Diss. : Literaturwissenschaften : München : 1982. / Diss. Literaturwissenschaften München : 1982. - Bibliogr. p. 296-314. - Bibliogr.: p. 296-314. -

Abh. : Philosophie : Zürich : 1981. / Diss. Philosophische Fakultät Zürich : 1981. - Bibliogr. p. 149-154. -

Motivos azuis recorrentes na última fase (1912 a 1914) do poeta austríaco Georg Trakl são comentados à luz de influências românticas. As imagens azuis desta lírica revelam vertentes românticas como o tributo à noite, a remitização, o clima crespuscular e de obscurecimento progressivo a partir do final do século XIX. A atribuição inusitada de cores a seres do mundo empírico traduz um procedimento comum às vanguardas plásticas e líricas deste período. / This study comments the recurrent blue motifs in the latest phase of poet Georg Trakl according to romantic influences. In this poems blue images reveal typical axes of Romanticism as the tribute to the night, remythologization and the progressive darkeness at the turn of the century. The uncommon use of blue color had become a hallmark of pictorial and poetical avant-garde of the 20th century.

Motivos azuis recorrentes na última fase (1912 a 1914) do poeta austríaco Georg Trakl são comentados à luz de influências românticas. As imagens azuis desta lírica revelam vertentes românticas como o tributo à noite, a remitização, o clima crespuscular e de obscurecimento progressivo a partir do final do século XIX. A atribuição inusitada de cores a seres do mundo empírico traduz um procedimento comum às vanguardas plásticas e líricas deste período. / This study comments the recurrent blue motifs in the latest phase of poet Georg Trakl according to romantic influences. In this poems blue images reveal typical axes of Romanticism as the tribute to the night, remythologization and the progressive darkeness at the turn of the century. The uncommon use of blue color had become a hallmark of pictorial and poetical avant-garde of the 20th century.

This thesis examines the poetry of Georg Trakl within the context of literary decadence in Europe at the turn of the century (1880-1914). It provides an analysis of Trakl's early writing, and traces themes of literary decadence which recur throughout his work, particularly in the late prose and the dramatic fragment of 1914. In so doing, it also undertakes a comparative study of Trakl's poetry and decadent literature in Austria, Germany, France and England. Chapter One looks at the literary background and attempts a definition of what was understood by literary decadence in France and Germany at the end of the nineteenth century. Chapter Two examines motifs of crime and horror in Trakl's writing, paying particular attention to the concept of Lustmord in the early dramas Blaubart and Don Juans Tod and the later dramatic fragment of 1914. Chapter Three examines the issue of sexual guilt, and the portrayal of women in Trakl's poetry, from the femme fatale of the early poetry to the figure of the sister and the androgyne in the later poetry. Chapter Four traces the theme of blasphemy from the early lyric to the last poetic utterances of 1914, and touches briefly on the question of Trakl as a Christian poet. Chapter Five looks at motifs of isolation, obsession with death and decay, and poetry as the expression of the poet's etat d'ame. Chapter Six provides an analysis of the language and style of the early poetry, focusing on Trakl's affinity with the style of literary decadence.

Esta dissertação de mestrado, na área de literatura comparada, tem como objetivo estabelecer um paralelo crítico entre as diversas formas de utilização, na literatura e no cinema, da metáfora literária e da montagem cinematográfica como meios de expressão de temas e formas relacionados à estética do feio, desenvolvida pelo Expressionismo alemão. O trabalho de análise envolveu a análise e comparação entre a lírica expressionista de Georg Trakl (1887-1914) e a narrativa cinematográfica de Friedrich Wilhelm Murnau (1889-1931), especificamente no filme Nosferatu. Pretendemos mostrar como a justaposição dos elementos constituintes das metáforas de Trakl, num processo de construção de significação, se assemelha à técnica cinematográfica de corte e montagem postulada pelo cineasta russo Serguei Eisenstein (1898-1948), elaborada também no cinema do Expressionismo alemão. A estética do feio tornou-se um tema privilegiado, pois tanto a metáfora como a montagem expressionistas constituíram, no contexto do modernismo europeu, veículos impactantes da ideia de choque, buscando ao mesmo tempo aterrorizar e fascinar o público, recuperando assim em chave dialética alguns elementos da estética clássica aristotélica. / This study aims to establish a critical comparison between various forms of use, in literature and film, of literary metaphor and film editing as a means of expression of themes and forms related to the \"aesthetic of the ugly\", developed by German Expressionism. The work involves the analysis of and comparison between the expressionist lyric of Georg Trakl (1887-1914) and the filmic narrative of Friedrich Wilhelm Murnau (1889-1931), specifically in \"Nosferatu\". We intend to show how the juxtaposition of the elements of Trakl\'s metaphors, a meaning construction process, resembles the cinematic technique of cutting and assembly postulated by Russian filmmaker Sergei Eisenstein (1898-1948), also adopted in German Expressionist cinema. The aesthetic of the ugly has become a main theme because both expressionist metaphor and film editing constituted striking vehicles of the \"shock\" idea in the context of European modernism, seeking to terrify and fascinate the public, thus reprievingdialectically some elements of the Aristotelian classical aesthetic.

Esta dissertação de mestrado, na área de literatura comparada, tem como objetivo estabelecer um paralelo crítico entre as diversas formas de utilização, na literatura e no cinema, da metáfora literária e da montagem cinematográfica como meios de expressão de temas e formas relacionados à estética do feio, desenvolvida pelo Expressionismo alemão. O trabalho de análise envolveu a análise e comparação entre a lírica expressionista de Georg Trakl (1887-1914) e a narrativa cinematográfica de Friedrich Wilhelm Murnau (1889-1931), especificamente no filme Nosferatu. Pretendemos mostrar como a justaposição dos elementos constituintes das metáforas de Trakl, num processo de construção de significação, se assemelha à técnica cinematográfica de corte e montagem postulada pelo cineasta russo Serguei Eisenstein (1898-1948), elaborada também no cinema do Expressionismo alemão. A estética do feio tornou-se um tema privilegiado, pois tanto a metáfora como a montagem expressionistas constituíram, no contexto do modernismo europeu, veículos impactantes da ideia de choque, buscando ao mesmo tempo aterrorizar e fascinar o público, recuperando assim em chave dialética alguns elementos da estética clássica aristotélica. / This study aims to establish a critical comparison between various forms of use, in literature and film, of literary metaphor and film editing as a means of expression of themes and forms related to the \"aesthetic of the ugly\", developed by German Expressionism. The work involves the analysis of and comparison between the expressionist lyric of Georg Trakl (1887-1914) and the filmic narrative of Friedrich Wilhelm Murnau (1889-1931), specifically in \"Nosferatu\". We intend to show how the juxtaposition of the elements of Trakl\'s metaphors, a meaning construction process, resembles the cinematic technique of cutting and assembly postulated by Russian filmmaker Sergei Eisenstein (1898-1948), also adopted in German Expressionist cinema. The aesthetic of the ugly has become a main theme because both expressionist metaphor and film editing constituted striking vehicles of the \"shock\" idea in the context of European modernism, seeking to terrify and fascinate the public, thus reprievingdialectically some elements of the Aristotelian classical aesthetic.

Issued also as thesis, Hamburg. / Includes bibliographical references (p. [181]-184).

L’œuvre du poète autrichien Georg Trakl (1887-1914) passe pour incontournable dans le contexte de création littéraire d’avant-guerre. Mais comparativement à sa portée expressionniste, la dimension intermédiale est peu mise en avant alors que la musique connaît dans cette poésie des formes de médiation originales. Il est donc question d’approcher la manière dont la musique est indirectement intégrée dans le texte trakléen. En faisant le choix d’élargir cette investigation de type musico-littéraire à l’ensemble de la création des années 1910-1925, il est également question d’élaborer une vision de l’époque moderne où la musique occupe, notamment en peinture, une place de choix dans les pratiques interartistiques. / The work of the Austrian poet Georg Trakl (1887-1914) is said to be essential in the context of creative writing before the war. But compared to his expressionist reach, intermedial dimension is not put forward whereas music features in this poetry original forms of mediation. It is therefore a question of approaching how music is indirectly included in the literary work of Trakl.By choosing to expand the investigation of musico-literary type the whole of creation 1910-1925 years, it is also about developing a vision of the modern era where the music plays, including painting, a first-order part in the interartistic practices.

Jakob van Hoddis, Georg Trakl together with Else Lasker-Schüler belong to the leading representatives of early expressionist poetry. This thesis deals with translation analysis of their selected poems into the Czech language. The first part of the thesis describes the birth, evolution and essential ideas of expressionism, but also significant centres of literary course of events of that period and reception of expressionism in Bohemia and Moravia. The issue of artistic translation is further outlined with focus on the question of equivalence. The second part of the thesis includes analysis of selected poems, which are ordered according to the author and date of issue. One chapter is devoted to each poet, it briefly introduces his life to help point out aspects which have influenced his production, followed by analysis of poems that document the circumstances of their creation and comparisons of their translations. Key words: expressionist poetry, translation analysis, Jakob van Hoddis, Georg Trakl, Else Lasker-Schüler