Univ., Diss.--Bamberg, 2005.

Originally presented as the author's Thesis (doctoral)--Universität Hannover, 2004. / Includes bibliographical references.

Originally presented as the author's thesis (doctoral)--Universität Hannover, 2004. / Includes bibliographical references.

Zugl.: Tromsø, Univ., Diss., 2007.

Texte remanié de: Diss.--Literaturwissenschaft--Salzburg, 1979. / Bibliogr. p. 147-163.

Christa Wolf is perhaps the best known East German author outside the Gennan Democratic Republic. Her works have been translated into many languages, and on her recent sixtieth birthday she was able to look back on an illustrious literary career. Erich Loest's life as an East German writer has been more troublesome, from his years as a young adult on the eastern side of the wall to his life in the Federal Republic since 1981. Both writers have worked under a political system which imposes strict guidelines on its artists, as regards conception and production of their works. Both authors have adhered to, yet also sometimes attempted to stray from these guidelines in the name of artistic freedom, especially during periods of political change, toward more openness. Wolf and Loest both remained true to the political system with and for which they have lived since the conception of the East German state, yet their attempts to participate in the political dialogue have frequently been thwarted. The writers' role in a socialist country can be powerful, for it is their responsibility to translate political ideologies and goals into heroes and plots in their work. Their own political ideas and philosophical backgrounds inevitably come into play in their work, but more prominent are the realities of Kulturpolitik. In this thesis, I have attempted to illustrate the relationship between the creation of a novel and the plethora of often unpredictable methods of censorship. The authors' own interpretation of their role affects their work, but in East Germany various institutions and organizations try to assure the proper reflection of the party's political and philosophical goals. Censorship begins with the Selbstzensur within the author, and often does not cease even after publication. Along the way, after conception of an idea and the first words on paper, the system tries to impose its agenda on the work, which the author can permit or can try to avoid through various means, which are discussed in this paper.

Mitjançant una anàlisi cronològica de l'obra assagística de Christa Wolf -una de les autores més reconegudes de l'Alemanya socialista des del final dels anys 60 fins avui- i dels seus diaris, aquesta tesi presenta un seguiment dels principals punts de reflexió de l'autora pel que fa a diversos conceptes lligats a la realitat de la República Democràtica Alemanya, especialment els que fan referència al paper de l'intel·lectual i de la dona i als canvis experimentats en el seu propi compromís polític, a mesura que la postura oficial del govern s'anava radicalitzant i, especialment, durant i després de la reunificació. Per comprovar el reflex d'aquests temes en la seva obra, així com la seva evolució, s'han escollit quatre relats separats en el temps i alhora significatius quant a temàtica. L'anàlisi i comentari dels textos assagístics i literaris conformen els quatre capítols centrals de la tesi, que els pren com a font d'informació per definir la particular recerca d'una opció alternativa davant la realitat. Es parteix de la hipòtesi que aquesta recerca ve definida per una crítica al dualisme originat per una mentalitat racionalista radical, i té en el llenguatge el seu principal instrument manipulador. La comprovació d'aquesta hipòtesi ve a confirmar l'obra de Wolf com a exemple de coherència i reflexa un esforç constant per assimilar vida i literatura amb un marcat tarannà pacifista i conciliador. / By way of a chronological analysis of the essays of Christa Wolf -one of the best known authors from socialist Germany since the 60s until now- and of her diaries, this thesis goes in pursuit of the main matters of reflection of the author related to the reality in the Democratic Republic of Germany. It particularly points at those that directly deal with the role of intellectuals and women in society and with the changes that she experienced in her own political engagement as the government position became more and more radical, especially during and after German Reunification. Four narrations, quite different in time and subject, have been selected to verify the reflection of these themes in her literary work, as well as their evolution in time. The analysis and commentary of the essays, diaries and narrations shape the four central chapters of the thesis, which takes them as a source of information in order to define the particular search of an alternative option in front of reality. As hypothesis, it is assumed that this search is defined by the criticism to dualism originated by inherited extreme rationalist mentality, and it is based on the language as its main manipulating instrument. The verification of this hypothesis confirms the work of Wolf as an example of coherence and it reflects a constant effort to assimilate life and literature with a deep pacifist and conciliating will.

Akademische Abhandlung--Germanistisches Institut--Stockholm, 1992.

Thesis (M.A.)--West Virginia University, 2001. / Title from document title page. Document formatted into pages; contains v, 71 p. Includes abstract. Includes bibliographical references (p. 69-71).

Em uma conversa com Hans Kaufmann, publicada sob o título de Subjektive Authentizität (1973), Christa Wolf afirma a necessidade de se encontrar um tipo de escrita que alcance um alto grau de realismo na apresentação de temas relevantes, mas polêmicos para o indivíduo e seu grupo. Na ocasião da entrevista a autora já trabalhava em Kindheitsmuster, publicado pouco depois (1976). Este trabalho parte da hipótese de que as novas técnicas narrativas exigidas pela autora, a qual se posiciona na ocasião contra a política cultural da RDA e o realismo socialista, seriam visíveis não apenas no romance mencionado, mas em toda sua trajetória a partir de então, e mais decididamente retomadas em Stadt der Engel oder The Overcoat of Dr.Freud (2010), o qual se aproxima muito do livro da década de setenta tanto por sua estrutura e recursos narrativos adotados, quanto por tratar-se novamente da narração de experiências autobiográficas cruciais em sua trajetória. Por meio da comparação dos livros citados procura-se analisar alguns dos recursos estilísticos e estratégias literárias utilizados para configurar a experiência em dois momentos temporais bastante distintos, bem como o modo pelo qual acontecimentos pessoais e da história contemporânea são apresentados em estreita ligação. Por meio de diversas técnicas literárias e de uma determinada posição diante de si e do público, a autora cultiva uma escrita ao mesmo tempo objetiva e subjetiva, a qual traria o indivíduo para o centro do texto e produziria um tipo especial de realismo e de autenticidade por ela almejados, devendo-se, contudo, atentar para as especificidades de cada contexto. Do jogo entre subjetividade e objetividade presente nos dois textos deriva-se ainda um outro, entre a factualidade e ficcionalidade, de modo que os textos da autora se aproximam de uma tendência surgida nos anos setenta: a da autoficção. Trata-se de um conceito bastante versátil e polêmico da teoria literária, o qual deve ser primeiramente definido, para assim ver como se configura no caso específico de Wolf, cujos textos são declarados pela autora como ficcionais, mas recebidos por público e crítica como autobiográficos. O caráter ficcional de seus textos estaria antes no emprego de técnicas metaficcionais, de encenação de processos de escrita e de rememoração na obra, que na ficcionalidade dos episódios. / During conversation with Haus Kaufmann published under the title Subjektive Authentizität (1973), Christa Wolf affirms the necessity of establishing a mode of writing with the purpose of reaching a high degree of Realism and combining social polemic with thematic literary presentation. At that moment, Wolfs Kindheitsmuster was already in progress; it would be published three years later, in 1976. This dissertation has as its claim that Wolfs new narrative techniques, vindicated at the same time of the authors rupture with Socialist Realism and GDR cultural politics, are visible not only in Kindheitsmuster, but also through her entire career thereafter. In order to demonstrate that, we propose the evaluation of Kindheitsmuster in comparison with Wolfs 2010 novel Stadt der Engel oder The Overcoat of Dr. Freud. In this novel, Wolf recovers some of the narrative techniques first developed in the 1970s, and, following the example of Kindheitsmuster, plunges herself into important autobiographic material. By the way of this comparison, our aim is to analyze some of Wolfs stylistic devices and strategies put in use so as to present close interconnection between historical moment and personal experience in two quite different moments. Through those devices and strategies, combined with Wolfs own public position, the author blurs the traditional boundaries between fictionality and factuality, subjectivity and objectivity, by bringing into attention her concept of subjective authenticity and a new idea of Realism as well. Behind Wolfs achievement, there is a quite specific understanding of autofictionality, based upon metafictional techniques and the mingling of literary representation and recollection processes, and which is our task to interpret.