Thesis (doctoral)--Universität, Wroclaw. / Includes bibliographical references (p. [177]-196).

Thesis (doctoral)--Universität, Wroclaw. / Includes bibliographical references (p. [177]-196).

Zugl.: Hannover, Univ., Diss., 2009

Thesis--Faculty of Arts, Berne, 1906. / Includes bibliographical references (p. [82]-84).

Focusing largely on the analysis of the representations of feelings and thoughts of literary characters or even the hidden “desires” of their authors, literary criticism for the most part has neglected to discuss the portrayal of the ‘inside’ of literary characters as a construction. Similarly, the critical discussion of texts by psychological theorists such as Sigmund Freud and C.G. Jung attests to an oversight regarding the fact that they had to contend with the exact same challenge their colleagues in literature faced, namely the linguistic construction of a descriptive model for something singularly elusive and essentially non-verbal. The turn of the nineteenth to the twentieth century in particular – just when the schools of Analytical Psychology, Psychoanalysis and Gestalt theory were emerging – proved to be a period in which literature responded to a particularly high popular interest in gaining insight into the supposed ‘inner world’ of literary characters. In pairing literary texts of that period by Richard Beer-Hofmann, Arthur Schnitzler, and Robert Musil with theoretical texts by Jung, Freud, and Robert Musil, this project examines the deployment of symbol, allegory and metaphor as well as the use of “Gestalten” – figures or shapes – in order to simulate the ‘inside.’ The first chapter examines the writings of C.G. Jung and Richard Beer-Hofmann’s novella, Der Tod Georgs (1900), for ways in which their respective construction of the ‘inside’ relies on the trope of symbol. The second chapter does the same in regard to allegory with the writings of Freud, specifically his Bruchstück einer Hysterie-Analyse (1905), and Arthur Schnitzler’s stream-of-consciousness novella, Fräulein Else (1924). The final chapter juxtaposes literary writings with psychological texts by the same author, Robert Musil, and demonstrates that the construction of the ‘inside’ in his novella, Die Vollendung der Liebe (1911), relies heavily on metaphors informed by his great familiarity with key ideas of Gestalt theory. In conclusion, this dissertation argues that the charting of inner human landscapes is essentially a narrative endeavor, in literature as in psychology.

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

The main task of diploma thesis titled The character of King David in the literary works of Jewish German authors is a reflection of the biblical character of David in selected works. It classifies perspectives of particular Jewish German authors in belles-lettres and reference literature and compares their approaching methods. The goal is to evaulate particular interpretations and attributes of the biblical King David, one of the most beloved although inconsistent figures of all times. The diploma thesis is divided into three parts; comparison of two mainly followed litterary works and a personal short reflection of the David's charakter. Powered by TCPDF (www.tcpdf.org)

Au début du XXe siècle, la scène européenne est marquée par une recherche de nouvelles formes d’expression théâtrale, qui coïncide avec un refus du matérialisme. Le Sublime comme conscience de la dignité humaine, tel qu’il fut défini par Schiller, prend de l’importance : rempart face au changement perpétuel qui caractérise la condition humaine, le Sublime devient solidaire d’une conscience de l’Histoire et confère à l’homme une part infime d’éternité. Les efforts de W. B. Yeats pour fonder une communauté irlandaise à l’Abbey Theatre, de Max Reinhardt et de Hugo v. Hofmannsthal pour donner naissance au Festival de Salzbourg, mais aussi le projet de Romain Rolland d’un « Théâtre du Peuple », ou encore le théâtre de Richard Beer-Hofmann qui vise à réunir les individus par la mémoire d’un passé commun, manifestent la mission attribuée au théâtre. Les quatre auteurs donnent une réponse aux forces destructrices de leur temps en créant un théâtre de la dignité humaine où l’héroïsme sublime subit une métamorphose grâce à une nouvelle valeur : la compassion. L’imagination qui la rend possible devient essentielle à la dramaturgie du Sublime. Étudié en tant que principe philosophique et dramaturgique, le Sublime révèle alors sa filiation avec l’opéra et le mélodrame. Leurs interférences, déjà présentes chez Schiller, témoignent de la volonté d’élever les spectateurs au-dessus du quotidien grâce à une dramaturgie visionnaire fondée sur l’aspiration à une réalité supérieur. / European drama at the beginning of the 20th century was in search of new forms of artistic expression. In this context which coincides with the rejection of materialism, the Sublime as consciousness of human dignity gained in importance. A bulwark against the perpetual and inevitable succession of human life, the Sublime as defined by Schiller more than a century earlier attained equality with the awareness of History, lending to humankind an element of eternity. The efforts of W.B. Yeats to restore a sense of Irish community at the Abbey Theatre, those of Max Reinhardt and Hugo von Hofmannsthal who created the Salzburg Festival, but also Romain Rolland’s project of a « People’s Theatre » as well as Richard Beer-Hofmann’s plays which integrated the memory of the past, all reveal the reconciliatory function newly conferred on drama. These four authors found an answer to the destructive forces of their time by creating a drama of human dignity in which sublime heroism shifts through compassion. Its source, imagination, plays an essential role in the dramaturgy of the Sublime. The examination of the Sublime as a philosophical and dramatic principle elucidates its relationship to both opera and melodrama. The overlapping of genres can already be noticed in Schiller’s plays and proves the intention of raising the audience above the daily round, thanks to a visionary dramaturgy, based on the longing for a higher reality.