Seminario para optar al grado de Licenciado en Comunicación Social

The following thesis sets out to analyse the holocaust speech given by former Bundestag president Philipp Jenninger on the occasion of the 50th anniversary of Reichskristallnacht in 1988. Through international media attention, pragmatics, and rhetorical analysis, I shall interpret a speech which has brought both national and international condemnation as well as point out pragmato-rhetorical errors, both of which forced Mr. Jenninger's resignation. / The first chapter is a stenographic copy of the speech, supplied by the West German Parlamentary Archives. The second chapter divides international media reports into sub-headings, which distinctly exemplify the importance of a strong knowledge of pragmatism and rhetoric in speech writing through their analysis of the Jenninger speech. The third chapter is a discourse on speech act theory with a practical political application. The fourth chapter analyses speech excerpts and concludes with a discussion of the pragmato-rhetorical concept of the target audience and its bearing on speech content.

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Inaug.-diss.--München. / "Schrifttum": p. 188-192.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1963. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

The purpose of this thesis is to establish the importance of Panteleymon Romanov in Soviet literature. Even though Romanov began writing many years before the Revolution, he became known as an author only after the Revolution when he published "Childhood", his first work, in 1920. Little success attended this effort. However, like any true artist he was not interested in writing merely to gain fame, but more to express his philosophy of life. He adopted the realistic style of the classical writers of the 19th Century and applied it to the conditions created by the Revolution and post-Revolutionary period. Thus he mirrored the life around him. At the time of War-Communism, 1917-1921, when most of the writers were engaged in political and internal struggle to define the path that the new literature was to take, Romanov wrote several volumes of humorous short stories on how the peasants greeted the political changes. By rewriting these humorous stories in a serious vein, he incorporated them into his greatest work under the title "Rus". His stories about the younger members of society and their attitudes toward love were also very popular. In these stories on love Romanov described the new attitude towards sex relationships between young people, the position of the unmarried mother, and the new family life without the sacrament of the church. His best stories on this theme are: "Without Cherry Blossom", "The Big Family", "The Right to Love" and the novel "The New Commandment". These were all widely read and discussed among the Komsomols and npn-Komsomols alike. Towards the end of the N.E.P. period, Romanov became more interested in the social conduct of the old intelligentsia as applied to its relationship with the new government. One of his best known stories of this period is "The Right to Live" which deals with a non-Party writer who tried unsuccessfully to conform to the demands of the Party. Romanov has developed this theme further in his novel "Comrade Kislyakov". In these two novels, Romanov expressed his regret that intellectuals did not have heroic qualities, energy, and will power to fight for their political and human rights. Romanov has often been regarded as a controversial writer both by the Soviet and the emigreé critics. The latter accused Romanov of slandering the morals of the old intelligentsia, while most of the former accused him of being blind to the growth of the Soviet masses because he had not accepted the Revolution. In studying literary life in the first decade of the Soviet government, one can say that Romanov and his works occupied a singular position of importance in Soviet literature. Romanov's style being easy and old-fashioned appealed to the masses. The humorous incidents in his stories, unlike those of Zoshchenko or O'Henry, follow one another continuously. Romanov also differs from Zoshchenko in the description of his heroes. Whereas Zoshchenko emphasises the individual characters, Romanov, on the contrary, develops the importance of the people, as a whole. He can truly be regarded as a popular sociological writer. After the Revolution, Romanov took the position of an independent creative writer and he maintained it as such until 1936. He insisted on his freedom to write what his conscience dictated and he never changed his position. For this reason a conflict between himself and the Soviet government was inevitable. After the confiscation of his work, "Comrade Kislyakov" in 1930, the doors to the publishing houses were closed for Romanov. However, through the intervention of Bukharin, the ban was lifted in 1936 when some of his short sketches about his excursion to the Molotov automobile factory in Nizhni-Novgorod were published. When Romanov died in 1938 of heart disease, there was no obituary notice from the Writers1 Union. Thus a bright star faded from the galaxy of Soviet literature, without any literary astronomer noticing it. Even today none of his works is published in the U.S.S.R. and he is not counted among those who have made a worthy contribution to Soviet letters. / Arts, Faculty of / Central Eastern Northern European Studies, Department of / Graduate

The importance of spatial spheres in dramas has only slightly been researched. On the whole this problem has been considered relatively unimportant. Ever since the publication of Lessing’s Laokoon the distinguishing characteristic of a literary work was considered to be the element of “time”, in contradistinction to works of the visual arts (painting and sculpture) where “space” was primary. It will be demonstrated that in Barlach’s plays space assumes considerable importance. Although the dramatic concern is primarily expressed through successive dialogues and monologues, Barlach’s language nevertheless can imaginatively create spatial spheres different from those visible on stage. Both spheres of action, the visible and the invisible, are important for the function of the plot. This thesis tries to demonstrate: First, that there exists a specific dramatic problem as to spatial spheres in the plays of Ernst Barlach; Second, that the spatial spheres can be viewed as self-supporting elements contributing toward the interpretation of a given play; Third, that the interrelationship of the visible to the invisible spatial spheres and the lines of demarcation between them is of utmost importance. As representative of these two spheres in Barlach’s works, I have chosen Der blaue Boll and Der tote Tag. In Der tote Tag the relationship of the visible to the invisible leads to the problem of vision in a single-scene play. Decisive here is not the fact of the unity of place, but the perspective relative to the visible scenes in the total context of the play. In Der blaue Boll the invisible spatial spheres are realized through the stage setting; they project inner events – both visionary and real – of the individual characters. Decisive for the specific assertion of the existence of spatial spheres in a multiple-scene play is the relationship of invisible projected space images to the stage setting as well as the interaction of individual scenes to each other. A brief survey of the other six Barlach-plays shows the same development of the interrelationship of the visible to the invisible spheres; both are important for the interpretation. In the second part of the thesis the relationship of the spatial spheres to the dialogue, the characters, and to time are discussed. It is postulated that the formation of various spatial spheres can express the general ideological foundation and the specific intellectual position in a play. But beyond these assertions the conclusion is reached that the structure of spatial spheres indicates the development of the plot. Through widening, confinement, circular movement, or ascent of the various spatial structures, specific plot movements are made physically visible. Barlach strives for the synthesis of the sterilized realistic spatial sphere with an objective eternal space, between which the human soul appears to be the scene of action subjected to varying changes, yet at the same time remaining in a state of serenity. The final part deals with the specific problem of the production of Barlach’s plays. A synthesis between realism and symbolism, the empirical and the supernatural, has seldom been staged satisfactorily. Yet Barlach’s style combines both in various spatial spheres. In every one of Barlach’s plays the problem of the relationship of the visible-finite to the invisible-infinite, the obvious to the unprecedented, is characteristic. But the infinite can only be experienced by means of the finite. Only through the realistic portrayal of the finite can the invisible be made apparent.

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