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1
Pedro, Elisandra de Souza. « Simultaneidade indissolúvel entre o factual e o ficcional na obra Beim Häuten der Zwiebel de Günter Grass ». Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/8/8144/tde-18092018-141946/.
Texte intégralRésumé :
Por muitos anos, Günter Grass, quando questionado em entrevistas sobre a possibilidade de escrever uma autobiografa, sempre respondia que o que deveria ser dito sobre sua vida estava registrado, em certa medida, em sua obra ficcional e, portanto, uma autobiografia não era necessária. Em 2006, Grass publicou a autobiografia, Beim Häuten der Zwiebel. O lançamento foi cercado de polêmicas discussões nos meios literário e midiático, principalmente devido à revelação de que o autor havia feito parte da Waffen-SS. Ponto central das análises publicadas a respeito da obra, a confissão suscitou questionamentos de caráter ético e principalmente discussões sobre a revalidação da obra do autor que sempre foi considerado a voz da consciência alemã. Segundo parte das críticas, o fato de Grass por tanto tempo ter escondido do público seu passado e tardiamente tê-lo revelado de forma pouco precisa determina as estratégias escolhidas para a elaboração de seu texto: uma narrativa ambígua, pouco objetiva ou pouco esclarecedora sobre sua participação real na Segunda Guerra Mundial. Essa avaliação será o ponto central da discussão, pois a partir dela se dá a caracterização de que a narrativa autobiográfica de Grass, em alguns momentos, poderia ser avaliada como ficcional, o que questiona a classificação genérica do texto. Este trabalho se propõe a analisar de forma detida como é construído o texto autobiográfico e como o autor problematiza as particularidades de sua escrita, sobretudo a partir do trânsito entre o factual e o ficcional, que gera a ambiguidade do texto e coloca o leitor em dúvida quanto ao caráter da obra. Para isso, serão discutidos conceitos fundamentais como autobiografia, ficção e autenticidade. Além disso, apresentaremos como o escritor trabalha ao longo de sua obra ficcional a utilização do eu autobiográfico em obras fundamentais para a construção do que viria a ser sua autobiografia, além da utilização de sua obra ficcional como horizonte de seu texto autobiográfico.For many years, when asked in interviews about the possibility of writing an autobiography, Günter Grass used to answer that everything in his life that was worth making a register of was somehow already in his fictional work, therefore an autobiography was not necessary. In 2006, he published his autobiographical volume Beim Häuten der Zwiebel. This release was surrounded by literary and mediatic discussion, mainly due to the revelation that the author had been a member of the Waffen-SS. Central point in the published analyses on the book, this confession raised questioning of ethical nature and, above all, debates on a new validation of the authors anthology, which before was considered as the voice of the German consciousness. According to part of the critique, the fact that the writer kept his past hidden for so long from his readers and only disclosed it publically so late determines the strategies chosen by him for the whole elaboration of his narrative: an ambiguous narration, neither objective nor clear on the authors participation in World War II. This evaluation will be the focus of the discussion, for it is therefrom that one can characterize that Grass autobiographical narration, in certain moments, could be examined as fictional, which puts in question the general categorization of the text. The present thesis objective is to analyze, specifically, in which manner Günter Grass autobiographical text is constructed and how he problematizes the particularities of his writing style, especially from the transition between factual and fictional, which generates the ambiguity of the text and allows for the reader to have doubts relative to the nature of such text. To do so, the thesis will discuss some fundamental concepts such as autobiography, fiction and authenticity. Besides, we will present how the author utilizes the autobiographical I in his fictional books as something fundamental towards the latter construction of the autobiography itself, as well as the utilization of his fictional anthology as the horizon of his autobiographical text.
2
Paulson, Mats. « Im Krebsgang von Günter Grass : Eine Analyse nach Gattungskriterien ». Thesis, Mälardalens högskola, Akademin för utbildning, kultur och kommunikation, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:mdh:diva-39991.
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Die vorliegende Spezialarbeit ist eine Untersuchung innerhalb des C-niveaus des Deutschstudiums an der Mälardalen Hochschule, die sich mit den Novellenkriterien und dem Buch Im Krebsgang von Günter Grass beschäftigt. Der Hauptinhalt der Arbeit ist die Untersuchung und Analyse der Novellenkriterien im Buch– welche zu finden sind, wie sie verwendet werden und was sie dadurch vermitteln oderbedeuten. Genauer gesagt soll dort untersucht werden, in welchem Ausmaß diese Gattungskriterien dort zu finden sind. Der Autor hat bewusst dem Titel die Worte "eine Novelle" hinzugefügt, und damit von Anfang an seine Schrift dieser Gattung zugeordnet. Was bedeutet das für den Text und wie kommen diese Novellengattungskriterien im Text zum Ausdruck?
3
Kinding, Björn. « Wirklichkeit und Fiktion in Günter Grass Im Krebsgang : Eine erzähltheoretische Analyse ». Thesis, Högskolan Dalarna, Tyska, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:du-4742.
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Die Novelle, Im Krebsgang, von Günter Grass ist eine Mischung aus Zeitgeschichte, persönlicher Biografie des Autors und lebhafter Fantasie. Diese Komponenten auseinanderzuhalten könnte die Verständigung der Novelle verbessern. Nach den Annahmen, dass der engste Personenkreis um die Familie Pokriefke Fiktion ist, und die Geschichten um den U-Boot-Kommandanten Marinesko, den Medizinstudenten Frankfurter, den Nationalsozialisten Gustloff und das KdF-Schiff Wilhelm Gustloff faktual sind, wurden sechs Textabschnitte ausgewählt. Durch eine literaturwissenschaftliche Analyse dieser Textabschnitte wurden sechs Punkte gefunden, die die Trennlinie zwischen den fiktionalen und faktualen Textabschnitten identifizieren. Gefunden wurde, dass in den faktualen Texten der Erzähler immer auktorial, aus großer Distanz berichtet, und immer von der Fokalisierung getrennt ist. In den fiktionalen Texten aber liegt immer die Fokalisierung beim Erzähler, der stets szenisch erzählt.
4
Deckner, Wilfried Frank Rüdiger. « A study of Günter Grass's poetry ». Thesis, University of Oxford, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670381.
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5
Pedro, Elisandra de Souza. « Estratégias narrativas em O tambor : o diálogo entre a literatura e o cinema ». Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8144/tde-01122009-145523/.
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A discussão sobre adaptações de obras literárias em realizações cinematográficas já passou do campo moralista da fidelidade ou traição para uma discussão menos valorativa. Isso significou uma focalização no estudo da intertextualidade entre a adaptação cinematográfica e o romance original, tendo como pontos de observação o tipo de seleção feita no processo da realização fílmica, a concretização visual do texto literário, a atualização de determinados temas abordados na obra e o foco narrativo, por exemplo. O que se pretende com este trabalho é a análise da estrutura narrativa do romance O tambor (Die Blechtrommel) de Günter Grass e do filme homônimo dirigido por Volker Schlöndorff, observando a forma como o romancista articula a construção complexa de seu foco narrativo e como o cineasta trabalha essa estrutura em seu filme, o que resulta em diferentes formas de perceber e interpretar tanto o narrador-personagem quanto o universo no qual está inserido.Debates on the adaptation of literary works to the cinema have already surpassed moral judgments related to fidelity and treason, finding a more objective approach. It implies, for example, the comparison between the movie adaptation and the original work focusing on intertextuality and using, as points for analysis, the selection of literary material made during the filmic realization process, the visual achievement of the literary text, the update of some of the themes brought out by the writer and the narrative focus, among others. This work aims at analyzing the narrative structure of Günter Grass novel The Tin Drum (Die Blechtrommel) and Volker Schlöndorffs homonymous movie by observing the complex articulation of Grass narrative focus and the directors rendering of that structure, which results in different ways of perceiving and interpreting both the narrating character and the universe he is placed in.
6
Dolliat, Laure Anne. « Genèse et écriture de l’Histoire : "Mein Jahrhundert" de Günter Grass ». Thesis, Lyon 2, 2014. http://www.theses.fr/2014LYO20107.
Texte intégralRésumé :
L’objectif de la présente recherche est double: il s’agit dans un premier temps de proposer une autre lecture de Mein Jahrhundert de Günter Grass à partir des manuscrits en adoptant une perspective génétique au plus près du texte. À partir d’un corpus d’étude restreint, mais représentatif, recelant des documents sources explicites et montrant les différentes phases rédactionnelles nous avons mis en évidence un certain nombre de procédés caractéristiques de l’écriture grassienne et de phénomènes tant endogénétiques qu’exogénétiques révélant le recours à une intertextualité protéiforme déclarée ou dissimulée. Cette entreprise descriptive et interprétative s’est ensuite doublée d’une démarche herméneutique destinée à vérifier si l’ouvrage satisfait aux ambitions didactiques affichées par l’auteur en matière de transmission de l’Histoire, une transmission à finalité civique visant à prévenir ses bégaiements. En optant pour la polyphonie et le récit par le bas Grass entend également combler les lacunes du discours historiographique officiel. À l’issue d’un travail de recherche des sources avérées ou hypothétiques, nous avons mis en évidence que Grass a essentiellement recours à des sources journalistiques lui permettant d’ancrer le récit dans la réalité historique et d’inscrire son livre dans une veine populaire. La présence d’une matière documentaire implicite souvent dense requiert toutefois un savoir extratextuel de la part du lecteur, ce qui va à l’encontre d’une écriture populaire de l’Histoire, même si plusieurs degrés de lecture sont possibles. Le recours à la polyphonie prétendument garant d’une narration pluriperspective est un leurre en raison du marquage axiologique négatif de certains narrateurs laissant transparaître la position idéologique de l’auteur. Le choix des narrateurs, qu’ils soient empruntés à la réalité historique ou fictifs, comme celui des événements s’inscrit dans un système de valeurs univoque faisant constamment référence au discours épitextuel de l’auteur qui peut faire figure d’intertexte. L’écriture de l’Histoire s’appuie ainsi sur une rhétorique de la répétition polymorphe et transversale qu’elle soit autotextuelle, thématique, picturale ou concerne les procédés narratifs, ce qui accrédite la thèse d’un haut degré d’autoréférentialité de l’ouvrage et d’une perception autocentrique du siècleOur research has a dual aim: first to offer a new reading of Mein Jahrhundert by Günter Grass from the manuscripts and from a genetic perspective while remaining as close as possible to the text. Using a restricted but representative corpus of studies with explicit source documents and pointing to various phases of writing, we have highlighted a certain number of procedures which are characteristic of the way Grass wrote, as well as phenomena of both an endogenous and exogenous nature which show his recourse to declared or hidden proteiform intertextuality. This descriptive and interpretative undertaking was then doubled with a hermeneutic approach aimed at establishing whether the work fulfils the didactic ambitions the author asserts regarding the conveying of History with a civic agenda aimed at overcoming the author’s stuttering. By opting for polyphony and a narrative from below, Grass also intends to fill gaps in the discourse of official historiography. After researching proved or hypothetical sources, we were able to demonstrate that Grass essentially uses journalistic sources which allow him to anchor his narrative in historic reality while writing his book in a popular vein. The presence of often dense implicit documentary material nevertheless makes far‐reaching extra‐textual knowledge on the part of the reader necessary, even if various layers of reading are possible.Recourse to the polyphony which is put forward as a guarantee for a narration from differing perspectives is misleading because of the negative value judgements of certain narrators revelatory of the author’s ideological position. The choice of narrators, whether borrowed from historic reality or fictional, just as the choice of the events is part of an unequivocal value hierarchy which constantly refers to the author’s epitextual discourse, which may be read a an inter‐text. The writing of History thus is based upon a rhetoric which consists of polymorphous and transversal repetition, ranging between autotextual, thematic, and pictorial and absorbed by narrative procedures. This corroborates the hypothesis that the work is highly self‐referential and based upon a self‐centred perception of the century
7
Schulz, Markus. « 'Die Vernichtung der Menschheit hat begonnen' : Zivilisationskritik im Spätwerk von Günter Grass / The destruction of mankind has started : criticism of civilisation in Günter Grass' later work ». Gerhard-Mercator-Universitaet Duisburg, 2005. http://www.ub.uni-duisburg.de/ETD-db/theses/available/duett-02242005-142018/.
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In the 80s and 90s of the 20th century Günter Grass treated the various chances of a sudden extinction of mankind for instance the decline by overpopulation and nuclear destruction. So the study deals with five main aspects to show Grass' own criticism of civilisation. The thesis at hand shall be a contribution to describe the significance of these various topics concerning Grass' prose, essayistic works and statements during the last 25 years.
8
Solback, Karin. « Günter Grass - Im Krebsgang : Das deutsche Volk als Opfer und Täter ». Thesis, Högskolan Dalarna, Tyska, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:du-11758.
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9
Schirrmacher, Beate. « Musik in der Prosa von Günter Grass : Intermediale Bezüge —Transmediale Perspektiven ». Doctoral thesis, Stockholms universitet, Institutionen för baltiska språk, finska och tyska, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-38895.
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The thesis explores the role of music in Günter Grass’s novels. In pointing out the vital role of intermediality for Grass’s narrative strategies, the thesis opens up for a new, intermedial perspective on his work. It shows how references to music are used to realise Grass’s poetological concept “paspresenture” – the simultaneous presence of past, present and future – as well as his constant strive towards concreteness. The study draws on theories of intermediality, with a special focus on the role of transmedial media characteristics. It develops a transmedial methodology for analysing intermedial references, stressing how the notion of “musicality” within the text is created by media characteristics shared by both music and literature. Intermedial references are conceived as highlighting structures that are inherent in literature. The textual analyses of The Tin Drum (1959), Too Far Afield (1995) and Crabwalk (2002) are divided into three steps. First, explicit musical references in the narratives are interpreted as indexes pointing towards transmedial structures relevant to this specific context. Second, the examination demonstrates the prominent role of transmedial characteristics such as repetitivity, contrast, simultaneity and performativity within the texts. Third and last, the function of musical reference is discussed: in all three narratives, the focus on transmedial structures supplies a more consistent interpretation of passages which otherwise prove difficult to decipher. In Grass’s fiction, issues appear not to be discussed but performatively reenacted and thus remind more of musical than literary development. What is more, music – as handled by Grass – does not appear absolute or transcendent; rather, its manipulative potential is always prominent. However, the way musical references are used to realise Grass’s poetological aims stresses the bodily presence of musical performance, thus making music appear as the performative realisation of time.
10
Santos, Bruno Mendes dos 1980. « Memória e ficção : o teor testemunhal na obra de Günter Grass ». [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270054.
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Orientador: Márcio Orlando Seligmann SilvaDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-25T13:12:14Z (GMT). No. of bitstreams: 1 Santos_BrunoMendesdos_M.pdf: 1426800 bytes, checksum: d5e451f4db00da1f0cfd93ce9ad5765b (MD5) Previous issue date: 2014
Resumo: Este trabalho trata dos limites entre memória e ficção em algumas obras de Günter Grass (1927-) - a saber, O tambor (1959), Gato e rato (1961), Anos de cão (1965) e Nas peles da cebola (2006) - tendo em vista o seu teor testemunhal sobre o período entre guerras e pós-guerra, levando em conta a situação do autor como sujeito e objeto social, em um dos ambientes mais representativos da história global no século XX. Com o suporte de teorias da literatura, da cultura e da filosofia, além do aparato de textos críticos, ensaísticos e jornalísticos, bem como de outros textos literários sob perspectiva comparativa, deseja-se observar os processos de ficcionalização da memória individual, de romanceação da autobiografia e de construção da memória cultural através da literatura
Abstract: This work deals with the boundaries between memory and fiction in some pieces of Günter Grass (1927-) - namely, "The tim drum" (1959), "Cat and mouse" (1961), "Dog years" (1965) and "Peeling the onion" (2006) - taking into account its testimonial content from Nazism and postwar era, considering the author's position as social subject and object, in one of the most representative environments of world history in the twentieth century. Using theories of literature, culture and philosophy as support, as well as critics, essays and journalistic texts, besides other literary texts in a comparative perspective, it aims to observe the processes of fictionalizing individual memories, writing an autobiography in the form of a novel and building cultural memory through literature
Mestrado
Teoria e Critica Literaria
Mestre em Teoria e História Literária
11
Nylander, Göran. « Günter Grass : Die Einstellung zum vermiedenen Thema in der Novelle "Im Krebsgang" ». Thesis, Stockholm University, Department of Baltic Languages, Finnish and German, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-6909.
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Kunrath, Milena Hoffmann. « Günter Grass, Oskar e seus tambores : a tradução de uma prática interdisciplinar ». reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2009. http://hdl.handle.net/10183/17667.
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13
Astic, Guy. « "Le roman international" européen : trois figures d'un renouveau romanesque : Günter Grass, Milan Kundera, Salman Rushdie ». Aix-Marseille 1, 2002. http://www.theses.fr/2002AIX10063.
Texte intégralRésumé :
Trois auteurs de provenances aussi diverses que Günter Grass, Milan Kundera et Salman Rushdie sont convergents au sein d'une réalité littéraire qui ne leur est pas exclusive : le "roman international" européen. L'expression "roman international" désigne ici deux orientations : celle du genre romanesque dans ses productions concrètes depuis la sphère européenne contemporaine - celle-ci ne correspond pas aux strictes limites géographiques de l'Europe : celle d'une visée théorique, inspirée de la théorie des polysystèmes, qui privilégie les concepts de périphérie, d'hétérogénéité stratifiée et d'interférences. Il s'agit de voir comment le "roman international" européen oeuvre intensément dans l'"entre" des formes narratives et fictionnelles, dans l'"entre" des représentations dominantes et des imaginaires ordinairement cloisonnés. Pour cela, trois pôles de réflexion seront développés. La première partie envisage de situer chacun des auteurs dans le contexte européen du roman et de déterminer les conditions de l'"internationalisation" de leur écriture. On verra ainsi que les écrivains réactivent certains modèles romanesques (l'exemple du néo-picaresque est éloquent). Le deuxième versant de la réflexion s'attache à la mise en forme narrative, postmoderne, dominée par l'idée que l'invention ne coi͏̈ncide pas forcément avec la négation de l'ancien. Cela passe par le traitement déconcertant de l'autorit́é narrative, par l'exercice du montage compositionnel et par une poétique de l'excès originale et plurielle. La dernière partie concerne les représentations de sens et l'entre-deux dans lequel s'inscrit cette opération. La mise en oeuvre de la langue, un véritable engagement littéraire et éthique pour Grass, Kundera et Rushdie, est d'abord observée, avant de voir comment les romans subvertissent les lois de la vraisemblance. Ils posent ainsi des liens inédits entre le possible et l'impossible, le réel et l'irréel, déploient un réalisme magique européen à l'origine de redéfinitons lai͏̈ques/prosai͏̈ques de la transcendance
14
Ley, Lisa Maria. « Zur Intertextualität und Intermedialität in Günter Grass’ Die Rättin : Das Märchen im Zeitalter seiner dystopischen Reinszenierbarkeit ». Thesis, Högskolan Dalarna, Institutionen för språk, litteratur och lärande, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:du-38417.
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This study focuses on the elements of intertextuality and intermediality in the novel Die Rättin by Günter Grass. It is an attempt to place the text in a context of literary theory and contemporary society as well as in a deeply rooted tradition of storytelling that feeds the author’s inspiration and motivates a continuous dialogue between different works of fiction. It is also a reflection on the impact of different media on the development of art. The study leans on Walter Benjamin’s classic essay The Work of Art in the Age of Mechanical Reproduction and its aim is to show how the postmodern reality shapes a new form of art, which uses cross-referencing between different means of artistic expression to maintain the “aura” of originality despite mass production of stereotypical stories and works of art. Grass incorporates both the underlying art theory and art production itself in his rich narrative of the dying and resurrection of mankind and art. In Die Rättin, his original concepts of intertextuality and intermediality reach mastery. This study highlights the various ways in which Grass spins his narrative around an idea of the “Gesamtkunstwerk” of human creation.
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Furch, Hannelore [Verfasser], Volker [Akademischer Betreuer] Neuhaus et Walter [Akademischer Betreuer] Pape. « Der Erzählerdiskurs in "Unkenrufe" und "Im Krebsgang" von Günter Grass / Hannelore Furch. Gutachter : Volker Neuhaus ; Walter Pape ». Köln : Universitäts- und Stadtbibliothek Köln, 2013. http://d-nb.info/1038379563/34.
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Mohr-Elfadl, Sabine. « La phraséologie dans l'oeuvre de Günter Grass : étude thématique et pragmastylistique du roman 'Die Blechtrommel' et sa traduction française ('Le tambour') ». Université Marc Bloch (Strasbourg) (1971-2008), 2006. http://www.theses.fr/2006STR20064.
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Jarn, Maria. « Die Wirkung der Vergangenheit auf die Gegenwart und deren Verarbeitung in der Novelle Im Krebsgang von Günter Grass ». Thesis, Stockholm University, Department of Baltic Languages, Finnish and German, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-7100.
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Beltz, Bettina [Verfasser]. « «Fortsetzung folgt...» : Zum intertextuellen Trialog zwischen Günter Grass, Salman Rushdie, John Irving und ihrem Ahnherrn Laurence Sterne / Bettina Beltz ». Frankfurt : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2013. http://d-nb.info/1042420564/34.
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Gesche, Janina. « Aus zweierlei Perspektiven : zur Rezeption der Danziger Trilogie von Günter Grass in Polen und Schweden in den Jahren 1958-1990 ». Doctoral thesis, Stockholms universitet, 2003. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-83450.
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Munsberg, Gabriel Felipe Pautz. « Narrativas do inenarrável : memória e escrita em Passo de caranguejo, de Günter Grass, e Diário da Queda, de Michel Laub ». reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2017. http://hdl.handle.net/10183/172379.
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A dissertação teve como ponto de partida a recuperação de experiências traumáticas através de memórias individuais e consequentemente coletivas como base para a construção da própria identidade, tendo como corpus principal os romances Passo de caranguejo (Im Krebsgang, 2002), de Günter Grass, e Diário da queda (2011), de Michel Laub, visto que ambas são produções contemporâneas problematizam a escrita e a memória frente a eventos traumáticos, no caso, a Segunda Guerra Mundial e suas decorrências. A partir de textos literários e teóricos de diversos campos, buscou-se analisar comparativamente as representações em decorrência de traumas. Ou seja, a metodologia a ser utilizada neste projeto encontra-se em concordância com os estudos intertextuais, não se prendendo a limites teóricos, sejam eles literários ou não. Quanto ao corpus de pesquisa, as narrativas literárias apresentam a problemática da escritura sobre um evento traumático através das memórias de sobreviventes, porém com a narração ocorrendo através de uma geração afastada do epicentro, o que vem a causar um “esquecimento” por parte do narrador, além da fragmentação do texto e da suspeita por parte do leitor neste personagem que tem o poder da fala, traços típicos da literatura contemporânea Grass, em 2002, e Laub, em 2011, retomam o tema da Segunda Guerra Mundial, Estado Nazista e Shoá para pensarem o indivíduo do século XXI. Mesmo localizadas em espaços geograficamente distantes (Alemanha e Brasil), as narrativas demonstram a profunda relação entre passado e presente de seus personagens em função da Segunda Guerra e da incessante busca por suas origens identitárias. Ao considerarmos a necessidade da narração para a libertação das dores do mundo vil, a hipótese da escrita como exercício de compreensão do passado e do presente é confirmada em ambas as narrativas, perpassando o desenvolvimento de novas formas de expressão, incluindo a própria linguagem, a qual se mostra incompleta frente à realidade.This thesis has as its source the recovery of traumatic experiences as basis for the construction of identity through individual and, accordingly, collective memory. The mainly corpus for this study is novels Crabwalk (Im Krebsgang, 2002), by German writer Günter Grass, and Diary of the Fall (Diário da Queda, 2011), by Brazilian writer Michel Laub, because they are both contemporary production which problematize writing and memory in the face of traumatic events, in this case the Second World War and its consequences. Based on different literary and theoretic texts from different areas, I intended to comparatively analyze the representations that result from trauma. In other words, the methodology I use in this project is in concordance with Intertextual Study, and it is not restricted to theoretical limits, being them literary or not. About my research corpus, the two literary narratives present the problems of writing about a traumatic event through the memory of survivors, but the narration happens through a generation away from the epicenter; this causes a “forgetfulness” on the side of the narrator, and thus, the fragmentation of the text and the reader’s suspicion about this character who has the power of speech – all of this are common traces of contemporary literature Grass, in 2002, and Laub, in 2011, resume Second World War, Nazi State and Shoa themes to think about the subject of the XXI Century. Even if they happen in geographically distant places (Germany and Brazil), the narratives show a deep relation between their characters’ present and past due to the Second World War and to the unceasing search for their identity origins. By considering the necessity of narration to the deliverance from pains of the vile world, I confirm the hypothesis of writing as an exercise of comprehension of present and past in both narratives; and this writing also pass through the development of new expression forms, including language itself, which shows itself incomplete in face of reality.
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Coromines, i. Calders Diana. « La traducció de la ironia en l'obra de Günter Grass. Les versions angleses, daneses, catalanes i espanyoles d'Unkenrufe i Im Krebsgang ». Doctoral thesis, Universitat Pompeu Fabra, 2011. http://hdl.handle.net/10803/51246.
Texte intégralRésumé :
Aquesta tesi se centra en l'anàlisi comparativa i descriptiva de vint passatges irònics de les obres Unkenrufe (1992) i Im Krebsgang (2002) de Günter Grass i les seves respectives traduccions a l'anglès, el danès, el català i l'espanyol. Partint de la hipòtesi que totes les versions tendeixen a atenuar la ironia excepte les daneses –per raons de proximitat lingüisticocultural amb l'alemany– ens proposem assolir dos objectius: 1) explorar l'abast macroestructural d'aquesta suposada atenuació; i 2) fer dues propostes de classificació: d'estratègies d'ironia original i d'estratègies de traducció de la ironia. Amb aquests objectius a l'horitzó, en primer lloc emprem instruments de tipus narratològic per determinar el paper de la ironia en les obres originals, i seguidament duem a terme l'anàlisi comparativa i descriptiva dels passatges irònics mitjançant eines conceptuals semàntico-pragmàtiques. Els resultats de la investigació confirmen parcialment la hipòtesi inicial i aporten noves dades sobre la naturalesa de la ironia literària; el funcionament de la seva traducció; i el paper que hi juguen les restriccions lingüisticoculturals.This dissertation presents the comparative and descriptive analysis of twenty ironic passages from Unkenrufe (1992) and Im Krebsgang (2002) by Günter Grass and their corresponding translations into English, Danish, Catalan and Spanish. Taking as a starting-point the hypothesis that irony will tend to be toned down in all the versions – except for the Danish ones, due to the linguistic and cultural proximity between Danish and German – the study has two objectives: 1) to explore the macrostructural impact of irony downtoning, and 2) to propose two classifications: one of original irony strategies, and one of translated irony strategies. With these objectives in mind, first we use narratological tools to determine the role played by irony in the original works, and then we use semantic-pragmatic tools to carry out a comparative and descriptive analysis of the ironic passages. The results of this study partially confirm the initial hypothesis and shed new light on the nature of literary irony, how its translation works, and the role played in it by linguistic and cultural constraints.
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Jeanmart, Fabienne. « De la littérature dans sa portée philosophique : Réflexion sur des textes du XXème siècle : Anne Hébert, Günter Grass et Ahmadou Kourouma ». Nice, 1996. http://www.theses.fr/1996NICE2030.
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Notre thèse traite de la philosophie et de la littérature et de trois écrivains issus d'horizons géographiques et culturels contrastés : Anne Hébert originaire du Québec (avec Les chambres de bois et Les fous de Bassan), l'auteur allemand Günter Grass (avec Le tambour) et l'ivoirien Ahmadou Kourouma (avec Les soleils des indépendances et Monnè, outrages et défis). Le problème majeur est de savoir si nous pouvons démontrer que ces romans et leurs auteurs apportent une contribution philosophique et peut-être également un nouvel humanisme. En effet, en France, il y a environ deux siècles, nous avons abandonné cette double approche appréciée par Diderot par exemple. Aussi, nous désirons montrer qu'une réhabilitation de ce type de lecture pourrait être effectuée. Nous pensons que c'est un sujet intéressant surtout parce que nous sommes confrontés à la construction européenne et car nous sommes en train de développer une politique "francophone" dans le monde. Aussi, les problèmes identitaires doivent être pris en considération. De même, les définitions données au terme "culture" pourraient être réviséesOur theses is about philosophy and literature and about three novelists from different countries : Anne Hébert from Québec (with Les chambres de bois and Les fous de Bassan), Günter Grass from Germany (with Le tambour) and Ahmadou Kourouma from Africa (with Les soleils des indépendances and Monnè, outrages et défis). The problem is to know whether we can find a philosophical contribution (and a new humanism?) from this kind of literature. In France, about two centeries ago, we left this kind of approach that Diderot (for instance) used. And now we have a tendency to ignore philosophical reading concerning literature in general. The most important problem is to know whether a rehabilitation of this kind of reading is possible. We think this is an important problem mainly because we face the construction of Europe and because we are trying to develop a policy of "francophonie" in the world. And then the problem of identity and of different definitions given to culture appears
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Rosell, Steuer Pernilla. « -ein allzu weites Feld ? : zu Übersertzungstheorie und Übersetzungspraxis anhand der Kulturspezifika in fünf Übersetzungen des Romans "Ein weites Feld" von Günter Grass ». Doctoral thesis, Stockholms universitet, Tyska institutionen, 2004. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-75.
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The present dissertation investigates literary translation from a cultural perspective by comparing the translation of culture-specific words and concepts in five different translations of the novel Ein weites Feld by Günter Grass. The translations were chosen to represent three ‘small’ (Swedish, Danish, Norwegian) and two ‘large’ (American English, French) languages and cultures, in order to find out whether these categories are characterized by different ‘foreignizing’ or ‘domesticating’ translation methods. The main purpose of the study is to present an empirical and descriptive analysis of the concrete difficulties and possibilities connected with the process of transferring culturespecific words and concepts taken from the geographical, historical, literary and everyday context of the original work. A further aim of the study is to undertake a comparison of theory and practice of translation with regard to culture and culturespecific words. The methodological framework is taken from the historically oriented ‘Transfer’ method of the Göttingen literary translation school, where deviations from original literary texts are not seen as ‘mistakes’ in the traditional linguistic sense but as differences caused by various historical and individual factors. Above all, this study aims to focus on the translations themselves, to investigate what different solutions to cultural translation problems can tell us about the meeting between the ‘Foreign’ and the world of the translators and their prospective readership. The study’s analyses demonstrate that culture-specific words and concepts in this material are translated in a broad variety of ways, which often differ from translation to translation and therefore cannot be classified into predictable categories of translation 'strategies’. A certain pattern could be detected as far as the translation of geographical place-names and similar concepts were concerned, where the Scandinavian translators tend to preserve the original words and concepts to a greater extent than the other translators. As a contrast, the American and French translators have preserved a large number of words connected to the ‘Third Reich’ in the original form, which raises questions about the way strategies of preserving the ‘Foreign’ in translations are connected with the picture of other cultures. However, the most conspicuous result of the investigation could be found within the category of the ‘pragmatic’ decisions (Chesterman), which differ considerably in all translations as far as explanations of culture-specific phenomena within the text itself are concerned. Thus five literary translations make five different variations of the same novel. The heterogeneous translation solutions further show that the theoretical approaches within translation theory are of only limited use for describing existing literary translations in an adequate way.
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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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Krason, Viktoria [Verfasser], Heinrich [Akademischer Betreuer] Detering, Heinrich [Gutachter] Detering et Horst [Gutachter] Bredekamp. « Günter Grass und die bildende Kunst : Eine interdisziplinäre Untersuchung der Schaffensjahre 1947 bis 1977 / Viktoria Krason ; Gutachter : Heinrich Detering, Horst Bredekamp ; Betreuer : Heinrich Detering ». Göttingen : Niedersächsische Staats- und Universitätsbibliothek Göttingen, 2019. http://d-nb.info/1187520195/34.
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Krason, Viktoria [Verfasser], Heinrich [Akademischer Betreuer] Detering, Heinrich Gutachter] Detering et Horst [Gutachter] [Bredekamp. « Günter Grass und die bildende Kunst : Eine interdisziplinäre Untersuchung der Schaffensjahre 1947 bis 1977 / Viktoria Krason ; Gutachter : Heinrich Detering, Horst Bredekamp ; Betreuer : Heinrich Detering ». Göttingen : Niedersächsische Staats- und Universitätsbibliothek Göttingen, 2019. http://d-nb.info/1187520195/34.
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Barret, Cecilia. « Anamnèses romanesques dans la fiction contemporaine : le personnage transhistorique dans "Les Fleurs bleues" de Raymond Queneau, "Terra nostra" de Carlos Fuentes, "Le Turbot" de Günter Grass ». Limoges, 2008. http://aurore.unilim.fr/theses/nxfile/default/04109770-0024-410e-962d-bc8432199d90/blobholder:0/2008LIMO2008.pdf.
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La fiction romanesque de la deuxième moitié du XXe siècle voit apparaître un nouveau type de roman historique, qui explore les dimensions méconnues de l'Histoire. "Les Fleurs bleues" de Raymond Queneau (1965), "Terra nostra" de Carlos Fuentes (1975) et "Le Turbot" de Günter Grass (1977) suivent, pour ce faire, l'évolution des personnages à la durée de vie hors norme, qui traversent les époques. Ces voyages dans le temps livrent, d'après le point de vue souvent marginal des personnages, une vision de l'histoire fortement polémique. La fiction littéraire se fait ainsi le dépositaire de mémoires oubliées ou occultées. Elle permet aux contemporains de recréer une proximité avec des ancêtres jusqu'alors inconnus. En revenant à diverses époques de l'histoire, les personnages transhistoriques incarnent en effet un lien généalogique. Ils se remémorent leurs vies successives à la manière d'une anamnèse, qui relient différentes générations au sein d'un paradigme temporel original. La réouverture du passé revêt alors une vocation identitaire. En se réappropriant le passé, les hommes du présent s'autorisent un avenir ; les récits explorent les différentes strates de la mémoire collective et fondent, à travers cette anamnèse, une identité riche de potentialités, au sein de laquelle cohabitent temporalités, cultures et espaces multiples.
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Waliaula, Ken Walibora. « Uhalisia na uhalisiamazingaombwe : mshabaha kati ya Dunia yao na The tin drum ». Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-98352.
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Je, kuna uhusiano gani kati ya Euphrase Kezilahabi wa Tanzania na Gabriel García Marquez wa Kolombia, au kati ya Kyallo Wadi Wamitila wa Kenya na Juan Rulfo wa Meksiko ama kati ya Günter Grass wa Ujerumani na Said Ahmed Mohamed wa Zanzibar? Waandishi hawa waliotengwa kitaifa na kilugha wanaunganishwa na uamuzi wao wa kuandika riwaya kwenye mtindo usiokuwa wa kawaida, mtindo wa uhalisiamazingaombwe. Kwa kulinganisha na kulinganua riwaya ya Mohamed na ile ya Grass ninakazia nadhari dayolojia ya kina iliyochipuka kati ya fasihi ya Kiswahili na fasihi ya ulimwenguni pote. Ni maoni yangu kwamba riwaya mbili hizi, zinakikabili kizungumkuti cha kuwepo kwa mwanadamu kwa kuutupilia mbali mfumo wa uwakilishi wenye uhalisia kama tunavyoujua. Badala yake riwaya hizi zimezingatia mtindo wa ujumi wa kisasabaadaye (postmodern aesthetics). Kazi hizi za sanaa zinatumia sifa bainifu za uhalisia mazingaombwe kama nyenzo za kuakisi na kuakisi kwa kubirua hali halisi ya udhaifu, kuyumbayumba na ukosefu wa uthabiti na udumifu katika maisha Afrika na Ulaya.
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CLAUDE, FERRANDON MICHELINE. « L'ecrivain et son temps en republique federale d'allemagne (1960-1972) a travers l'etude d'essais, de commentaires, d'articles et de discours de heinrich boell, de hans magnus enzensberger et de gunter grass ». Paris 3, 1989. http://www.theses.fr/1990PA030080.
Texte intégralRésumé :
L'etude thematique comparee d'ecrits non fictionnels de boell, de grass et d'enzensberger revele la complexite d'individus souvent tributaires d'une image reductrice. Conditionnes par le traumatisme d'un passe inexpicable et d'ne nation dechiree, ils entendent ne pas se derober a leur responsabilite d'hommes, temoins de leur temps, en citoyens desireux de contribuer a la democratisation durable de la societe ouest-allemande. Confrontation significative car, outre la specificite de chacun, elle cerne convergences et divergences, continuites et ruptures, fluctuations d'etres en perpetuelle mutation, saisis par le flux de l'histoire, suivant leurs champs d'intervention favoris (politique, social, culturel). Dans le contexte des annees soixante, la sacralisation de la litterature est appelee a compenser la secularisation grandissante de l'ecrivain. La permanence ethique transcende les discontinuites ideologiques. Intransigeances et accommodements caracterisent l'interaction ecrivanreel dans un mouvement qui va de l'individuel vers le collectif, du passe vers le present, de la province vers l'univers, de l'imaginaire vers la realite. Au carrefour du discours et de la pratique s'inserent les moyens de communication : point de jonction dynamique entre l'ecriture et l'action, articulation irremplacable dans le jeu des rapports entre l'ecrivain et la societeThe comparative thematic study of non fictional texts written by boell, grass and enzensberger shows the complicated nature of people often traped in a reducing image. Much aware of the frightful past and national trauma, they do not intend to escape the responsability of human beings, witnesses of their time and citizens wishing to help post-war german society to become deeply democratic. Beyond the specific character of each author, it investigates convergencies and divergencies, continuities and discontinuities, major changes in constantly fluctuating persons caught in the flow of history, according to their favourite ways of interfering in public life (politics, society, culture). As the sixties run, literature's sacralization has to make up for writer's growing secularization. Ethical values transcend ideological gaps, uncompromisingness and compromises account for the relationship between writer and reality in a process leading from individuality to collectivity, from the past to present time, from the german microcosm to the wide world, from literary fiction to actuality. Communication means are located in the space between discourse and practice, vivid junction between language and action, irreplaceable link in the intercourse of writer and society
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Příhodová, Tereza. « Plechový bubínek - Postava dítěte jako zrcadlo revolty, revoluce a války ». Master's thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2013. http://www.nusl.cz/ntk/nusl-172868.
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Theses "The Tin Drum - the character of a child as a symbol of revolution, rebellion and war in the film" explores development of a child's character in film. Also in films about the war and revolution. (Go and see ,The White Ribbon, Alice in Wonderland, Threesomes of morals, Long live the Republic, etc ...) The work primarily analyzes the character of Oscar (The Tin Drum) and compares literary text and the movie. At the same time, the thesis further elaborates on the issue of film adaptations of literary works and also raises question of author's own projection into the main character.
Although the focus is primarily on analysis of literary and cinematic form of The Tin Drum, this text also mentiones other key frames, on which different ways of working with child actors are portrayed.
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Abouelmaati, Sherif Abdelfattah Abdelaziz [Verfasser], Helmut [Akademischer Betreuer] Peitsch et Iwan-Michelangelo [Akademischer Betreuer] D'Aprile. « Intellektuellen-Rolle in Günter Grass Werken : „Die Plebejer proben den Aufstand“(1966), „Örtlich betäubt“(1969), „Aus dem Tagebuch einer Schnecke“(1972), und „Ein weites Feld“(1995) / Sherif Abdelfattah Abdelaziz Abouelmaati ; Helmut Peitsch, Iwan-Michelangelo D'Aprile ». Potsdam : Universität Potsdam, 2017. http://d-nb.info/1218402156/34.
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Breu, Tobias [Verfasser], Sibylle Akademischer Betreuer] Günter, Rudolf [Akademischer Betreuer] [Gross et Harald [Akademischer Betreuer] Friedrich. « Linear and nonlinear analysis of plasma edge instabilities / Tobias Breu. Gutachter : Rudolf Gross ; Harald Friedrich. Betreuer : Sibylle Günter ». München : Universitätsbibliothek der TU München, 2012. http://d-nb.info/102070649X/34.
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Aufderheide, Helge E. [Verfasser], Thilo Akademischer Betreuer] Gross, Frank [Akademischer Betreuer] [Jülicher et Günther [Akademischer Betreuer] Radons. « Implications of eigenvector localization for dynamics on complex networks / Helge E. Aufderheide. Gutachter : Frank Jülicher ; Günther Radons. Betreuer : Thilo Gross ; Frank Jülicher ». Dresden : Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2014. http://d-nb.info/1068448237/34.
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Baumgarten, Joseph Ephraim. « Combating the Banality of Evil : Portrayals of the Literary Female Villain in Günter Grass's Danziger Trilogie and Novella, Im Krebsgang ». BYU ScholarsArchive, 2005. https://scholarsarchive.byu.edu/etd/653.
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In Günter Grass's Danzig Trilogy and novella, Im Krebsgang, an antagonistic female type makes a repeated appearance. She appears in the guise of Susi Kater and Luzie Rennwand in Die Blechtrommel, and as Tulla Pokriefke in the other works, Katz und Maus, Hundejahre, and Im Krebsgang. This antagonistic female type is not like other women in these works. A review of Le Deuxième Sexe by feminist Simone de Beauvoir reveals several crucial components contributing to woman's position in society. Most essentially, a woman's natural attributes and (dis)abilities and the conventions of society have enforced her historical submission to man. This thesis analyzes how the antagonistic female type, or villain, compares and contrasts with other female figures in these works by Grass, according to a paradigm derived from Beauvoir's description of woman. From this analysis, a better understanding of the female villain's nature emerges. Indeed, such a comparison demonstrates that certain female figures in the works of Grass transcend their historically oppressed or subdued status by refusing to submit to those natural handicaps and societal restrictions identified by Beauvoir, and thus become a threat to man's status or security as an antagonistic female type, or villain. However, the villain figure is not always inherently evil, but possesses the capacity to change. The villain and victim can reconcile their differences and may even form a friendly relationship. This evolving villain-victim duality becomes most clear in Grass's work, Im Krebsgang, and suggests the possibility of assuaging contemporary conflicts as educators sympathize with the experiences of both extremist groups and victimized parties and help them come to terms with their differences.
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Krason, Viktoria. « Günter Grass und die bildende Kunst ». Doctoral thesis, 2017. http://hdl.handle.net/11858/00-1735-0000-002E-E64D-7.
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L'Hérault, Virginie. « Le fantasme de l'origine : le récit comme invention d'une généalogie mythique dans Le tambour de Günter Grass ». Mémoire, 2006. http://www.archipel.uqam.ca/2878/1/M9370.pdf.
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Le Tambour de Günter Grass peut être lu comme la mise en fiction du roman familial du personnage et narrateur, Oscar Matzerath, qui rédige ses mémoires dans la maison de santé où il est interné. L'objet de ce mémoire est précisément l'analyse de l'écriture d'Oscar comme invention d'une généalogie mythique et fantasme des origines. Ce narrateur indique dès le début de ses mémoires que « nul ne devrait décrire sa vie » sans d'abord « commémorer une bonne moitié de ses grands-parents ». Ce besoin de reconstituer l'origine et de l'interroger se déploie dans le récit à travers, notamment, le fantasme du retour au sein maternel (dont le tambour et l'écriture constituent en quelque sorte les moyens) qui se traduit par la reconstitution d'une généalogie sur les modes mythique et théologique. Ce mémoire s'intéresse donc d'abord aux mécanismes qui régissent l'écriture « oscarienne » dans sa cohésion interne, c'est-à-dire en fonction des fantasmes du personnage et des réseaux symboliques et signifiants qui le construisent dans le texte et qui constituent son style propre. La question de l'origine convoque celles de la filiation et du mythe, autant d'éléments à mettre en réseau pour éclairer la construction généalogique fantasmée par le narrateur. Sur ce plan, l'approche psychanalytique ouvre une perspective de recherche appropriée pour repérer les mécanismes du fantasme dans l'écriture d'Oscar, c'est pourquoi nous opterons pour une lecture orientée en ce sens. Il s'agit de voir comment, sur les plans de l'énonciation, de la mémoire et du mythe, le roman construit une filiation matrilinéaire au service d'une toute-puissance narrative qui permet d'échapper au temps et à la mort. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Günter Grass, Le Tambour, Fantasme de l'origine, Généalogie matrilinéaire, Mythe.
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Wu, Zih-Sian, et 吳姿嫻. « Thematic and Structure of Narrative Text : A Case Study on Günter Grass' Work "Im Krebsgang" ». Thesis, 2011. http://ndltd.ncl.edu.tw/handle/35376803665678481745.
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碩士輔仁大學
德國語文學系
99
Günter Grass (1927-) is the winner of the 1999 Nobel Prize in Literature and has been regarded as one of the famous German literature writers from the 1950s to the early 21st century. His most famous and representative work is the “Danziger Trilogie”, which is a collection includes Die Blechtrommel, Katz und Maus and Die Hundjahre. Grass is not only a novelist, playwright and poet, but also a painter and sculptor. This study has taken Im Krebsgang, a novel written by Grass and published in February 2002, as the research subject. Furthermore, the narratology by Jürgen H. Petersen and the discourse analysis theory by Klaus Brinker have adopted as the research methods to conduct the discussion and to examine the subject, structure and communication function of the narrative text. Im Krebsgang is started with the shipwreck of the “Wilhelm Gustloff” which occurred in the post-World War II. The author made a textual research based on the actual historical event and added some fictional characters and evens into the story. The story is processed in a narrative way that is similar with the “crab-like walking”, which means sometimes it employs the parallel narration and sometimes the cross narration. It has not only mentioned the various features of the Wilhelm Gustloff during World War II and its sinking process, but also referred to some politically sensitive issues, such as the German people’s thoughts on the anti-Semitism of the Nazi regime during World War II, and the fact that the people were driven to German to seek refuge after the war. This novel has taken Danzig, the birthplace of Grass, as the background of the historical event, describing the German people’s internal struggles with facing the guilty of triggering the war and the grief of losing home after the World War II. Moreover, the contrast political stances between the East German people and the West German people results in cognitive differences in history and accordingly conflicts. In such this modern social development, the indifferent interpersonal relationship due to modern networks has caused part of the German attempt to conceal and rewrite the past historical events. In addition, due to the resurgence of Nazi far-right extremism, the differences between the German people’s thoughts on historical events are even more apparent. By representing the tragic historical event and describing its influence on the social development in the 1990s, Im Krebsgang has alluded that human beings seem to repeat the same mistakes again and again. Nonetheless, repeated tragedies may be avoided if we can truly face and represent the history.
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Rüffer, Daniel. « Das Phänomen des Kleinbürgerlichen in den Texten von Günter Grass. Eine Konfrontation von Sozialgeschichte und Literatur ». Doctoral thesis, 2016. https://repositorium.ub.uni-osnabrueck.de/handle/urn:nbn:de:gbv:700-2016070414589.
Texte intégralRésumé :
Insofern der Titel der Dissertation schon auf ein „Phänomen“ verweist, ist angedeutet, dass von einem zunächst nicht festgelegten Auftreten kleinbürgerlicher Figuren ausgegangen wird. Der Autor bringt, so die Grundthese, sein Herkunftsmilieu zur Anschauung; es ist davon auszugehen, dass dies vielfältig und nicht ausschließlich abwertend geschieht. Es wurde eine Auswahl an Texten von Grass getroffen, die einen Überblick über das Gesamtwerk gestattet. Sie umfasst Romane, Novellen und solche Texte, denen der Autor keine konventionelle Gattungsbezeichnung zugewiesen hat, die aber ihrer Struktur nach als erzählende Texte gelten können (viele handelnde Figuren, detailreiche Schilderungen, nicht in Versen verfasst, nicht auf Aufführung ausgelegt):
„Die Blechtrommel“ (1959),
„örtlich betäubt“ (1969),
„Aus dem Tagebuch einer Schnecke“ (1972),
„Kopfgeburten oder Die Deutschen sterben aus“ (1980),
„Die Rättin“ (1986),
„Ein weites Feld“ (1995),
„Im Krebsgang“ (2002).
Im abschließenden Kapitel wird überdies resümierend auf „Beim Häuten der Zwiebel“ (2006) sowie sporadisch auf „Grimms Wörter“ (2010) und das posthum erschienene „Vonne Endlichkait“ (2015) eingegangen. Zur Gliederung der Texte in Werkphasen wurden eine aktuelle Position nach Sabine Moser (2002) sowie weitere Einschätzungen der bekannten Grass-Forscherin Gertrude Cepl-Kaufmann (1975 und folgende) miteinander verbunden.
Zur Erarbeitung eines möglichst sachlichen Begriffs über das Kleinbürgertum wurde neuere sozialhistorische Forschungsliteratur (Haupt/Crossick, 1998 und folgende) hinzugezogen, die:
1. älteren Forschungsbeiträgen über Grass nicht zur Verfügung standen oder
2. durch neuere Forschungsbeiträge nicht zur Kenntnis genommen worden sind.
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Schulz, Markus [Verfasser]. « "Die Vernichtung der Menschheit hat begonnen" : Zivilisationskritik im Spätwerk von Günter Grass / vorgelegt von Markus Schulz ». 2004. http://d-nb.info/974964484/34.
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Kim, Ŭng-jun [Verfasser]. « Literatur als Historie : Zeitgeschichte in Thomas Manns "Doktor Faustus" und Günter Grass' "Die Blechtrommel" / vorgelegt von Eung-Jun Kim ». 2004. http://d-nb.info/972033734/34.
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Benger, Claus-Bernhard [Verfasser]. « Von der Blechtrommel bis Ein weites Feld : Günter Grass' Prosastil und die Probleme seiner Übertragung ins Französische / vorgelegt von Claus-Bernhard Benger ». 2005. http://d-nb.info/974010324/34.
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Nordmann, Julia. « Childhood Bonds--Günter Grass, Martin Walser and Christa Wolf as Writers of the Hitler Youth Generation in Post-1945 and Post-1989 Germany ». Thesis, 2012. https://doi.org/10.7916/D8BK19GC.
Texte intégralRésumé :
Since the fall of the Berlin Wall, public discourse in German society has been repeatedly riven by debates prompted by three leading figures of the literary scene: Günter Grass, Martin Walser, and Christa Wolf. The tremendously emotional controversies regarding Wolf's purported cowardice as a GDR-writer, Walser's alleged anti-Semitism, and Grass's membership in the Waffen-SS served to confirm the significance of these writers, which, I argue, stems not only from their literary merits, but also from their status as former members of the Hitler Youth. Building upon Sigrid Weigel's claim that generations in post-war Germany act as symbols of the country's relationship to the Nazi past, my dissertation elucidates the process by which Grass, Walser, and Wolf were adopted--and adopted themselves--as proxies for a "better Germany." The biographies of these three writers, I argue, came to represent the overarching political goal of both post-war German states: the successful transition from an intimate association with the Nazi regime - in the authors' case, their associations with the Hitler Youth - to a full embrace of democratic values. The conflation of the writers' biographies with national identity explains their authority and popularity in both German societies. It also explains why the process of detachment from these writers as political figures began after 1990 as national identity changed after reunification.
With the waning of the Hitler Youth generation's dominance in the public sphere, a re-evaluation of the writers' political and literary work, set against the backdrop of their generational identity, is long overdue. In four chapters, this dissertation examines key moments in the careers of Grass, Walser, and Wolf. I emphasize the striking similarities between the generational discourse of the two West-German writers and the East-German writer, while pointing out where their shared generational background led to distinct political agendas. I show that the literary output, self-understanding, and public reception of arguably the three most significant writers in the post-war Germanies cannot be understood without a consideration of this mutual historical-biographical legacy. My dissertation thus rewrites an important part of post-1945 and post-1989 cultural history.
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Köpcke, Rolf [Verfasser]. « Die Verarbeitung der Wiedervereinigung Deutschlands im Wende- und Berlin-Roman "Ein weites Feld" (1995) von Günter Grass : die Versuche der Einflussnahme des Ministeriums für Staatssicherheit (MfS) auf ihn / vorgelegt von : Rolf Köpcke ». 2002. http://d-nb.info/967067979/34.
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Neuschäfer, Markus. « Das bedingte Selbst ». Doctoral thesis, 2012. http://hdl.handle.net/11858/00-1735-0000-0001-BAB5-6.
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