Habilitationsschrift--Marburg, 1974. / Includes bibliographical references (p. [259]-266).

Thesis (Ph. D.)--University of Texas at Austin, 2009. / Title from PDF title page (University of Texas Digital Repository, viewed on Sept. 9, 2009). Vita. Includes bibliographical references.

Thesis--Cologne. / Includes bibliographical references (p. 268-308).

No description available.

Thesis (Ph. D.)--Johns Hopkins University, 1938. / Reproduced from type-written copy. Vita. Bibliography: p. 127-132.

This dissertation is focused on the Künstlerroman, or artist-novel, which can be understood as a variation of the Bildungsroman, or novel of formation. The artist-novel describes the creative learning of a young artist and is centered on the development of the protagonist's aesthetic ideals, the struggles to accomplish them, and the quest for self-achievement. This quintessential Modern genre emerges in Germany at the end of the 18th century. However, it is not until the late 19th and early 20th century when esteemed writers from Europe and the Americas, fascinated by the narrative possibilities of its premises, raise it to a higher artistic status and confer upon it great critical prestige. In spite of its importance in the Spanish context, artist-novels and their relation to turn-of-the-century aesthetics have not been properly addressed. This dissertation analyzes five Künstlerromane of key Spanish authors of this period: Pío Baroja's Camino de perfección (1902), José Martínez Ruiz, Azorín's La voluntad (1902), Emilia Pardo Bazán's La Quimera (1905), Vicente Blasco Ibáñez's La maja desnuda (1906), and Gabriel Miró's La novela de mi amigo (1908). Considering the critical and theoretical framework of the Künstlerroman as a point of departure, this approach studies how these novels incorporate and develop its structures and conventions by concentrating on three essential aspects. First, it examines the fictional portrait of the artist as a "divided self." Deriving the concept from Maurice Beebe, this dissertation argues that the tensions of Modern society have a direct influence on the artist-hero's portrayal and perspectives of self-realization. Second, it considers the voyage as a key narrative device that functions as a structural component in these novels. Third, it discusses the Künstlerroman as a synthesis of creative contemporary issues. Specifically, the combination of two concepts of language--one that exists in space with one that exists in time--contributes to the analysis of modern relationships between literature and other artistic expressions, especially painting and architecture. As a conclusion, the Künstlerroman implies an exploration of new anti-Realistic modes of representation in search of an innovative lyrical and subjective discourse: the novel of the artist becomes simultaneously an art of the novel. / text

The concerns of the artist-figure are a central issue in the work of Leonard Cohen. His novels, poems, and songs, seen as a whole, form a portrait-of-the-artist. Cohen's artist-story is crafted with attention to the romantic tradition of the Kunstlerroman but extends beyond an initial apprenticeship phase, the focus of the Kunstlerroman, offering a more extensive exploration of the artistic vocation. The artist-figure, as he develops, encounters conflicts between his vocation and the demands of the outside world. Cohen's artist-figure endeavours both to make art and to self-create, and this creative impulse is simultaneously propelled and hindered by the romantic-love relationship, by the demands of an artist's role in the public sphere, by the aesthetic requirements of art itself, and by spiritual and religious issues. The last of these four concerns provides the artist-figure with a degree of lasting comfort through its mediation of some of the ongoing internal struggles of the artistic temperament. Cohen's portrait-of-the-artist attains a degree of depth and perspective by his own artistic persona's intrusion into his work, a persona he constructs in an ironic, self-conscious, and self-reflexive fashion.

The general idea of imprisonment in Bernard Malamud's ficiton manifests itself in his artists, who may be understood as "prisoners" dramatizing the artistic process as Malamud views it.Malamud's artists' struggle to balance art and life is expressed through the idea of imprisonment. When overemphasizing art, the artist is isolated, "imprisoned" in his or her work. Although this imprisonment is necessary temporarily, the artist must meet worldly responsibilities to find the freedom to create art, though artistic success is not guaranteed.Malamud's artists are always somehow imprisoned. In "The Girl of My Dreams" (1953), the writer Mitka rejects an uncooperative world, whereas the writer Olga transcends poverty and accepts the world. In "Man in the Drawer" (1968), the writer Levitansky is trapped in a totalitarian state. In "Rembrandt's Hat" (1973), the failed sculptor Rubin perseveres in art. And in "The Model" (1983), Elihu, mistaking himself for an artist, dehumanizes his model, Ms. Perry.In Pictures, Qj Fidelman (1969), Fidelman is imprisoned in artistic perfectionism. I n the Tenants (1971), writers Harry Lesser and Willie Spearmint are imprisoned in their obsessions. And in Dubin's Lives (1979), dubin is trapped in a false self-image.Malamud's artists are of two types: (1) the successful whose continued fulfillment is in question and (2) the so-far unsuccessful. Subtypes in the first group are the liberated (Dubin), the potentially liberated (Mitka, Levitansky), and the perpetually imprisoned (Lesser). Subtypes in the second group are the liberated (Fidelman, Ms. Perry) and the perpetually imprisoned (Rubin, Willie, Elihu).The exception is the successful a liberated Olga. Appearing in an early (1953) story, Olga embodies an answer to the problems of the artist; twenty-six years later, in Dubin's Lives (1979), Malamud's answer is the same: Maintain balance between art and life; keep the demands of art subordinate to those of life.The idea of the artist as prisoner in Malamud's fiction implies the difficulty of artistic endeavor. Malamud's artists, like his other characters, face suffering. Their art is a potentially imprisoning complication, not an escape from life's problems. Ultimately, the artist must face the world and its demands.

Thesis--Basel. / Includes bibliographical references (p. 172-186).

Part of Thesis (Ph. D.)--University of Chicago, 1936. / Photolithographed. "Private edition, distributed by the University of Chicago libraries."