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Le fantasme de l'origine : le récit comme invention d'une généalogie mythique dans Le tambour de Günter GrassL'Hérault, Virginie January 2006 (has links) (PDF)
Le Tambour de Günter Grass peut être lu comme la mise en fiction du roman familial du personnage et narrateur, Oscar Matzerath, qui rédige ses mémoires dans la maison de santé où il est interné. L'objet de ce mémoire est précisément l'analyse de l'écriture d'Oscar comme invention d'une généalogie mythique et fantasme des origines. Ce narrateur indique dès le début de ses mémoires que « nul ne devrait décrire sa vie » sans d'abord « commémorer une bonne moitié de ses grands-parents ». Ce besoin de reconstituer l'origine et de l'interroger se déploie dans le récit à travers, notamment, le fantasme du retour au sein maternel (dont le tambour et l'écriture constituent en quelque sorte les moyens) qui se traduit par la reconstitution d'une généalogie sur les modes mythique et théologique. Ce mémoire s'intéresse donc d'abord aux mécanismes qui régissent l'écriture « oscarienne » dans sa cohésion interne, c'est-à-dire en fonction des fantasmes du personnage et des réseaux symboliques et signifiants qui le construisent dans le texte et qui constituent son style propre. La question de l'origine convoque celles de la filiation et du mythe, autant d'éléments à mettre en réseau pour éclairer la construction généalogique fantasmée par le narrateur. Sur ce plan, l'approche psychanalytique ouvre une perspective de recherche appropriée pour repérer les mécanismes du fantasme dans l'écriture d'Oscar, c'est pourquoi nous opterons pour une lecture orientée en ce sens. Il s'agit de voir comment, sur les plans de l'énonciation, de la mémoire et du mythe, le roman construit une filiation matrilinéaire au service d'une toute-puissance narrative qui permet d'échapper au temps et à la mort. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Günter Grass, Le Tambour, Fantasme de l'origine, Généalogie matrilinéaire, Mythe.
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Sexualität und Sexualideologie des Ich-Erzählers in Günter Grass' Roman Die BlechtrommelPflanz, Elisabeth. January 1976 (has links)
Thesis--Würzburg. / Vita. Includes bibliographical references (p. 159-163).
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Musik in der Prosa von Günter Grass : Intermediale Bezüge —Transmediale Perspektiven / The Role of Music in Günter Grass’s Fiction : Intermedial References —Transmedial PerspectivesSchirrmacher, Beate January 2012 (has links)
The thesis explores the role of music in Günter Grass’s novels. In pointing out the vital role of intermediality for Grass’s narrative strategies, the thesis opens up for a new, intermedial perspective on his work. It shows how references to music are used to realise Grass’s poetological concept “paspresenture” – the simultaneous presence of past, present and future – as well as his constant strive towards concreteness. The study draws on theories of intermediality, with a special focus on the role of transmedial media characteristics. It develops a transmedial methodology for analysing intermedial references, stressing how the notion of “musicality” within the text is created by media characteristics shared by both music and literature. Intermedial references are conceived as highlighting structures that are inherent in literature. The textual analyses of The Tin Drum (1959), Too Far Afield (1995) and Crabwalk (2002) are divided into three steps. First, explicit musical references in the narratives are interpreted as indexes pointing towards transmedial structures relevant to this specific context. Second, the examination demonstrates the prominent role of transmedial characteristics such as repetitivity, contrast, simultaneity and performativity within the texts. Third and last, the function of musical reference is discussed: in all three narratives, the focus on transmedial structures supplies a more consistent interpretation of passages which otherwise prove difficult to decipher. In Grass’s fiction, issues appear not to be discussed but performatively reenacted and thus remind more of musical than literary development. What is more, music – as handled by Grass – does not appear absolute or transcendent; rather, its manipulative potential is always prominent. However, the way musical references are used to realise Grass’s poetological aims stresses the bodily presence of musical performance, thus making music appear as the performative realisation of time.
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Musik in der Prosa von Günter Grass : Intermediale Bezüge —Transmediale Perspektiven / The Role of Music in Günter Grass’s Fiction : Intermedial References —Transmedial PerspectivesSchirrmacher, Beate January 2012 (has links)
The thesis explores the role of music in Günter Grass’s novels. In pointing out the vital role of intermediality for Grass’s narrative strategies, the thesis opens up for a new, intermedial perspective on his work. It shows how references to music are used to realise Grass’s poetological concept “paspresenture” – the simultaneous presence of past, present and future – as well as his constant strive towards concreteness. The study draws on theories of intermediality, with a special focus on the role of transmedial media characteristics. It develops a transmedial methodology for analysing intermedial references, stressing how the notion of “musicality” within the text is created by media characteristics shared by both music and literature. Intermedial references are conceived as highlighting structures that are inherent in literature. The textual analyses of The Tin Drum (1959), Too Far Afield (1995) and Crabwalk (2002) are divided into three steps. First, explicit musical references in the narratives are interpreted as indexes pointing towards transmedial structures relevant to this specific context. Second, the examination demonstrates the prominent role of transmedial characteristics such as repetitivity, contrast, simultaneity and performativity within the texts. Third and last, the function of musical reference is discussed: in all three narratives, the focus on transmedial structures supplies a more consistent interpretation of passages which otherwise prove difficult to decipher. In Grass’s fiction, issues appear not to be discussed but performatively reenacted and thus remind more of musical than literary development. What is more, music – as handled by Grass – does not appear absolute or transcendent; rather, its manipulative potential is always prominent. However, the way musical references are used to realise Grass’s poetological aims stresses the bodily presence of musical performance, thus making music appear as the performative realisation of time.
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Jenseits von Oder und Lethe : Flucht, Vertreibung und Heimatverlust in Erzähltexten nach 1945 (Günter Grass - Siegfried Lenz - Christa Wolf) /Schaal, Björn. January 1900 (has links) (PDF)
Univ., Diss.--Wuppertal, 2005. / Literaturverz. S. 280 - 294.
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Freaks and Masculinity: Sideshow Performers in German and American CinemaMcCollum, Alexandra Noelle 19 December 2013 (has links)
No description available.
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Uhalisia na uhalisiamazingaombwe: mshabaha kati ya Dunia yao na The tin drumWaliaula, Ken Walibora 03 December 2012 (has links) (PDF)
Je, kuna uhusiano gani kati ya Euphrase Kezilahabi wa Tanzania na Gabriel García Marquez wa Kolombia, au kati ya Kyallo Wadi Wamitila wa Kenya na Juan Rulfo wa Meksiko ama kati ya Günter Grass wa Ujerumani na Said Ahmed Mohamed wa Zanzibar? Waandishi hawa waliotengwa kitaifa na kilugha wanaunganishwa na uamuzi wao wa kuandika riwaya kwenye mtindo usiokuwa wa kawaida, mtindo wa uhalisiamazingaombwe. Kwa kulinganisha na kulinganua riwaya ya Mohamed na ile ya Grass ninakazia nadhari dayolojia ya kina iliyochipuka kati ya fasihi ya Kiswahili na fasihi ya ulimwenguni pote. Ni maoni yangu kwamba riwaya mbili hizi, zinakikabili kizungumkuti cha kuwepo kwa mwanadamu kwa kuutupilia mbali mfumo wa uwakilishi wenye uhalisia kama tunavyoujua. Badala yake riwaya hizi zimezingatia mtindo wa ujumi wa kisasabaadaye (postmodern aesthetics). Kazi hizi za sanaa zinatumia sifa bainifu za uhalisia mazingaombwe kama nyenzo za kuakisi na kuakisi kwa kubirua hali halisi ya udhaifu, kuyumbayumba na ukosefu wa uthabiti na udumifu katika maisha Afrika na Ulaya.
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Uhalisia na uhalisiamazingaombwe: mshabaha kati ya Dunia yao na The tin drumWaliaula, Ken Walibora 03 December 2012 (has links)
Je, kuna uhusiano gani kati ya Euphrase Kezilahabi wa Tanzania na Gabriel García Marquez wa Kolombia, au kati ya Kyallo Wadi Wamitila wa Kenya na Juan Rulfo wa Meksiko ama kati ya Günter Grass wa Ujerumani na Said Ahmed Mohamed wa Zanzibar? Waandishi hawa waliotengwa kitaifa na kilugha wanaunganishwa na uamuzi wao wa kuandika riwaya kwenye mtindo usiokuwa wa kawaida, mtindo wa uhalisiamazingaombwe. Kwa kulinganisha na kulinganua riwaya ya Mohamed na ile ya Grass ninakazia nadhari dayolojia ya kina iliyochipuka kati ya fasihi ya Kiswahili na fasihi ya ulimwenguni pote. Ni maoni yangu kwamba riwaya mbili hizi, zinakikabili kizungumkuti cha kuwepo kwa mwanadamu kwa kuutupilia mbali mfumo wa uwakilishi wenye uhalisia kama tunavyoujua. Badala yake riwaya hizi zimezingatia mtindo wa ujumi wa kisasabaadaye (postmodern aesthetics). Kazi hizi za sanaa zinatumia sifa bainifu za uhalisia mazingaombwe kama nyenzo za kuakisi na kuakisi kwa kubirua hali halisi ya udhaifu, kuyumbayumba na ukosefu wa uthabiti na udumifu katika maisha Afrika na Ulaya.
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Günter Grass und die bildende Kunst / Eine interdisziplinäre Untersuchung der Schaffensjahre 1947 bis 1977 / Günter Grass and the Visual Arts / An Interdisciplinary Study of the Creative Period between 1947 and 1977Krason, Viktoria 22 June 2017 (has links)
No description available.
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