Zugl.: Wien, Univ., Diss., 2004

Thesis (master's)-Universität, München. / Includes bibliographical references (p. 120-140).

ANNOTATION This submitted thesis is to record the picture of World War I in fiction comparing Czech and Austrian literature. Connections are supposed to be based on historical- cultural contacts and close geographical vicinity in both conceptions. A comparative study of the representative texts which relate to a specific key stage of common history should confirm or doubt these connections. In the introduction the reality of the war conflict, its main consequences and the concrete situation in Bohemian countries is outlined, which serves the purpose of depicting of the atmosphere of the period and simultaneously better understanding of the meaning of literature works. Subsequently the list of basic texts which became the firm part of the common knowledge of given problems is created and at the same time the aspect of the common thematic units is pointed out. And finally two key works of both national branches of literature were chosen and compared analytically. Both principal themes - the attitude towards war, and main motive complexes and the general way of narration are emphasized. The aim of the thesis is not to present the complete list of works dealing with war but to confront literature depiction of the war in Austria and Bohemia from comparable points of view.

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Despite the recent increase in scholarship on the subject of the female experience in exile, there is still much to be done. Exile scholars now have at their disposal an abundance of broad, general overviews of the circumstances and fates of displaced women writers, but a dearth of scholarship that considers specific literary works in an individualised fashion still exists. This is especially true of those female writers who have only recently been 'rediscovered', such as the three under discussion in this thesis. This thesis explores in detail the exile writings of Veza Canetti, Anna Gmeyner, and Lili Korber, about which little scholarship exists, and uses them as case studies to illuminate the situation of exiled women writers in general The exile works of these three authors repay study both for their own literary merits and for what they can tell us about the individual experience of exile. In their broad similarities, these writers also provide us with case studies of the larger experience of authorial exile - particularly, but by no means exclusively, the gendered experience - that allow us to derive more general lessons about the influence of forced flight on literary art. By giving due consideration to work produced in exile, this thesis calls into question some of the generalisations commonly found in recent scholarship and demonstrates that, despite hardsrnps and setbacks and contrary to common scholarly contention, all three women continued to write well into their exile years and that in those years they took their writing in new, skilful, and creative directions.

L’émergence du postmodernisme aux Etats-unis, mouvement esthétique rejetant les dogmes modernistes, date des années 1960. En s’imposant, durant les dernières décennies du 20ème siècle, comme le paradigme esthétique de l’architecture, des arts et de la littérature, le postmodernisme a également créé les conditions propres à une renaissance du roman historique. Cependant, la fiction historique postmoderne constitue maintenant une nouvelle forme du genre basée sur la parodie, l’ironie et le scepticisme envers les discours dominants. Cette nouvelle forme ne se limite plus à la présentation des récits dans un cadre historique réaliste. Elle remet plutôt en question la validité et par conséquent la nature même du discours historique, problématisant et mettant ainsi à l’avant le processus d’interprétation et de reconstruction du passé. Dans cette optique, la fiction historique contemporaine reflète les débats actuels sur les formes de l’historiographie, débats lancés par Hayden White. Dans les années 1980, la fiction historique a de nouveau fleuri dans l'espace culturel allemand tout comme ailleurs. Le présent mémoire analyse des formes postmodernes de la fiction historique en se basant sur trois romans historiques de langue allemande parus entre 1981 et 2005: Die Schrecken des Eises und der Finsternis de Christoph Ransmayr, Die Vermessung der Welt de Daniel Kehlmann et Marbot : Eine Biographie de Wolfgang Hildesheimer. L’analyse s'appuie sur divers modèles de la fiction postmoderne, en particulier sur le schéma de catégorisation du roman historique élaboré par Ansgar Nünning. Le mémoire montre dans quelle mesure ces romans appliquent des moyens stylistiques typiques pour le postmodernisme et portent un regard critique ou comique sur l’histoire et la culture allemande et autrichienne. / Postmodernism, an aesthetic movement that rejects modernist dogmas, emerged in the U.S.A. in the 1960s and became, over the last decades of the twentieth century, the paradigmatic aesthetic in architecture, literature and the arts. Postmodernism also created the conditions for a renaissance of the historical novel. However, the postmodern historical novel now constitutes a new form of the genre which confronts the dominant discourses with parody, irony and skepticism. This new form does not limit itself to narratives situated in a realist historical setting. Rather, it questions the validity and, consequently, the very nature of historical discourse, problematizing and often foregrounding the process of interpretation and reconstruction of the past. In this manner, contemporary historical fiction reflects current debates about the forms of historiography, debates triggered by the work of Hayden White. The 1980s saw a renewed flowering of historical fiction in the German cultural space and elsewhere. This paper examines postmodern forms of historical fiction through an analysis of three postmodern historical novels in the German language published between 1981 and 2005: Christoph Ransmayr’s Die Schrecken des Eises und der Finsternis, Daniel Kehlmann’s Die Vermessung der Welt and Wolfgang Hildesheimer’s Marbot: Eine Biographie. The analysis is based upon various models of postmodern fiction, in particular Ansgar Nünning’s five level categorization schema of the historical novel. This paper illustrates the extent to which these novels deploy postmodern stylistic devices and comment critically and comically upon German and Austrian history and culture. / Die Postmoderne, eine ästhetische Bewegung, die modernistische Dogmen ablehnte, entstand in den USA in den 1960er Jahren und wurde in den letzten Dekaden des 20. Jahrhunderts die paradigmatische Ästhetik in der Architektur, der Literatur und den Künsten. Die Postmoderne schuf ebenfalls die Voraussetzungen für eine Renaissance des historischen Romans. Jedoch stellt der postmoderne historische Roman eine ganz neue Form der Gattung dar, die herrschenden Diskursen parodistisch, ironisch und skeptisch begegnet. Es handelt sich nicht mehr um eine Erzählung mit einem realistischen historischen Rahmen. Diese neue Form historischer Fiktion stellt das Wesen des historischen Diskurses in Frage und rückt häufig den Vorgang der Sinngebung und die historische Rekonstruktion der Vergangenheit in den Vordergrund. Somit spiegelt diese postmoderne Literaturgattung gegenwärtige Debatten über die Formen der Geschichtsschreibung, wie sie von Hayden White angestoßen wurden. In den 1980er Jahren setzte eine neue Blütezeit des historischen Romans auch im deutschen Kulturraum ein. Das Ziel meiner Arbeit ist, postmoderne Formen des historischen Romans zu untersuchen, und zwar durch eine Analyse dreier deutschsprachiger historischer Romane die zwischen 1981 und 2005 erschienen sind: Christoph Ransmayrs Die Schrecken des Eises und der Finsternis, Daniel Kehlmanns Die Vermessung der Welt und Wolfgang Hildesheimers Marbot: Eine Biographie. Die Romane werden anhand verschiedener narratologischer Modelle analysiert, insbesondere des von Ansgar Nünning entwickelten fünfstufigen Modells des historischen Romans. Meine Arbeit veranschaulicht, in welcher Weise diese Romane postmoderne Stilmittel einsetzen und Geschichte und Kultur Deutschlands und Österreich auf kritische und komische Weise beleuchten.

[pt] Entre 1911 e 1937, o escritor austríaco Robert Musil publicou ensaios com regularidade em algumas das principais revistas e jornais literários em língua alemã. A análise desse conjunto de textos permite reconhecer na trajetória do escritor não apenas a transformação do seu pensamento, mas também a dilatação da ideia do ensaio, de um modelo literário, para ensaísmo, um paradigma para ação. Esse processo ganha corpo nos anos 1920, quando começa a escrever O Homem sem Qualidades, no qual os impasses da modernidade são encenados através personagens, enredos circunstâncias. Não há, contudo, uma saída, uma solução. Levar a sério a postura ensaística significa, afinal, viver em acordo com essa incompletude. Musil, o autor que um dia esteve entre os mais promissores de sua geração, morre esquecido no exílio, escrevendo diariamente um livro que não poderia ter fim. Combinando a leitura da experiência biográfica com a ideia de aspiração, a ideia da tese é propor o fracasso como uma chave de leitura da obra de ensaística do escritor. / [en] Between 1911 and 1937 Musil regularly published essays in some of the leading magazines and literary journals in German. The analysis of this set of texts allows us to recognize in the path of the writer not only the transformation of his thought but the expansion of the idea of the essay from a literary model to a paradigm for action. This process matured in the 1920s, when he began to write The Man without Qualities, in which the impasses of modernity are staged through characters, tangled in particular circumstances. There is, however, no way out, no solution. Taking the essay position seriously means, after all, living in accordance with this incompleteness. Musil, the author who was once among the most promising of his generation, dies forgotten in exile, writing a book that could never have an end. Combining the reading of the biographical experience with the idea of aspiration, the idea of the thesis is to propose the failure as a key of reading of the essayist work of the writer.

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L’œuvre de l’Autrichienne Elfriede Jelinek (Prix Nobel de Littérature en 2004) est ici approchée par la bande, c’est-à-dire par les « petits textes » rédigés tout au long de sa carrière en marge de ses pièces et romans. Textes de circonstance, ces essais reposent sur un paradigme esthétique spécifique que le présent travail se propose d’exposer en revenant à leurs conditions de publication initiales. On s’aperçoit ainsi qu’il s’agit de textes de commande véhiculés par des supports médiatiques différents du livre (revue, tract, programme, internet) et qui impliquent une réception particulière, induite par leur dispersion et leur fugacité. La présentation du corpus se fait sur fond des grandes césures de l’œuvre jelinekienne mais aussi de la littérature autrichienne d’après 1945, recomposant le réseau personnel et professionnel de l’auteur et la réintégrant dans sa génération. Trois chapitres sont consacrés à une analyse détaillée des textes. Celle-ci montre d’abord la genèse progressive de leur thématique centrale, à savoir la possibilité d’une œuvre féminine. Elle s’attache ensuite aux trois principes fondamentaux de leur style que sont l’évidement, le paradoxe et la fluidification. Elle étudie enfin le rapport au lecteur conçu sur le mode du brouillage et de l’interférence, qui permet, pour un temps, de prolonger la vie de textes dont le sens tend à s’obscurcir rapidement. Les notions de relation et de singularité sont placées au cœur de cette thèse, identifiées comme l’enjeu esthétique et politique majeur du corpus mais aussi d’une partie de la tradition du genre dont quelques définitions emblématiques (Lukács, Adorno, Barthes, Marielle Macé, Georg Stanitzek) sont discutées. / This thesis discusses the work of the Austrian writer Elfriede Jelinek (Nobel Prize for Literature 2004) from its margins, from a corpus of “short texts” written from the beginning of her career beside her novels and plays. As occasional prose, these essays are grounded in a specific aesthetic paradigm, which this dissertation seeks to define by examining their original conditions of publication. This method brings to light that these are commissioned works, released on very different media formats than a book (journals, flyers, programs and the internet), which have their own mode of reception due to their volatility in space and time. The corpus is presented against the backdrop of Jelinek’s main work and its major turning-points. It is also set in the context of Austria’s post-1945 literature according to the author’s personal and professional network in order to reintegrate Jelinek in her generation. Three chapters are then dedicated to a detailed analysis of the texts. This thesis highlights the slow genesis of their main theme, the possibility of a feminine work of art. Then it studies three characteristics of their style - hollowing, paradox and liquidity. Lastly, it deals with the relation to the reader, conceived as jamming and interference, both allowing, at least for a time, to prolong the text’s meaning, as it otherwise tends to become more and more obscure. Relation and singularity are key notions of this thesis, considered as the main aesthetic and political issues of its corpus, being also part of the essayistic tradition, discussed through some canonical definitions (Lukács, Adorno, Barthes, Marielle Macé, Georg Stanitzek).

The Austrian novelist Heimito von Doderer (1896-1966) gained his reputation after World War II with the novels Die Strudlhofstiege (1951) and Die Dämonen (1956). His interest in language, its functions and its innermost essence appears from his novels, his diaries and his essays. In order to express his energetic conception of language he used an individual and partly newly-created terminology.This dissertation deals in the main with an analysis of approximately 25 central sentences {Fundamentalsätze), containing more than 100 terms, according to the criteria of content and formal aspects. Chapter 5 focuses on Doderer's view of life (Lebensphilosophie), a combination of philosophy, psychology and religion. The role of memory, the exploration of thinking and the depiction of creativity constitute combined endeavours in his work, in which he was influenced by Weininger's and Swoboda's terms and theses. Chapter 6 treats linguistic terminology proper. Two different examples may demonstrate Doderer's remarkable intuition for linguistic essentials. Beginning with the indirect essence of language he supposes that there is no fundamental difference between the birth of language and the creation of metaphors. Secondly he conceives of a sentence as being formed as a structural unit, based on a formula (Strukturformel). Similar opinions are represented in modern linguistics.The formal aspects of his terminology are dealt with in Chapter 7, including the different types of terms and the possibilities of word-formation, to express definitions and thematic connections. In the novel Die Merowinger (1962) Doderer constructs a burlesque travesty of erudite professional language. / digitalisering@umu