Thesis (Ph. D.)--Indiana University, 1975. / Vita. Typescript. Includes bibliographical references (leaves 380-393). Also issued in print.

A revision of the author's thesis, 1965, Institut für Gesellschaftswissenshaften, Berlin. / Bibliography: p. 274-281.

Diss. : Philosophische Fakultät : Saarbrücken : 1981. - Bibliogr. p. 320-334. -

Diss. : Literatur : Saarbrücken : 1984. - Bibliogr. p. 222-229. -

Thesis (doctoral)--Universität Zürich, 1995. / Vita. Includes bibliographical references (p. 199-207).

Thesis (Ph.D.) - University of St Andrews, August 2009.

No description available.

This thesis examines selected poems from the German author Bertolt Brecht. It critically investigates the claim that expressionist art can be held responsible for opening the door to fascism in Germany. It will place Brecht’s own expressionistic works and his counterfactual approach to traditional church hymns in the context of the Expressionism debate. In 1933 Brecht wrote a collection of songs and poems entitled “Lieder, Gedichte, Choere” during his exile in Paris. Brecht realized early on that with Hitler’s rise, society as he knew it was coming to an end. Because of his sharp and satirical anti-war poetry after WWI, his name was prominent on the black list of the Fascists, and in order to escape prosecution he had to leave Germany in 1933. However, he did not stop criticizing Fascist ideology and especially its re-appropriation of Christian rhetoric.

In this Exegesis I explore the rehabilitation of marginalized materials through a sculptural practice. The materiality of the work focuses on the commonality of the everyday through selection editing and transparency of materials. The materiality and concern for material presence in my work are used metaphorically to explore ideas of alienation in contemporary sculpture. My work has been informed by the writing Berthold Brecht specifically his alienation effect [A-Effect], a theatrical and cinematic device "which prevents the audience from losing itself passively and completely in the character created by the actor, which consequently leads the audience to be a consciously critical observer". Through the use of situationist tactics in alienation works I seek to explore an atmosphere of fragile transience that can be recognized in ourselves even as we struggle against it.

Diss.--Letteren--Berlin--Technischen Universität, 1996. / Bibliogr. p. 238-248.