This thesis has endeavoured to closely examine the personal relationship between Kennedy and Macmillan to determine its impact on the making of Anglo-American foreign policies. The result establishes that their relationship was a complex contribution to the making of Anglo-American foreign policies in the early 1960s, but that it was not a significant factor in the development of those policies. The interpretation of their relationship by scores of writers spanning three decades has largely been responsible for creating and extending the myth of the existence in the early 1960s of a 'Golden era' in Anglo-American relations crowned by the unique and intimate personal relationship between President Kennedy and Prime Minister Macmillan. Indeed, the genuine friendship cultivated between these two men distinguished their relationship from other bilateral relationships they had had with other heads of state and government. Nevertheless, this research which has been based largely on archival material reveals the tangible limits of the influence this famous personal relationship actually had on Anglo-American diplomacy. During the brief era in which the KennedylMacmillan relationship existed, American policy makers had been generally successful at persuading London to accept, albeit with occasional acute reticence, American initiatives and policy goals. Macmillan's leadership was an important factor in this acquiescence but not a crucial one. Seen from the point of view ofWashington and in particular President Kennedy and his White House aides, Prime Minister Macmillan's importance to the United States was focused on his political position as head of the Conservative Party. Kennedy's policy was based on the calculation that Macmillan's political life was essential to the smooth running ofAnglo-American relations. This thesis analyses the decision making process at the executive level in five case studies and firmly establishes that Kennedy was not personally influenced by Macmillan in the shaping of American foreign policy. Likewise, Macmillan's actions were chiefly predicated upon American institutional policies and not on his friendship with Kennedy. The result of this research will show that the personal relationship between John F. Kennedy and Harold Macmillan as such made no significant impact on the making of Anglo- American foreign policies.

No description available.

Erstmals hat Günter Grass, dessen bisheriges Werk eine Beschäftigung mit den Fragen um Schuld und Scham verfolgte, in seiner Novelle Im Krebsgang die Ambivalenz der "Opfertäter" aus Mitwissern, Mitläufern und Mittätern von NS-Regime und Holocaust einerseits und als traumatisierte Opfer von Krieg, Flucht und Vertreibung andererseits behandelt. Indem der Untergang des "Kraft durch Freude" - Schiffes Wilhelm Gustloff in den Kontext der Geschichte, dem Vorher und dem Nachher der Katastrophe gesetzt wird, rücken die historischen Prozesse in den Blickpunkt, die zu diesem Ereignis geführt haben und die Folgen, die daraus entstanden sind. Dieser "kontextualisierte Ansatz" erfährt insofern eine Beschränkung, als er durch die Perspektive der traumatisierten Opfertäter erfolgt. Durch die Erweiterung des Figurenensembles um eine neue Generation - Konny Pokriefke und Wolfgang Stremplin als Repräsentanten der dritten Nachkriegsgeneration - richtet die Novelle den Blick auf die Gegenwart und Zukunft aus der Vergangenheit und somit implizit auf die historische Verantwortung als Aufgabe für die nachfolgenden Generationen. Seit 1980 hat Grass mit dem Begriff der "Vergegenkunft" gearbeitet, einer Vergangenheit, die ihre Schatten auf die Gegenwart und die Zukunft werfe. Die zunächst durch Schuld und Scham besetzte Vergangenheit wird im Krebsgang erweitert um die Wahrnehmung des Traumas und seiner pathologischen Wirkung. Durch die Einführung der zweiten und dritten Nachkriegsgeneration in der Narration gewinnt die aus der Vergangenheit überschattete Gegenwart und Zukunft eine Form, die die traumabedingten Brüche der Identität als Grund für die Unmöglichkeit der Trauer offenbart. Der Stillstand der Protagonisten, der sich als Wiederholung im finalen Moment des Mordes an Wolfgang Stremplin alias David Frankfurter offenbart, entspringt im Krebsgang nicht einer melancholischen Unfähigkeit zu trauern, weil die Schuld- und Schamgefühle übermächtig sind. Vielmehr scheint das Erstarren der Protagonisten in ihren unmittelbaren und mittelbaren traumatischen Erfahrungen begründet zu sein, die sie in ihrem Bann gefangen halten. Es sind die vermeintlichen Schuld- und Schamgefühle der Nebenprotagonisten, die eine Bearbeitung des Traumas als Vorbedingung der Trauer unmöglich machen.

Images of movement represent a ubiquitous element in Kafka’s writings. This study explores the role of these images as a form of patterning in the fictions. With an eye to continuity and evolution, the study explores the patterns of movement pervading Kafka’s early collection Betrachtung and a selection of texts written between 1915 and 1917. What emerges is a persistent concern with the condition of restlessness, its origins and consequences. The condition emerges from a conflict between the protagonists’ desire for stability and purposive activity and their experience of dynamic forces that escape or resist any form of containment. This conflict results in an oscillating motion that dominates the physical, mental and narrative movements shaping Kafka’s stories. Analysing the relation between early and later texts, the thesis argues that Kafka deploys this central conflict productively to capture a wide spectrum of states of mind. As he explores restlessness in ever wider circles of life, he explores psychological, social and ideological structures, as well as some of the grand narratives of life, death and myth. This differentiated view on the inner dynamics of Kafka's narratives provides a fruitful perspective on questions concerning the development of the oeuvre as a whole.

This thesis is concerned primarily with Doderer as a realist. For Doderer, the realistic novel embodies an implicit moral purpose, a re-conquering of the 'external* world of everyday reality. I have, therefore, started from Doderer's moral viewpoint and tried to discuss how this is actually embodied in the novels themselves. I have taken three specific aspects of his work; narrator, plot, and language. In discussing the narrator I have argued that the most successful parts of Doderer 1 s work are those where a genuinely personal narrator is present. This can be seen in "Die DaWien" where the use of more than one narrator broadens the range of the novel and means that the problems of the would-be novelist are integrated with the central moral concern of 'Henschwerdung*. In comparison, those sections of Doderer's work where the author himself is in charge of the narration are infinitely less successful, as can be seen from the passages in "Die Damonen" where the author takes over the narration from Geyrenhoff and Schlaggenberg. In discussing plot I have tried to suggest that the structure of Doderer 1 s novels is a perfect mirror for his overall moral attitude to life. There are, however, certain thematic weaknesses in his moral viewpoint, and these manifest themselves in faults in the actual plots. The fourth chapter discusses the nature of Doderer 1 s language, which is not simply that of the "traditional" realist. I have tried to show how various aspects of Doderer's style (particularly his recurrent use of certain images ) are important as a reflection of his central moral concern. Furthermore, the very confusion and restlessness of the language is often a deliberate evocation of the insecurity in the minds of the characters themselves. For Doderer, language is important as a concept; if properly used, it implies a right moral attitude to life, one of communication and contact between people. In the concluding chapter I have attempted to locate Doderer in the world of the twentieth century Austrian novel and to show that, although he is strikingly "unmodern" in both his moral and his artistic standpoints, this does not justify one in simply dismissing his novels as "epigonal".

No description available.

My thesis explores the various ways in which a small selection of novels published in 1931 depict and respond to a widespread sense of crisis during the final phase of the Weimar Republic, arguing that the authors foreground a powerful sense that modernity itself is in a state of crisis. I consider how the novels articulate diverse experiences of modernity, both within and beyond the metropolis and from different social, generational and gender perspectives. Moreover, I examine how the authors' evaluation of modernity is reflected in their use of formal and narrative techniques. Focusing upon Gabriele Tergit's Käsebier erobert den Kurfürstendamm, Hans Fallada's Bauern, Bonzen und Bomben and Irmgard Keun's Gilgi - eine von uns, I contend that the ambiguity and complexity of the authors' responses towards modernity were often flattened, simplified or ignored by reviewers in the politically polarized environment of the late Weimar Republic. This is partly the result of the debates about Neue Sachlichkeit which influenced the original reception of the novels and have continued to shape subsequent criticism. The novels themselves have often been labelled as classic examples of Neue Sachlichkeit. However, it is my contention that the novels also problematize some of the programmatic statements about this movement which circuated widely in the Weimar Republic. Therefore, I seek to re-examine the novels within the context of Weimar debates about modernity and Neue Sachlichkeit, as well as in the light of recent theoretical work in these areas. I also draw extensive comparisons and contrasts between the models of modernity foregrounded in Tergit's novel and Emile Durkheim's writings on anomie; in Bauern, Bonzen und Bomben and Ernst Bloch's Erbschaft dieser Zeit, and in Gilgi - eine von uns and Mikhail Bakhtin's Rabelais and His World.

Raabe's views on England and America, as manifested above all in his characterization of the English and the Americans, are examined in detail, and attention is drawn to various works by his contemporaries in which comparable views are expressed or implied. Certain historical figures, events, and situations - and certain happenings during the author's own lifetime - did little to dispose him favourably towards the English. In some ways he found America attractive; but he did not portray it as a friendly country, and he disapproved of several supposedly American characteristics. There follows an account of Raabe's familiarity with the English language, based largely on the evidence of his published writings and correspondence. He was self-taught, it appears, and the English he wrote is a strange mixture of good and bad: his was primarily a reading knowledge. Raabe reveals much of his knowledge and appreciation of English and American literature through quotations and allusions. Quotations and expressions of literary origin which were popular in his day are treated separately: the more hackneyed the quotation, the more likely it is that he was not aware of its source - or at least did not have the original context in mind at the time of writing. Occasionally the new contexts point to his knowledge of the source in question. In general, however, these tags merely serve to strengthen impressions gained elsewhere - notably from less common quotations (and from other references to English and American writers and their works) which occur in Raabe's novels and Novellen. The relevant passages are considered at some length. Biographical material is also taken into account. Of particular interest are the passages relating to Shakespeare, whom Raabe knew well. Appended is a brief survey of the writer's personal contacts with people who knew England and America from direct experience.

This thesis examines selected East and West German novels in which the resources of prose fiction are used in a variety of ways to explore imaginatively the role of the intellectual in a liberal-democratic and a socialist society. After a brief examination of the European conception of the 'intellectual', the literary presentation, through plot, character, language and narrative structure, of the experiences, perceptions, insights and conflicts of a wide variety of intellectuals, principally writers, publicists and teachers, is analysed, and related to a brief survey of social, cultural and literary developments in the two German states. East and West German literary presentations of the intellectual are compared and contrasted. Recurrent topics are: the conception of the intellectual as 'conscience of the nation'; the claims, attractions and relative virtues of social involvement, detachment or withdrawal; the importance of individual integrity and responsibility; the dependence of intellectual freedom in both East and West on social and economic factors; the interdependence of the intellectual's private and public life; the tension between commitment to fundamental social values, whether liberal-democratic or socialist, and critical awareness of specific social evils. Both the East and the West German novelists discussed use the figure of the intellectual as a focal point for a highly critical view of their society. In the Federal Republic novelists committed to a liberal tradition which allots paramount importance to the individual, increasingly stress the importance of collective social values; novelists in the Democratic Republic, committed to the fundamental ideals of socialism, increasingly struggle to assert, within the limits imposed by official cultural policy, the vital importance of the individual's intellectual and moral integrity. Thus, despite the still considerable differences in approach, an increasing convergence of Eastern and Western conceptions of the social role of the intellectuals can be observed in the novels studied.

by Alan J. Laub. / Bibliography: p. 31-32. / Grant ERDA-E(49-18)-2087.