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Die Metaphernsprache im Werk Ernst Barlach : Untersuchungen zur frühen Prosa und zu ausgewählten DramenFleischhauer, Peter, January 1975 (has links)
Thesis--Cologne. / Bibliography: p. 316-321.
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Das symbolische in der Dichtung Barlachs ...Lietz, Gerhard, January 1900 (has links)
Inaug.-Diss.--Marburg. / Lebenslauf. "Literatur": p. 5-6.
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Studien zur Prosa Ernst Barlachs : mit besonderer Berücksichtigung seines Humors.Genzel, Waltrant. January 1968 (has links)
No description available.
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Ernst Barlach als Illustrator eigener Texte die Druckgrafiken zu den Dramen Der arme Vetter und Der FindlingMayr, Gudula January 2003 (has links)
Zugl.: Hamburg, Univ., Diss., 2003
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Das Werden im Drama Ernst BarlachsBradke, Gisela von, January 1974 (has links)
Thesis--Freiburg i. B. / Vita. Bibliography: p. 207-216.
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Studien zur Prosa Ernst Barlachs : mit besonderer Berücksichtigung seines Humors.Genzel, Waltraut. January 1968 (has links)
No description available.
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Ernst Barlach als Illustrator eigener Texte : die Druckgrafiken zu den Dramen "Der arme Vetter" und "Der Findling" /Mayr, Gudula. Barlach, Ernst. January 2006 (has links)
Univ., Diss.--Hamburg, 2003. / Literaturverz. S. 199 - 208.
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Barlach und die Avantgarde : eine Studie zur Rezeptionsgeschichte und Avantgardeproblematik /Fromm, Andrea, January 1900 (has links)
Texte remanié de: Diss.--Berlin--Humboldt-Universität, 2002. / Bibliogr. p. 186-197. Notes bibliogr.
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Grotesque in the works of Ernst BarlachAnderson, Bernard Reed January 1966 (has links)
This thesis attempts to demonstrate the manner in which Barlach used the phenomenon of the grotesque in his prose and dramatic writing. The concept of the grotesque has been examined in the light of a number of the more significant attempts to define it. Particular attention has been paid to the recent studies of the grotesque by Wolfgang Kayser and Lee Byron Jennings, but extensive reference has also been made to the definitions of George Santayana and John Ruskin, as well as to the 1929 dissertation of Ernst Schweizer and the 1940 discussion of the grotesque by Robert Petsch.
The paper attempts to demonstrate that Barlach made use of the grotesque to mystify reality and to point to otherwise hidden mythological aspects of the world, as well as to give expression to what he called a "Panik vor dem So-Sein," i.e., a panic which he felt whenever he compared the temporal existence to the potentiality of some higher realm of being. To demonstrate the universality of the grotesque experience, reference has also been made to the concept of the demonic as described by Goethe, and the grotesque is related to it. Representations of the divine in Barlach's works appear grotesque from a human vantage, because man, in his struggle to maintain his identity and to perpetuate his own trivial world has no eye for higher values or higher modes of existence. Man interprets the intrusion of the divine into his world.as a threat to his existence, not as an act of grace.
The influence of Theodor Daeubler and Albert Kollmann is considered with respect to Barlach's concept of the "high lord", and an attempt is made to come thereby to an understanding of Barlach's relationship to deity. The divine is represented by Barlach as not an extension and perfection of the human, but supra-human and hostile to man in his closed little world. To demonstrate the manner in which the elements of the divine intrude into man's world and threaten his orientation, a study has been made of Barlach's use of grotesque metaphors, objects, and situations, with special reference to Barlach's novel Seespeck and his early dramatic works.
The phenomenon of the grotesque is seen to be related to that of the absurd as presented by modern playwrights, and Barlach is shown to have anticipated the Absurd in many respects. But it is pointed out that Barlach refused to accept the idea of an absurd universe, despite his admitted incapacity to resolve his doubts. Barlach's later plays and correspondence are considered, to establish that he became resigned in his mature years to a state of "not-knowing" as a way of life in which the panic of the earlier years, and with it the grotesque, diminished. / Arts, Faculty of / Central Eastern Northern European Studies, Department of / Graduate
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Die unzulängliche Sprache : Studie zur Sprache und Gesellschaft im dramatischen Werk Ernst BarlachsHeukäufer, Margarethe January 1982 (has links)
The letters and diary of Ernst Barlach (1870-1938) show that he was much concerned with the problem of language and the nature of its strengths and weaknesses. This thesis demonstrates the manifestation in Barlach's plays of his ambivalent attitude towards language by investigating the way in which the specific language used by the individual characters simultaneously portrays the values and structure of their society while revealing the inadequacy
of language as a vehicle of communication. This portrayal reflects also Barlach's attitude to his own society, which he criticized as being too "verblirgerlicht" (petty-bourgeois, lacking in vision, habit-ridden) at the time .
The second chapter sets Barlach's ideas of language in context by comparing them with those of some of his contemporaries, such as Fritz Mauthner, Hugo Ball, Ferdinand de Saussure, and Hugo von Hofmannsthal. It is obvious from this comparison that there are two distinct critical points of view regarding language, affecting both the individual who uses the language for communication and also the society to which he belongs. According to one view, language is an historical phenomenon, subject to change with time, and tending towards a stage where words are meaningless, without impact, and no longer capable of conveying an authentic picture even of everyday objects. According to the second view, language is capable of giving an adequate picture of the phenomenal world, but fails to express what is intangible. Both critical standpoints
are to be found in Barlach's dramatic works.
The third chapter investigates how these views of language find their expression in Barlach's plays. By the use of textual examples the most striking linguistic devices -- quotations, neologisms, stock phrases, proverbs, repetition
are analysed and their importance for the individual character as well as for society as it is portrayed in the plays is explored. It emerges that while most characters use language as in a game, applying linguistic rules which reflect social rules, a few characters use a more individualized language, indicating attitudes which differ from those of society and are frequently unacceptable to it. Although these latter characters may use similar vocabulary and conventional syntax, their partners in conversation, trapped by these habitual speech patterns, seldom understand what they want to convey-
Applying the findings of the previous chapters, the fourth chapter analyses in detail three of Barlach's plays which are commonly grouped together under the heading of "burgerliche Dramen": Der arme Vetter (1918), Die echten Sedemunds (1920), and Der blaue Boll (1926). In these plays Barlach criticizes conventional language as used in the small-town German society of his day. At the same time, however, by illustrating the fruitless endeavours of his more problematic characters to express their emotions, he strongly suggests not only that it is impossible for one human being to understand
fully the innermost thoughts of another, but that it is also impossible for any human being to formulate and express his own insights fully by the use of language. Based on their use of language the characters in the three plays can thus be divided into those who speak in cliches, platitudes, and quotations, on the one hand, automatically conforming linguistically as otherwise to the rules of a society whose values, customs, and culture are never questioned; and, on the other hand, less conformist characters who variously perceive the meaninglessness of conventional language as reflecting the shallowness of society, and who are aware of areas of human experience which elude the grasp of language.
The analysis of the three plays demonstrates that Barlach's critique of language develops towards the presentation of an increasingly complex picture of society as well as of individual characters. The stratification of society as reflected in language becomes a major theme in Der blaue Boll, indicating a deepening of Barlach's vision, and the characters who fail to conform to this more complexly seen system do so in progressively more differentiated fashion. The thesis traces and illuminates this development from the weak character of Iver in the early play Der arme Vetter to the powerful figure of Boll in his later play Der blaue Boll; the former is broken by his incapacity to formulate his spiritual experiences in an alien surrounding, the latter, though conscious of the inadequacy of language to express reality, decides to live an integrated life within the boundaries of his social -- and linguistic -- context. / Arts, Faculty of / Central Eastern Northern European Studies, Department of / Graduate
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