Heitere Anekdoten um Prominente und weniger Prominente aus Schleswig-Holstein.

In this paper I study the Austrian author Ingeborg Bachmann’s novel Malina (1971) from the perspective of Gérard Genette’s narrative theory and his notions of tense, mood and voice. In dialogue with earlier research on Malina I reflect over the last scene in the novel, what really happens there and how it matters for the rest of the novel. I give an account of feminist theories with focus on the annihilation of the female voice, the memory as theatre and the folklore tale as flight. The result is a more distinct perception of Bachmann’s skill, closeness and awareness as a writer and her use of Malina as contribution to the feminist debate and as a tool to find a place in the patriarchal world of intellectual, postwar Vienna. / I min uppsats har jag undersökt hur Ingeborg Bachmanns roman Malina är uppbyggd ur ett berättartekniskt perspektiv med hjälp av Gérard Genettes begrepp tempus, modus och röst. I diskussion med tidigare forskning har jag reflekterat över vad det är som sker i romanens slutscen och vad det har för betydelse för resten av verket. Jag har redogjort för tidigare forskning som med feministisk grund studerar förintandet av den kvinnliga rösten, minnet som teater och sagan som flykt. Resultaten är en tydligare bild av Bachmanns tekniska skicklighet, täthet och medvetenhet som författare och hur hon dels använder Malina som ett inlägg i den feministiska debatten och dels använder den som ett verktyg för att själv kunna verka i det intellektuella, men patriarkala efterkrigstidens Wien.

This thesis analyses Ingeborg Bachmann's posthumously published texts in the volume Male oscuro. Aufzeichnungen aus der Zeit der Krankheit and their relations to her literary work. Two central themes are elaborated through the analysis of the volume: illness and writing. The focus is on Bachmann's conception of writing and the issues arising from it. A comparison between Male oscuro and the author's work, the short story Undine geht and two poems Keine Delikatessen and Böhmen liegt am Meer, shows analogies on several different levels. The concept of utopia indicates continuity in Bachmann's work and the existential condition for her writing in relation to the metaphor of 'desert'. Key words: Ingeborg Bachmann, Male oscuro, illness, writing, metaphoric, contrariness, comparison, utopia

L´écriture du moi a pu apparaître comme l´écriture de ce qui justement n´est pas un seul mais multiple, et le monologue au sens défini par Dujardin comme une forme inadaptée ou incomplète pour traduire ce clivage du sujet. De l´enfermement en soi auquel le monologue classique semblait contraindre l´être, on est passé à une ouverture à l´Autre permise par le dialogue et permettant la représentation du moi dans sa discontinuité. Cette thèse a pour objet d’étudier cette écriture à plusieurs voix dans des oeuvres comme les Vagues de V. Woolf, Malina de Bachmann ou Enfance de Sarraute. Le travail mené considèrera les différents aspects de cette mise en scène disglossique et polyphonique du sujet en s’intéressant plus particulièrement à ses conséquences sur l’écriture narrative. Cette forme de dialogue ou de conversation intérieure permet au protagoniste de s´exprimer sans se restreindre aux règles d´un seul échiquier langagier. Les prises de paroles des différents locuteurs laissent émerger d´autres langues. La parole devient plurielle, polyglotte, exogamique. Cette alternance de langages, de discours permet à l´auteur de créer une respiration nouvelle dans l´écriture même, ouvrant sur une réinvention de l’usage de la parole et du mode langagier personnels où les frontières des genres sexuels et littéraires s’effacent pour laisser place à un absolu de l’écriture. / Writing about the self could not have seemed unique but multiple and the monologue as qualified by Dujardin not adjusted or an incomplete form to demonstrate the distinction of the subject. From the total self confinement, in which the classic monologue seemed to condemn the subject, we eventually made overtures to the other one thanks to the dialogue and we managed to represent the self in its discontinuity. This thesis intends to study the several writing voices in masterpieces such as The Waves by V. Woolf, Malina by Bachman and Enfance by Sarraute. The work will consider the different sights of the disglossic and polyphonic production of the subject and more precisely of the consequences on the narrative writing.This form of dialogue or internal talking allows the protagonist to express himself without applying the rules of only one model. The speaking of different people creates other idioms. The speaking becomes plural, polyglot, exogamous. The reciprocation of languages or speeches gives the author the power to create a new breath in the writing, leading to the reinvention of speech and of the personal language mode, when the borders of sexual and literary genders vanish to leave room to absolute writing.

Thesis (MA) -- Stellenbosch University, 1978.

Ingeborg Bachmann’s recurrent references to the Spanish painter Francisco de Goya have frequently been noted, but have so far never been investigated. After outlining, in chapter one, Bachmann’s references to Goya in her thesis on Wittgenstein as well as in the Franza-Fragment and in her only novel Malina, this thesis sets out to highlight the text-image relation between Bachmann’s novel Malina and Goya’s series of murals which are known as the so called „Black Paintings“. Chapter two focuses on the importance of intertextuality and intermediality in Bachmann’s novel and the importance of quotation for the female narrator, who relies on intertextual and intermedial references to express her traumatic experiences. After an introduction into the aesthetics of Goya, in chapter three, chapters four and five examine the text-image relation between Goya’s painting El Perro Semihundido and the first chapter in Bachmann’s novel. The double perspective contained in El Perro, of the subjective expression of the dog’s longing for rescue and the objective futility of this hope as expressed by the dog’s positioning against the abstract background setting, is transferred onto the female narrator and her longing to be rescued through love. Chapter five especially focuses on the (problematic) semantic shifts which occur in the course of this transformation from an abstract representation in the painting to the depiction of concrete and personalized experiences in the text. Chapter six investigates the correlations between Bachmann’s dream chapter and the aesthetics of Goya’s murals, and asks to what extent Bachmann succeeds in transferring the main motifs in Goya’s images into literary form. Chapter seven explores the similarities and media-specific differences in the strategies deployed for depicting madness, violence and destruction in Bachmann’s text and in Goya’s murals and his series of prints on the Desasters of War. Bachmann’s novel Malina shows an extraordinary richness in intertextual and intermedial references. Analysing the explicit as well as implicit references to Goya’s late works in the novel this thesis addresses one area on Ingeborg Bachmann which has not been researched in detail so far.

Thesis (Ph. D.)--University of Sydney, 2009. / Title from title screen (viewed October 28, 2009) Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Dept. of Germanic Studies, Faculty of Arts. Degree awarded 2009; thesis submitted 2008. Includes bibliographical references. Also available in print form.

Thesis (Ph. D.)--University of Chicago, Dept. of Comparative Literature, December 2003. / Includes bibliographical references. Also available on the Internet.

This master's thesis seeks to establish a comparison between the lyrical work of the Austrian Ingeborg Bachmann (1926-1973) and the Argentinean Alejandra Pizarnik (1936-1972). First, we draw from the similarities in the lives of both authors. Then, the survey of secondary literature shows that the two writers were the «black sheep» of their literary generation. Finally, our analysis focuses on the last phase of their lyrical production (1963-1966 for Bachmann; 1970-1972 for Pizarnik), most especially on two poems which are considered by the critics to be their «farewell» to poetry : «Keine Delikatessen» [No delicacies] by Bachmann (1963) and «En esta noche, en este mundo» [In this night, in this world] by Pizarnik (1971). We demonstrate that both poets show the same distrust of their medium, language, accompanied by a particular concern for silence, which appears in their respective poems both thematically and formally.

This thesis provides an analysis of the portrayal and function of relationships between women in the following Erzahlungen by Ingeborg Bachmann: "Ein Schritt nach Gomorrha," "Das Gebell," and "Drei Wege zum See." The major research questions include whether there is a similar representation of female-female interactions and a common conception of gender and identity construction arising from these interactions. In addition to offering a unique perspective on relationships between women, this analysis presents "Das Gebell" as the story of two women, rather than one that focuses on the relationship between a mother and her son, which has predominately been the interpretation in the previous literature. Findings indicate that parallels exist in the way women are portrayed in the above three Erzahlungen and that the female-female interactions serve certain common narrative functions in each of these texts.