from other vessels currently using the same port. The direction and distance of the propeller from the quay has raised concern at the Ports of Stockholm. The integrity and design of the quay wall at Stadsgården is to be related to the guidelines set in place by the World Association for Waterborne Transport Infrastructure (PIANC) Working Group 180: “Guidelines for Protecting Berthing Structures from Scour Caused by Ships.” The guidelines have been compared to the actuator disc theory in order to validate the initial jet stream velocity from the new propeller system. The propagation of the jet stream was later analyzed and a velocity at the quay wall is calculated. A lack of information from certain parameters in the guidelines has led to implementations of assumptions. Uncertainties in the methods and equations presented by the guidelines are discussed. Overall, the guidelines were applicable in the investigation of the new vessel at Stadsgården. The jet stream velocity from the new vessel is compared to the velocity from a similar vessel currently using the same berthing structure. From the comparison it is seen that the berthing structure will be exposed to velocities four times larger than the current jet stream velocities at Stadsgården. A list with recommended action that can be performed by the Ports of Stockholm is presented.Fartygsföretaget VIKING LINE har beställt ett nytt fartyg med planerad leverans år 2020. Fartyget kommer att trafikera dagligen från Stockholm hamnen, Stadsgården. Fartyget är utrustat med två 10 MW Azipod propeller system. Detta nya framdrivningssystem har förmågan att rotera riktningen för propellern 360° vilket skiljer sig från andra fartyg som för närvarande använder samma hamn. Propeller riktning och avstånd från kajen har uppmärksammats hos Stockholms Hamnar. Stabiliteten av kajväggen på Stadsgården ska relateras till de riktlinjer som fastställs av PIANC Arbetsgrupp 180: "Guidelines for Protecting Berthing Structures from Scour Caused by Ships." Riktlinjerna har jämförts med ’actuator disc theory’ för att validera den ursprungliga jetströmhastigheten från den nya propellern. Spridningen av strålströmmen analyserades senare och en hastighet vid kajväggen beräknas. Brist på information från vissa parametrar i riktlinjerna har lett till implementeringar av antaganden. Osäkerheter i de metoder och ekvationer som presenteras i riktlinjerna diskuteras. Jetströmshastigheten från det nya fartyget jämförs med hastigheten från ett liknande fartyg som för närvarande utnyttjar samma hamn. Från jämförelsen framgår det att kajfronten kommer att exponeras för hastigheter fyra gånger större än de nuvarande jetströmshastigheterna på Stadsgården. En lista med rekommenderad åtgärd som kan utföras av Stockholms Hamnar presenteras.
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Eaheart, Martha Bass. ""Not an innocent enterprise" the narrator's transition from voyeur to victim in W.G. Sebald's Austerlitz /." Fairfax, VA : George Mason University, 2008. http://hdl.handle.net/1920/3355.
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Thesis (M.A,)--George Mason University, 2008.Vita: p. 45. Thesis director: David Kaufmann. Submitted in partial fulfillment of the requirements for the degree of Master of Arts in English. Title from PDF t.p. (viewed Jan. 11, 2009). Includes bibliographical references (p. 42-44). Also issued in print.
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Münüklü, Ersin. "Die Poetik des Marginalen : eine vergleichende Untersuchung der Werke von Orhan Pamuk und W.G. Sebald." Thesis, University of Kent, 2015. https://kar.kent.ac.uk/53864/.
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Literature increasingly deals with marginalized individuals, criticizes dominant structures, uncovers hidden traces from a suppressed past and attempts to restitute the voices of marginalized people. Orhan Pamuk and W.G. Sebald engage with what is considered to be marginal in various ways in their prose: marginal spaces (political and geographical peripheries), marginal times (marginalized past), marginalized people and objects (ruins, dilapidated buildings and seemingly dispensable objects) are the main subject matters in their works. The empathic engagement with the marginal constitutes a poetic principle in their narratives, in which the marginal is attributed with a specific significance and as a model of knowledge is given ethic-aesthetical value: a poetics of the marginal.
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Stacy, Ivan. "Narrative as complicity : atrocity, culpability, and failures of witnessing in W.G. Sebald and Kazuo Ishiguro." Thesis, University of Newcastle upon Tyne, 2013. http://hdl.handle.net/10443/3484.
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This thesis examines the nature of complicity and its relationship to narrative in the novels of W.G. Sebald and Kazuo Ishiguro. The effects of atrocity have been addressed in a significant body of scholarship which focusses on victimhood and trauma: a strand of work identifying and examining representations of perpetrators is also emerging. However, comparatively little research exists on the representation of complicity , a central concern of both Sebald and Ishiguro, in literary texts. This thesis therefore seeks to address the ways in which complicity originates, and , drawing on the attempts to theorise witnessing and testimony conducted by Shoshana Felman and Dori Laub, the ways in which narrative may act to perpetuate or deny such complicities. The thesis examines complicity on three levels. Firstly, it identifies the ways in which the authors' choice of protagonists permits an examination of complicity. Both Sebald and Ishiguro employ narrators who occupy intermediate positions, being subject to history, but possessing sufficient agency to contribute to the discourses and structures that shape the historical forces out of which atrocity grows. The first use of first person narration also makes visible a second form of complicity, which is that of the protaginists' denials of culpability. Both writers are concerned with the way I which narrative may deny or obfuscate culpability in historical events, and their use of first person narrations allows them to explore this potential. Finally, I argue that both authors display an awareness that complicity may be entered into through the acts of reading and interpretation, and as a result they employ narrative form to encourage reflexive and critical modes of reading, which in turn promote engagement with narrative as an ethical mode of witnessing.
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Johnston, Stuart. "'Hall of mirrors' : intertextuality in the poetry of Paul Muldoon and the prose of W.G. Sebald." Thesis, University of Aberdeen, 2015. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=230040.
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Since being coined by Julia Kristeva, the term 'intertextuality' has been defined and deployed in a variety of ways. Conceived in the revolutionary throes of 1960s Paris as a concept intrinsically linked with the antihumanist erasure of the author-figure, 'intertextuality' originally referred to a condition of all writing, a discursive field in which all texts are encompassed. Since then, however, the term has undergone a series of transformations that have ultimately facilitated its use in terms of a textual practice, employed by the very authors that were denied by the term's originators. If the two conceptions of intertextuality appear incommensurable, however, this appearance is belied by texts in which notions of intertextuality as both condition and practice are indelibly intertwined: in other words, by texts in which the conception of the general intertext is inscribed, articulated and performed by their own insistent and reflexive intertextual praxes. This thesis explores the writing of Paul Muldoon and W.G. Sebald in terms of this collision of seemingly incommensurable conceptions of intertextuality. It argues that each author's writing can be understood as a complex and self-reflexive inscription and negotiation of the tensions and paradoxes that emerge from the conflicting formations of intertextuality with which their texts are self-consciously engaged.
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Anderson, David Christopher. "Affective topographies : landscape and subjectivity in the work of Patrick Keiller, W.G. Sebald and Iain Sinclair." Thesis, University College London (University of London), 2017. http://discovery.ucl.ac.uk/10040447/.
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This thesis interrogates the relationship between landscape and subjectivity in the work of Patrick Keiller, W.G. Sebald and Iain Sinclair. In their work, it argues, depictions of England are mediated and modulated by an anxious preoccupation with the subjective experience of space and place, combined with a near-obsessive attentiveness to the peripheral and the ruined. In the process conventionalised notions of landscape and culture are variously criticised, adapted or dislodged, producing a distinctive set of variations on the ‘English journey’ for the end of the twentieth century. The work of Keiller, Sebald and Sinclair often takes the form of highly stylised reportage, self-consciously entangling ‘objective’ documentary with fictional tropes in its ordering and depiction of space. In this respect, as well as others, I claim that it symptomatises a particular cultural and political moment in English thinking about landscape and environment. The thesis explores this process by joining up recent developments in spatial theory and the ‘spatial turn’ with a heritage of critical melancholia, a fusion to some extent anticipated in the writings of Walter Benjamin. In this light it shows that, either implicitly or explicitly, my three subjects all produce something like a critical theory of contemporary space. This thesis is attuned to a distinct history of the creative appropriation of space, running through Surrealism and the Parisian Situationists: the term ‘affective topography’ itself is borrowed from Ian Walker’s 2002 study of Surrealist photography and documentary form in Paris, City Gorged With Dreams. Adapting this term to the field of ‘English psychogeography’, this thesis suggests ways that a dialectical relationship between dwelling and displacement has been exploited as a means to attempt the subject's re-orientation within the axiomatically disorientating conditions of contemporary modernity.
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McCormick, Connor. "Speaking for the Picture: Memory, Image, and Identity in the Works of W.G. Sebald and Chris Marker." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3758.
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The nineteenth and twentieth centuries saw the development of technologies for externalizing human memory beyond writing, painting, and sculpting. These modes of visual representation, namely photography and cinema carried with them a purported objective representation of reality, which has been used to create classifications, divide people groups, and construct grand historical narratives used to marginalize those that do not fit within the hegemonic center. Looking to the works of writer W.G. Sebald, and filmmaker Chris Marker, we see a complication of the divide between visual and verbal texts, as each artist deconstructs their own medium’s conventions. Using theories of ekphrasis to draw connections between verbal and visual representation, we see how Sebald and Marker explore notions of memory, identity, and history as they struggle with the impossibility of representing the great traumas of the twentieth century.
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Lawson, C. "W.G. Sebald's Luftkrieg und Literatur : German literature and the allied bombings of German cities in World War II." Thesis, Nottingham Trent University, 2010. http://irep.ntu.ac.uk/id/eprint/109/.
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This thesis is a critical analysis of W.G. Sebald‘s Luftkrieg und Literatur (On the Natural History of Destruction) and its reception in the German media and in scholarship. Sebald‘s essay caused a public debate in 1997 over the ethical implications of a cultural memory of the Allied bombings of German cities in the Second World War. Since then, the essay has come to be understood as a foundational moment in the discourse surrounding 'German victimhood' in representations of the bombings and the expulsions of ethnic Germans from the Eastern territories. The thesis argues that Sebald‘s essay has been widely mis-read and mis-appropriated in the service of the discourse. Re-inscribing the essay into the aesthetic and philosophical framework of Sebald‘s wider prose oeuvre, from which it is frequently divorced in scholarship, it argues that the text is exemplary of Sebald‘s creation of an archive of 'natural history' with regard to the representation of past catastrophes. Situating the essay within a 20th century tradition of German thinking on history and the enlightenment that informs Sebald‘s thought, I use this thick contextualisation to argue that Sebald‘s fascination with the bombings and the ruined cities provides an intersection between his academic and aesthetic practice, offering important insights into his natural historical gaze, archival technique and preoccupation with the catastrophic history of his country of origin. With this examination of an important but often mis-understood text, the thesis aims to enrich the field of memory studies in relation to post-reunification Germany and correct an oversight in the recent history of cultural memory regarding the Nazi past. It also aims to fill a gap in the scholarship on W.G. Sebald, a writer who has increasingly been understood as one of the most significant in the recent German canon, by reinscribing Luftkrieg und Literatur into his body of work.
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Knight, Kelvin. "Real places and impossible spaces : Foucault's heterotopia in the fiction of James Joyce, Vladimir Nabokov, and W.G. Sebald." Thesis, University of East Anglia, 2014. https://ueaeprints.uea.ac.uk/50585/.
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This thesis looks to restore Michel Foucault’s concept of the heterotopia to its literary origins, and to examine its changing status as a literary motif through the course of twentieth-century fiction. Initially described as an impossible space, representable only in language, the term has found a wider audience in its definition as a kind of real place that exists outside of all other space. Examples of these semi-mythical sites include the prison, the theatre, the garden, the library, the museum, the brothel, the ship, and the mirror. Here, however, I argue that the heterotopia was never intended as a tool for the study of real urban places, but rather pertains to fictional representations of these sites, which allow authors to open up unthinkable configurations of space. Specifically, I focus on three writers whose work contains numerous examples of these places, and who shared the circumstance of spending the majority of their lives in exile: James Joyce, Vladimir Nabokov, and W.G. Sebald. In each case, I argue that these sites figure the experience of exteriority constituted by exile, providing these authors with an alternative perspective from which to perform a particular kind of contestation. In Ulysses, I argue, they allow Joyce to interrogate the notion of a unified Irish identity by bringing into question the space that constitutes the common locus upon which the nation is founded. In Nabokov’s Ada, they help the author to create a world that transcends the discontinuities of his transnational biography, but also serve to contest this unreal world. In Sebald’s fiction, finally, we find a critique of Foucault’s concept. In relation to the Holocaust, he questions the validity of the heterotopia by bringing into doubt the equation of space and thought upon which it is established.
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Germeshuys, Carlo. "Towards a ‘‘living connection with the past’’ : Ludwig Wittgenstein and the representation of history in W.G. Sebald's Austerlitz." Master's thesis, University of Cape Town, 2009. http://hdl.handle.net/11427/11858.
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Includes abstract.Includes bibliographical references (leaves 79-86).
This dissertation utilises certain aspects of the philosophy of Ludwig Wittgenstein to explore W.G. Sebald's representation of history in his novel Austerlitz (2001). Wittgenstein is explicitly mentioned in the text of the novel; this dissertation argues that his philosophy can help us to understand Sebald's project of restoring the past through literary engagement.
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Toubert, Victor. "Entre le livre et la lampe ˸ représentations et usages de l'érudition chez Pierre Michon, W.G. Sebald et Antonio Tabucchi." Thesis, Sorbonne Paris Cité, 2019. http://www.theses.fr/2019USPCA030.
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Prenant notre point de départ dans l’étude du rapport fantastique avec le savoir mis en évidence par Michel Foucault à propos du travail littéraire de Flaubert, nous voudrions nous interroger sur les modalités proprement contemporaines des rapports entre les écrivains et les savoirs, et tenter de caractériser précisément ces rapports dans la littérature européenne contemporaine, en nous appuyant sur les œuvres de Pierre Michon, W.G. Sebald et Antonio Tabucchi. À l’aide d’une définition pragmatique des savoirs, nous commençons par une étude des représentations de l’érudition dans la fiction, en nous concentrant sur divers personnages, secondaires ou plus importants, qui jouent tous des rôles d’intercesseurs dans la production, la transmission et la diffusion des savoirs. S’ils fonctionnent bien d’un certain côté comme des figures de l’érudition, images idéales de savoirs efficaces, ces personnages portent aussi des critiques des savoirs établis et des hiérarchies qui lui sont associées. Les lieux associés aux savoirs, bibliothèques et musées en particulier, sont également abordés selon cet angle polémique. La seconde partie de notre travail s’attache à l’étude des usages des savoirs par les écrivains que nous avons choisis, en fournissant des éléments pour une poétique des textes littéraires contemporains construits sur un rapport à l’érudition. Leur écriture seconde, s’appuyant sur une grande variété de textes, s’approprie de nombreux savoirs. Nous étudions successivement les diverses modalités des usages des paroles rapportées, que cela soit à travers l’oralité, par des citations, ou la présence des langues étrangères, pour montrer les usages particuliers des savoirs que font nos écrivains. En opposition à un usage postmoderne de l’érudition, une érudition inquiète, mettant au centre de sa dynamique une mise en commun du sens, se fait jourBeginning with the fantastic relation with knowledge highlighted by Michel Foucault regarding Gustave Flaubert’s literary work, we would like to bend over the contemporary modalities of the relations between knowledge and literary writers, and try to precisely characterize theses relations in contemporary European literature, basing our work on the examples of Pierre Michon, W.G. Sebald and Antonio Tabucchi. A pragmatic definition of knowledge helps us to begin with a study of the representations of erudition in the fiction, focusing upon various characters, who play an intermediary role in the production, transmission or diffusion of knowledge. If on one hand they operate as figures of erudition, ideals representations of effective knowledge, these characters on the other hand carry with them some critics of the established knowledges and the hierarchy that are associated with them. The places associated with knowledge, libraries or museums, are also studied in this polemic approach. The second part of our work studies the uses of knowledge done by the writers chosen, giving some elements for a poetic study of the contemporary literary texts that are written in a relation with knowledge. Their secondary writing, built on a wide variety of texts, assimilates various knowledges. We study successively the diverse modalities of the uses of the words reported, by the relation between the literary text and the orality, the quotations, or the presences of foreign languages, to highlight the original uses of knowledge done by our writers. Opposing a postmodern use of erudition, emerges an anxious and restless erudition, concerned by the sharing of meaning and the community it constitutes
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Osborne, Dora Elizabeth. "Traumatic traces : charting the limits of visual and topographical representation in the postwar fiction of W.G. Sebald and Christoph Ransmayr." Thesis, University of Cambridge, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.612422.
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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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Sneddon, Andrew Graeme. "Confusions of meaning in the concept of place : an investigation into the role place occupies in influencing the production and reception of the artwork." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/31517.
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This practice-led research examines ideas surrounding the interpretation of place; the representation and experience of place are explored in my practice and throughout the thesis. The practice and thesis develop an interdependent relationship where one informs the other and each provides a critical platform whereby existing beliefs are brought into question and new ideas emerge. During the research period the practice is tested against different circumstances in a variety of situations and novel responses are generated. The thesis critically analyses approaches to interpreting place through a number of formats and a variety of sources. Both practice and theory are examined through peer-reviewed conference papers, artist-in-residence programmes and publications allowing new ideas to be explored and scrutinized by the academy. A working method that recognizes the importance and usefulness of serendipity and sagacity is established, bringing together my practice and the theoretical scope of the research. My primary focus is to understand and develop critical responses to the experience and representation of place within the realm of contemporary art practice. The work of W.G. Sebald and the secondary literature surrounding his work plays a significant role in providing ways of dealing with the entanglement of knowledge. Period Drama is both the name of an artwork and the name I have given to a conference paper. Both explore the convoluted and complex methods involved in realizing a site-specific work that challenges fiercely-held beliefs about place. My intention throughout the research has been to examine a variety of approaches that explore the representation and experience of place within contemporary art practice. Prominent within this examination has been the highlighting of the need to belong to a particular place and the sense of displacement generated when this need to belong is challenged or the nature of this connection is questioned.
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Gregory-Guider, Christopher Calvin. "Autobiogeography and the art of peripatetic memorialization in works by W.G. Sebald, Patrick Modiano, Iain Sinclair, Jonathan Raban, and William Least Heat-Moon." Thesis, University of Sussex, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.426336.
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Guidée, Raphaëlle. "Mémoires de l'oubli : revenance et crise de la tradition dans les oeuvres de William Faulkner, Joseph Roth, Claude Simon, Georges Perec et W.G. Sebald." Poitiers, 2008. http://www.theses.fr/2008POIT5018.
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Nées dans le sillage des grandes catastrophes historiques du XXe siècle, les œuvres de William Faulkner, Joseph Roth, Claude Simon, Georges Perec et W. G. Sebald interrogent l'héritage paradoxal de la disparition d'une tradition. Si les fantômes de l'histoire reviennent hanter le présent, c'est en effet parce que leur univers a disparu, et avec lui les modes de transmission traditionnels qui assuraient la survivance du monde ancestral et la possibilité de sa représentation. Loin de manifester la présence vive du passé, la hantise semble dès lors accompagner la certitude d'une mort irréparable, perte sèche que ne saurait venir combler aucun monument littéraire ou artistique. Alors que l'économie romantique de la représentation des morts assimilait l'écriture à un tombeau, capable de ressusciter les morts et de réparer la perte, la mémoire des disparus est et demeure dans ces œuvres fondamentalement mélancolique, en tant qu'elle ne cesse de marquer les limites de la résurrection littéraire, et la fragilité d'une entreprise narrative elle-même sujette au travail destructeur du temps. Pourtant, le renoncement au modèle du tombeau scripturaire ne met pas fin à l'exigence de justice qui accompagne toute apparition spectrale. En répondant à l'appel de ce qui est irrémédiablement perdu, les œuvres s'inscrivent dans le cadre d'une mémoire de l'oubli qui tente de rappeler le souvenir des disparus, mais aussi et surtout de conserver la trace de la perte. Archiver ce qui peut l'être, et figurer l'empreinte en creux de l'oublié, c'est le double horizon éthique d'une littérature qui reconnaîtrait à son fondement la réalité d'une disparition sans retourArising in the wake of the major historical disasters of the XXth century, the works of William Faulkner, Joseph Roth, Claude Simon, Georges Perec and W. G. Sebald question the paradoxical inheritance of a vanishing tradition. When the ghosts of history return to haunt the present, this is because their own universe has disappeared, and with it the traditional ways of transmission which ensured the survival of the ancestral world, as well as its representation. Rather than demonstrating the living presence of the past, this haunting presence thus seems to escort the certainty of an unredeemable death, a loss which no literary or artistic monument could make up for. Whereas Romantic representations of the dead associated writing with a form of grave-digging, capable both of resurrecting the dead and making up for their loss, the memory of the departed, in these narratives, is and remains fundamentally melancholic, insofar as it constantly marks the limits of literary resurrection and the fragility of narrative attempts in themselves threatened by the destructive power of Time. However, this departure from the model of the scriptural grave by no means stifles the call for justice accompanying such spectral apparitions. By answering the call of that which is irretrievably lost, these works bear the imprint of a process of memory and oblivion which attempts to recall the memory of the departed, but most of all to keep a trace of their loss. The double ethical pursuit of works such as these, built on the full recognition of the reality of unredeemable death, is to record what can possibly be recorded, and to mark the empty place of that which is beyond recall
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Cromie, Martin. "The spirit of the stones and the literature of landscape : defining 'landscape writing' through the work of Tim Robinson, Robert Macfarlane, Anne Dillard and W.G. Sebald." Thesis, Queen's University Belfast, 2016. https://pure.qub.ac.uk/portal/en/theses/the-spirit-of-the-stones-and-the-literature-of-landscape-defining-landscape-writing-through-the-work-of-tim-robinson-robert-macfarlane-annie-dillard-and-wg-sebald(6bbd3183-4625-4df7-bf3b-afdd67dad442).html.
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The PhD comprises two parts: the creative writing element entitled The Spirits of the Stones, and a critical commentary. The Spirit of the Stones is a work of literary non-fiction which explores a number of rural townlands in South Armagh. The work is structured as a series of interlinked essays reflecting upon different aspects of the landscape and exploring the author’s personal links to the area. Much of the writing is prompted by walks the author has made through each townland. There are two recurring motifs which provide threads of continuity: the author’s family ties to the townlands which extend back to the late sixteenth-century; and the granite stones of the landscape in their natural form and in their usage by man since the Neolithic Age. Both motifs provide focal points for each section. The Critical Commentary seeks to define landscape writing through the works of a number of authors.Tim Robinson’s series of writings on the Aran Islands, including maps and gazetteers, are analysed from the point of view of their structure: how the works follow the landscape as journeys along which Robinson explores archaeology, history, geology, mythology and cartography in order to give a deep sense of place. Study of Robert Macfarlane’s The Old Ways will focus on the metaphors of ‘walking’ and ‘pathways’ as vehicles for structuring the act of writing. W. G. Sebald’s work is considered because of its use of illustration and photographs, extensive use of ‘digressions’, the connections the author makes between seemingly unrelated subjects, the themes of desolation and rootlessness and the deliberateness with which the author strives to avoid having his work ‘categorised’ into a specific genre. Finally, the writing of Annie Dillard is explored as an example of contemporary ‘landscape’ writing which adopts a theological or spiritual perspective in its reflective style and its close attention to minutely observed details from which broad philosophical conclusions are drawn about the author’s perception of her place in the world.
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Etzersdorfer, Ingmar. "Erhaltung und nützliche Verbesserung im MRG, WEG und WGG." Wien LexisNexis ARD Orac, 2006. http://deposit.d-nb.de/cgi-bin/dokserv?id=3006829&prov=M&dok_var=1&dok_ext=htm.
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Skien, Glen Matthew. "Of Ghosts and Atlases: Mythopoetics and Historical Perceptions." Thesis, Griffith University, 2014. http://hdl.handle.net/10072/366326.
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As a vast photographic tableau of images sourced from antiquity, the Renaissance and early-twentieth-century popular media, Aby Warburg’s Mnemosyne Atlas (1924-29) was a means to formulating a fluid archive of cultural memory. In this exegesis, I show how Warburg’s mosaic of disparate remnants from the past has resonances with the mythopoetic structures that underpin my studio practice. Specifically, I adopt mythopoetics as both a conceptual and methodological strategy, as a vehicle for exploring first-person narratives and their capacity to formulate more defined and meaningful concepts of historical consciousness.
This exegesis examines the archive as a metonymic framework that supports the ebb and flow of narrative context within the historical, cultural and subjective realms. Through references to the nature of the archive outlined in Jacques Derrida’s Archive Fever (1994) and Walter Benjamin’s concept of material history, I discuss the capacity for artefacts to inform both our historical awareness and current everyday experiences. The act of collecting as a mode of seeking out alternate forms of knowing and interpreting the past presents a counter-argument to the need to totalise historical narratives.
Within this context, I draw parallels between the archival projects of Warburg and Benjamin and the contemporary works of W.G. Sebald, Gerhard Richter and Anselm Kiefer. Specifically, I investigate how Sebald’s literary works poetically explore the historical structures and practices that continue to give meaning to the every day and consider this in relation to Richter’s photographic archive Atlas, (years–ongoing) in which the artist references a mapping of identity through the blending of personal and collective cultural locations. Similarly Kiefer’s artists’ books evidence a conjuncture of first-person narrative and collective history that evokes a continuous liminal transition between present and past experience.Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Arts, Education and Law
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Kratz, Cornelia [Verfasser], Günter [Gutachter] Blamberger, Ursula [Gutachter] Frohne, and Hayes Christa-Maria [Gutachter] Lerm. "Kunst nach W.G. Sebald. Die Aneignung von Literatur in der zeitgenössischen Kunst am Beispiel von Tacita Dean, Christel Dillbohner sowie der Ausstellung Waterlog (2007) / Cornelia Kratz ; Gutachter: Günter Blamberger, Ursula Frohne, Christa-Maria Lerm Hayes." Köln : Universitäts- und Stadtbibliothek Köln, 2015. http://d-nb.info/1154929469/34.
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Jean, Daniel. "La scène utopique : le théâtre des poètes modernistes W.B. Yeats, T.S. Eliot et W.H. Auden." Paris 4, 2006. http://www.theses.fr/2006PA040075.
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Les trois poètes majeurs de l’ère moderne en Angleterre, W. B. Yeats, T. S Eliot et W. H. Auden, au delà de leur identité poétique propre ont en commun d’avoir consacré une partie significative de leur carrière au théâtre. Leurs contributions à l’art dramatique ont fait l’objet de nombreuses études au moment de leur gloire, mais caractérisées par l’inscription de leur parcours dans le genre contestable de théâtre en vers (« verse drama »). Une telle approche nie la spécificité moderniste de leur réflexion et de leur pratique du théâtre, en particulier en négligeant l’importance des problématiques européennes d’un théâtre utopique, que l’on trouve à la fois chez Wagner et Mallarmé. L’objet de cette thèse est d’intégrer la dimension utopique à une relecture des œuvres de ces poètes, qu’elles soient explicitement destinées à la scène, ou qu‘elles contiennent une théâtralité latente, avec comme horizon une redéfinition de leur place dans l’histoire du théâtre britanniqueThe three major English-speaking poets of the modern age, W. B. Yeats, T. S. Eliot and W. H. Auden have all devoted a significant part of their careers to the theatre. There were many studies of their contributions to drama at the time of their success, but the concept of “verse drama”, which was coined to characterize them, has proved of doubtful value. It denies the specifically modernist nature of their reflection and a approach to the theatre, particularly by underestimating the importance of the European theories of drama as utopia, such as Wagner’s and Mallarmé’s. The aim of the present thesis is to offer a new reading of the dramatic works of these poets, whether they were explicitly intended for the stage or they are implicitly dramatic in form and content, taking into account their utopian dimension and attempting to redefine their place in the history of British drama
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Aurich, Frank, and Norman Köhler. "Ein langer Weg." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2013. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-119160.
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Als die SLUB im Jahr 2001 die Bücher der Sammlung Waldes an die Koordinierungsstelle für Kulturgutverluste in Magdeburg zur Veröffentlichung im Online-Portal lostart.de meldete, war die Sammlung als Raubgut aus der NS-Zeit bereits identifiziert. Es fehlte jedoch der Kontakt zu den in den USA lebenden Erben. Auch die Erwähnung der Sammlung Waldes in einem Vortrag über bereits erfolgte Restitutionen der Sammlungen Klemperer und Hinrichsen durch die SLUB auf dem Zweiten Hannoverschen Symposium zum Thema NS-Raubgut in Bibliotheken im Jahr 2005 und die anschließende Veröffentlichung der Vorträge änderte daran zunächst nichts. Erst als ein in Berlin lebender Amerikaner, der die Erben der Familie Waldes persönlich kannte, im Jahr 2012 diesen Aufsatz las und daraufhin in Dresden anrief, konnte der Kontakt hergestellt werden und es kam Bewegung in die Sache.
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Haake, Claus. "Der Bitterfelder Weg." Gudrun Schröder Verlag, 2019. https://ul.qucosa.de/id/qucosa%3A70716.
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Der Bitterfelder Weg, 1959 ausgelöst durch eine Autorenkonferenz des Mitteldeutschen Verlages, ist für spätere Generationen, die ihn selbst nicht mehr erlebt haben, in seiner umfassenden kulturellen Bedeutung nur schwer zu verstehen. Deshalb gebührt dem Institut für Musikwissenschaft der Universität Leipzig Dank für seine Wissenschaftliche Tagung „Komposition in der DDR – Theorie und Praxis“, dabei auch das wichtige Spezifikum der DDR-Kulturpolitik, den Bitterfelder Weg und dessen Wirksamkeit in die Untersuchungen einbeziehend. Er war Bestandteil von Bemühungen, der Kunst in der Bevölkerung höhere Anteilnahme zu verschaffen, insbesondere bei den Belegschaften großer Industriebetriebe. Das hieß, mehr
Menschen für künstlerische Tätigkeiten und Erlebnisse produktiver, reproduktiver
und rezeptiver Art zu gewinnen.
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Clement, Cathie. "Australia's north-west : a study of exploration, land policy and land acquisition, 1644-1884." Thesis, Clement, Cathie (1991) Australia's north-west : a study of exploration, land policy and land acquisition, 1644-1884. PhD thesis, Murdoch University, 1991. https://researchrepository.murdoch.edu.au/id/eprint/725/.
Full textAbstract:
The thesis analyses the continuum of European activity that preceded establishment of an effective pastoral industry in Australia's north-west. Two strands - physical activity and evolution of legislation - are interwoven, examining growth in geographical knowledge, proposals for colonisation and the outcome of interplay between government officials and landholders over land policy.
Growth in geographical knowledge gave rise to colonisation proposals from 1828. The thesis relates these proposals to events affecting northern Australia to show that promotion and occupation of north-west lands constituted an integral part of the outgrowth of colonial settlement in Australia.
Europeans occupied the north-west in two waves, abortively during the 1860s and continuously from 1879. The existing literature identifies these waves but provides inadequate analysis of events to 1884. The thesis fills this gap by showing that land hunger, misinformation, land speculation, manipulation of legislation and exploitation of political power for private commercial gain determined the shape of north-west settlement. Moreover, by relating land policy to tenure and occupation, it shows that private individuals influenced land policy and impeded official plans for rapid settlement. Thus, the thesis provides a fresh perspective not only on the prelude to effective pastoral settlement in the north-west but on the management of Western Australia's outlying lands in the period before responsible government.
47
Clement, Cathie. "Australia's north-west : a study of exploration, land policy and land acquisition, 1644-1884." Murdoch University, 1991. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20070905.104718.
Full textAbstract:
The thesis analyses the continuum of European activity that preceded establishment of an effective pastoral industry in Australia's north-west. Two strands - physical activity and evolution of legislation - are interwoven, examining growth in geographical knowledge, proposals for colonisation and the outcome of interplay between government officials and landholders over land policy.
Growth in geographical knowledge gave rise to colonisation proposals from 1828. The thesis relates these proposals to events affecting northern Australia to show that promotion and occupation of north-west lands constituted an integral part of the outgrowth of colonial settlement in Australia.
Europeans occupied the north-west in two waves, abortively during the 1860s and continuously from 1879. The existing literature identifies these waves but provides inadequate analysis of events to 1884. The thesis fills this gap by showing that land hunger, misinformation, land speculation, manipulation of legislation and exploitation of political power for private commercial gain determined the shape of north-west settlement. Moreover, by relating land policy to tenure and occupation, it shows that private individuals influenced land policy and impeded official plans for rapid settlement. Thus, the thesis provides a fresh perspective not only on the prelude to effective pastoral settlement in the north-west but on the management of Western Australia's outlying lands in the period before responsible government.
48
Sontag, Ralph. "Die Bilder sind weg!" Universitätsbibliothek Chemnitz, 2007. http://nbn-resolving.de/urn:nbn:de:swb:ch1-200700793.
Full textAbstract:
Nachdem in kurzer Folge zwei Medien auf meinen Tisch
gelangten, auf denen bis vor kurzem viele schöne
Bilder gespeichert waren, die man nun aber nicht
mehr finden konnte, unternahm ich erste vorsichtige
Ausflüge in das Gebiet der Datenrettung. Die Wege
und Werkzeuge, die letztendlich zum Erfolg führten,
sollen in einem kurzen Vortrag vorgestellt werden.
49
Becke, Andreas. "Der Weg der Phänomenologie /." Hamburg : Verl. Dr. Kovac̆, 1999. http://catalogue.bnf.fr/ark:/12148/cb37116749f.
Full text
50
Van, Heerden Vicky. "Local government reform in Western Australia: a case study on change readiness." Thesis, Rhodes University, 2012. http://hdl.handle.net/10962/d1003897.
Full textAbstract:
The Western Australian State Government’s local government reform programme, initiated in February 2009, provides the context for this research. Nedlands, a local government in Perth’s western suburbs, resolved to participate in this reform programme and signed a Regional Transition Group Agreement with Subiaco local government in August 2010. The purpose of the Regional Transition Group was to prepare a business plan to investigate the potential benefits and viability of a Nedlands and Subiaco amalgamation. Whilst the local government of Nedlands is currently investigating the more operational and technical aspects of local government reform in the merger feasibility study, this research focused on employee readiness, more intangible but no less important. The difficulties of achieving success with organisational change initiatives are well documented. A number of models of planned organisational change have been developed to address these difficulties and support successful change and are outlined. This research highlights the value of the first phase of planned change, namely readiness for change, where organizational members are prepared for and become supporters of change. It also highlights the importance of change communication with respect to developing employee readiness. Definitions and some of the dimensions of ‘readiness for change’ are outlined. The five dimensions of readiness for change - discrepancy, appropriateness, principal support, efficacy and valence - provide the ‘lens’ through which readiness for change at Nedlands is explored. From this perspective, the documentation communicating local government reform at Nedlands was analysed. These dimensions were also used to ascertain, from the perspective of the Nedlands' managers, their level of readiness and the readiness of the employees of Nedlands for local government reform. The findings suggest that Nedlands local government has not consciously planned to ‘ready’ employees for local government reform. A number of management recommendations are made to strengthen the change readiness message communicated by the Nedlands local government and to support the development of the Nedlands employees’ readiness for change.