Inaugural dissertation - Kiel. / Vita. Bibliographical footnotes.

Thesis (Ph. D.)--Universität Basel, 1979. / Vita. Includes bibliographical references (p. [280]-292). "Bibliographie zur deutschen Kolonial-Literatur"-p. i-xxxvii.

Inaug.-Diss.--Greifswald. / Lebenslauf. "Literatur": p. [v]-viii.

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Nijhoff's symbolism develops from a close orientation to the fringe world of the French Symbolists, with Christian culture and contemporary Dutch Post-Symbolists providing further sources of influence. A study of psychological and literary background and of Nijhoff's own poetic theories helps to determine what his symbols mean. A change of attitude which Nijhoff underwent between the publication of the volumes 'Vormen' (1924) and 'Nieuwe Gedichten'(1934) as a result of which he starts to express a belief in and liking for the real world, though retaining an amount of counteraction between real and ideal, brings his symbolism to an orientation in the real world and makes it more complex and extensive, while maintaining its function of conveying correspondences with another life, another world, a distant universe or imaginary ideals. He abandons a mood of reluctant withdrawal and drops former imitations in order to deal with his own personality and situations directly, to expand the narrative element and make poems symbolic for their story, and to give figures a more independent characterisation. Definite patterns of consistency throughout his poetry are found in recurrent major symbols such as mother, child, martyr, street, journey, bird and boat, and themes of death, dualism and religion. Basic wish impulses are continued, but become transposed to new surroundings, and eventually no longer related to an 'I-figure', but to other people. With the extension of symbolism into common surroundings, it becomes less monolithic and less comparative in type, not so predominantly a projection of the poet's own mental state, but more ambiguous and suggestive, relying more on inducing ideas in the reader, whose own capacity for symbolic determination is given increased scope.

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The thesis focusses on the suspension of Celan's poetry between speech and silence, in particular on the way in which this suspension functions and on the interrelations between its thematic, formal, metaphorical, tonal and structural manifestations. As is emphasized in a fusion like "das erschwiegene Wort" in the early programmatic poem "Argumentum e silentio, " silence in Celan is not opposed to, but is inherent in, poetic speech. The fundamental mediality of his poetry engenders numerous devices of suspension, which, according to the rhetorical modes in which they silence reference, may be divided into three distinct but not mutually exclusive categories: unfinality, disjunction and displacement. The first category is defined by the avoidance of closure. Whatever the technique employed, be it the elision of a final full stop or an explicit self-revocation, this type of poem not only negates its own finality, but consists of this very invalidation. The speech of the poem is the silencing of speech. This primal suspension infuses Celan's work with a host of correlative disjunctions. Metaphors are often radically suspended between mutually exclusive extremes of connotation, mutually exclusive denotations sometimes starkly juxtaposed. The opposing terms at once define and negate each other: the essence lies in the interstice they delimit. The third category investigated is that of displacement, which, exemplified by the use of irony and anagrams, involves suspension by a deviation from, rather than a negation of, literal meaning: an element of deflection and play is to the fore. All three categories share the basic mechanism of exploiting an interstice between reference and rhetoric. And, the thesis ventures finally to suggest, it is this interstice, reflected thematically in many metaphors of mediality and constituted by a fusion, a synchronization, of multiple grids of signification, that structures the poem; it is silence that speaks.

The aim of this study is to present the poet Moses Rosenkranz from the Bukovina and to examine how Heidegger's phrase Sprache als Heimat applied to the life and works of this particular poet and his environment. The first section looks at Rosenkranz's biography within the context of the Bukovina, where many people grew up speaking German, Ruthenian, Romanian, Yiddish and Polish. This placed the authors from the region in a particularly favourable context for having first-hand knowledge of the way language could or could not become an ersatz home for them in everyday life once their own homes had been lost. The second part of the thesis investigates the way loss affected Rosenkranz's writing and the conditions Heidegger saw as necessary for an encounter with Dasein. This revealed some of the details of Heidegger's understanding of the words `existence', `language' and `Heimat' which could not correspond to Rosenkranz's relationship to language or belonging. The third part of the thesis considers ways in which a sense of belonging could be recreated in writing. Rosenkranz's relationship with words and the material realities it involved were analysed by using his autobiography, his poems and the letters he wrote to his first wife Anna Ruebner-Rosenkranz. Paul Celan, as the most significant poet from the Bukovina, is often cited as a means of comparing the two writers and in order to convey a fuller picture of the literary area. Comparing Heidegger's thoughts on language and home with the way Rosenkranz and other Bukovina poets understood the two concepts provided new material for an interpretation of Sprache als Heimat in terms of the relationship between writer and reader. This revealed that the understanding of language in the works of the Bukovina authors was actually closer to the conclusions on language reached by the philosopher Levinas than to those of Heidegger. Levinas shows how the relationship to the other, to whom language is addressed, can become the real reason for writing and the point where language and belonging meet.