Zugl.: Bielefeld, Universiẗat, Diss., 2005.

The following thesis examines the topos of "things" in literature. Herein we discuss concrete objects and how they are used and presented in contemporary prose. The primary works analyzed are both by Wilhelm Genazino, namely <i>Ein Regenschirm f??r diesen Tag</i> and <i>Eine Frau, eine Wohnung, ein Roman</i>, published in 2001 and 2003 respectively. The analysis of different "things" in the two novels by Genanzino affords one the opportunity of pursuing three different objectives. First, the topos is by its very nature an interdisciplinary one, and therefore the theoretical concepts from different disciplines are applied to the scholarly examination of "things" in literature. This theoretical framework is based on different aspects of the work of the philosopher Martin Heidegger, the media theorist Marshall McLuhan, the sociologist Norbert Elias, and the philosophical economist Karl Marx. Some specific characteristics of the presentation of "things" in literature such as "T&uuml;cke des Objektes" ("flaw of the object") and the fetishization of objects are also discussed. As a result, a new constellation of ideas is developed that has practical applications for the analysis of literature. The second goal of this thesis is to interpret the works of Wilhelm Genazino, a highly regarded author who has been largely ignored by literary scholars, by applying this new conglomeration of ideas. This interpretation concentrates on single concrete "things" that appear in the novels to establish their connotations for the narratives. "Things" become cultural or personal symbols, and the interpretation of them reveals another dimension to Genazino's prose. Last but not least it is shown that even small "things" (can) have a major impact in every form of media. This might well influence traditional interpretations of well known works in the literary canon. Four examples from world literature introduce the topic in order to give an overview of the different representations of the topos "thing". It becomes apparent that the symbolic meaning of things may change during epochs. Nevertheless these four examples introduce topoi, such as "transitorisches Objekt" ("transitional object"), which can also be found in the primary works of this thesis. The examples are taken from different epochs as well as from different cultural backgrounds to emphasize the intercultural premise of the theme. After introducing Genazino??s approach to the thing-discourse and defining his major ideas, a close reading that makes use of the analytical framework is employed to discuss and interpret the primary texts. It becomes apparent that "things", rather than plot or character, provide the major impetus to the narratives. The interdisciplinary approach of this thesis underscores the important contributions that an analysis of "thing discourse" can make to the study of literary texts and their importance to human existence. As the topic of discussion has been of intereset to scholars in several different scientific areas, it becomes clear that the interdisciplinary approach of analyzing texts may spread ideas concerning not only the works in question, but all disciplines involved as well.

The following thesis examines the topos of "things" in literature. Herein we discuss concrete objects and how they are used and presented in contemporary prose. The primary works analyzed are both by Wilhelm Genazino, namely <i>Ein Regenschirm für diesen Tag</i> and <i>Eine Frau, eine Wohnung, ein Roman</i>, published in 2001 and 2003 respectively. The analysis of different "things" in the two novels by Genanzino affords one the opportunity of pursuing three different objectives. First, the topos is by its very nature an interdisciplinary one, and therefore the theoretical concepts from different disciplines are applied to the scholarly examination of "things" in literature. This theoretical framework is based on different aspects of the work of the philosopher Martin Heidegger, the media theorist Marshall McLuhan, the sociologist Norbert Elias, and the philosophical economist Karl Marx. Some specific characteristics of the presentation of "things" in literature such as "T&uuml;cke des Objektes" ("flaw of the object") and the fetishization of objects are also discussed. As a result, a new constellation of ideas is developed that has practical applications for the analysis of literature. The second goal of this thesis is to interpret the works of Wilhelm Genazino, a highly regarded author who has been largely ignored by literary scholars, by applying this new conglomeration of ideas. This interpretation concentrates on single concrete "things" that appear in the novels to establish their connotations for the narratives. "Things" become cultural or personal symbols, and the interpretation of them reveals another dimension to Genazino's prose. Last but not least it is shown that even small "things" (can) have a major impact in every form of media. This might well influence traditional interpretations of well known works in the literary canon. Four examples from world literature introduce the topic in order to give an overview of the different representations of the topos "thing". It becomes apparent that the symbolic meaning of things may change during epochs. Nevertheless these four examples introduce topoi, such as "transitorisches Objekt" ("transitional object"), which can also be found in the primary works of this thesis. The examples are taken from different epochs as well as from different cultural backgrounds to emphasize the intercultural premise of the theme. After introducing Genazino´s approach to the thing-discourse and defining his major ideas, a close reading that makes use of the analytical framework is employed to discuss and interpret the primary texts. It becomes apparent that "things", rather than plot or character, provide the major impetus to the narratives. The interdisciplinary approach of this thesis underscores the important contributions that an analysis of "thing discourse" can make to the study of literary texts and their importance to human existence. As the topic of discussion has been of intereset to scholars in several different scientific areas, it becomes clear that the interdisciplinary approach of analyzing texts may spread ideas concerning not only the works in question, but all disciplines involved as well.

Jusqu'à présent, il est supposé que le roman d'adolescent (Adoleszensroman) est un genre qui traite de la formation de l'identité des jeunes au cours de leur adolescence. La présente thèse propose de définir plus précisément le roman d'adolescent en fonction de deux nouvelles caractéristiques: celle du «sort de l'initiative» (Schicksal der Initiative) et celle du «jugement historique» (historisches Urteil). A ces caractéristiques du roman d'adolescent se juxtapose en outre le thème de la formation identitaire. L'étude se concentre sur les romans publiés dans le monde germanophone depuis les années 90. La thèse adopte une approche historique (literarhistorisch) et herméneutique. La théorie sociologique du genre littéraire contribue à expliquer le tournant et la conjoncture historique des catégories littéraires. L'étude tente d'expliquer que le récit du «travail sur l'identité» par un jeune adolescent est un thème auquel un deuxième s'oppose, à savoir que l'adolescent devient conscient de son «initiation» dans le cadre de sa recherche identitaire et confronte ses plus ou moins «naïves» attentes avec la réalité historique d'une société. Le corpus de romans étudié forme le genre du roman d'adolescent (Adoleszensroman) qui se laisse définir comme le «roman d'adolescent du réalisme post-moderne». Il s'inscrit dans un contexte littéraire et historique dominant à partir de 1995 l'espace germanophone, mais aussi anglophone, et relève d'une certaine «sobriété» (Nüchternheit) morale et politique. / Until now, it is assumed that the novel of adolescence (Adoleszensroman) is a genre that deals with the formation of identity during adolescence. This thesis proposes a more precise definition for the novel of adolescence based on two new features: the "fate of the initiative" (Schicksal der Initiative) and the "historical judgment" (historisches Urteil). These two characteristics of the novel of adolescence are complemented by the already known characteristic of the narration of formation of adolescent identity. The study focuses on novels published in Germany and Austria since the 90s. The thesis adopts a hermeneutic and historical approach (hermeneutisch und literarhistorisch). Sociological theory of literary forms helps to explain the change and the historical conditions of literary genres. The study attempts to explain that the narration of the adolescent "formation of identity" in the novel of adolescence is a theme which complements a second theme: the adolescent takes the "initiative" within the context of his search for identity and confronts his more or less "naive" expectationswith the historical reality of a society. The corpus of novels studied within the thesis form a genre of novels of adolescence (Adoleszensroman-Genre) which can be defined as "novels of adolescence of postmodern realism". It is part of the dominant literary and historical atmosphere which began ca. 1995 and can be characterized by a certain moral and political "sobriety" (Nüchternheit).

This thesis deals with the sociological conception of the dropout (Aussteiger) figure in Wilhelm Genazino’s Ein Regenschirm für diesen Tag (2001) and, in terms of the history of ideas, his predecessors in Heinrich von Kleist’s Michael Kohlhaas (1808) and Franz Kafka’s Die Verwandlung (1913). It discusses if and how Genazino’s protagonist represents a new contemporary dropout model, and discusses the extent to which such figures can be read as dropouts, how their individual dropout characteristics are designed and motivated, and which factors connect these central characters to each other. According to Christian Schüle and his “21 Fragmente über die Identität des Aussteigers” no one can better provide a picture of the state of a society than someone who intentionally exits from it. Thus, the essential process of dropping out is described. If someone is dropping out, he is reacting to circumstances; to what extent he reacts is, however, uneven. There is no prototype of a dropout. To grasp this highly complex and little investigated phenomenon, several sociological concepts are employed, such as assimilation, deviant behaviour, alienation, individualism and the aspect of self-realization. Niklas Luhmann’s Protest serves as another theoretical basis for the concept of dropping-out (Aussteigertum). His book focuses on how protesters choose themes that none of society’s systems would recognize as their own and thereby mirror the state of things in the society as they really are. The thesis then shows how the action of all three protagonists can be associated with these sociological concepts and how Genazino’s character in Ein Regenschirm für diesen Tag is related to previous protagonists such as Kohlhaas and Samsa. Kleist’s “gebrechliche Einrichtung der Welt” becomes the alienated world of Gregor Samsa and turns into Genazino’s “Gesamtmerkwürdigkeit des Lebens” in which melancholia and succussion bring the protagonist near to failing. The experimental setting all three authors use brings to mind the philosophical stream of Existentialism, on which they all seem to verge. Under societal pressure, all three figures begin to protest against their related situations in different ways. Because of having to submit himself to the exigencies of the society, Genazino’s protagonist feels as if he has to degenerate. To escape from these feelings he continuously walks physically through his environment and at the same time applies a philosophy of sight: as a reflective observer in the river of everyday life, as a swimmer against the tide of boredom, he drops out of society in his own way, different from the way Kohlhaas and Samsa did, but still related to them.

This thesis deals with the sociological conception of the dropout (Aussteiger) figure in Wilhelm Genazino’s Ein Regenschirm für diesen Tag (2001) and, in terms of the history of ideas, his predecessors in Heinrich von Kleist’s Michael Kohlhaas (1808) and Franz Kafka’s Die Verwandlung (1913). It discusses if and how Genazino’s protagonist represents a new contemporary dropout model, and discusses the extent to which such figures can be read as dropouts, how their individual dropout characteristics are designed and motivated, and which factors connect these central characters to each other. According to Christian Schüle and his “21 Fragmente über die Identität des Aussteigers” no one can better provide a picture of the state of a society than someone who intentionally exits from it. Thus, the essential process of dropping out is described. If someone is dropping out, he is reacting to circumstances; to what extent he reacts is, however, uneven. There is no prototype of a dropout. To grasp this highly complex and little investigated phenomenon, several sociological concepts are employed, such as assimilation, deviant behaviour, alienation, individualism and the aspect of self-realization. Niklas Luhmann’s Protest serves as another theoretical basis for the concept of dropping-out (Aussteigertum). His book focuses on how protesters choose themes that none of society’s systems would recognize as their own and thereby mirror the state of things in the society as they really are. The thesis then shows how the action of all three protagonists can be associated with these sociological concepts and how Genazino’s character in Ein Regenschirm für diesen Tag is related to previous protagonists such as Kohlhaas and Samsa. Kleist’s “gebrechliche Einrichtung der Welt” becomes the alienated world of Gregor Samsa and turns into Genazino’s “Gesamtmerkwürdigkeit des Lebens” in which melancholia and succussion bring the protagonist near to failing. The experimental setting all three authors use brings to mind the philosophical stream of Existentialism, on which they all seem to verge. Under societal pressure, all three figures begin to protest against their related situations in different ways. Because of having to submit himself to the exigencies of the society, Genazino’s protagonist feels as if he has to degenerate. To escape from these feelings he continuously walks physically through his environment and at the same time applies a philosophy of sight: as a reflective observer in the river of everyday life, as a swimmer against the tide of boredom, he drops out of society in his own way, different from the way Kohlhaas and Samsa did, but still related to them.