Thesis (Ph. D.)--University of Wisconsin--Madison, 1917. / Typescript. Includes bibliographical references (leaves [145-147]).

Yôko Tawada, autora japonesa que escreve em língua alemã, representa novos caminhos da chamada literatura transnacional, e junto com outros autores não nativos, reflete novas tendências na literatura de língua alemã contemporânea. Sua contribuição pode ser melhor entendida considerando-se o conceito de “exofonia”, uma abordagem mais formal que considera o escrever em língua estrangeira como uma estratégia inovadora para a criação literária. O presente trabalho tem como objetivo geral a tradução do romance Etüden im Schnee (TAWADA, 2014), de Yôko Tawada, utilizando o texto para análise e tradução da exofonia a fim de propor, assim, uma nova maneira de abordar o texto exofônico, isto é, a escrita em língua estrangeira. Para isso, apresento elementos biográficos e da obra da autora para criar um panorama de sua obra e de temas e características recorrentes nela, assim como a visão da autora sobre escrita e tradução. Em seguida, apresento e discutido de forma mais pormenorizada o conceito de exofonia, em oposição e consonância com outros termos utilizados para designar essas literaturas sem morada fixa (ETTE, 2005) em que a exofonia se insere. Busco enriquecer o debate ao introduzir a visão de Yôko Tawada sobre a exofonia, encontrada em seu livro Ekusophonii assim como, de forma geral, sua visão sobre a língua materna, língua estrangeira, e o pertencimento ou dominação de uma língua. Com isso, apresentamos uma visão de tradução exofônica levando em consideração os elementos levantados, e em consonância com a tradução cultural e teorias de tradução que levam em consideração o estilo assim como a voz do tradutor. O objetivo aqui, além de introduzir todas as informações apresentadas, é analisar a obra e sua tradução sob uma perspectiva exofônica, identificando elementos formais e temáticos desse fenômeno de ir para fora da língua materna. O romance Etüden im Schnee, mais recente da autora, apresenta três ursos polares narradores, migrantes, deslocados, que representam uma extrapolação do conceito da exofonia, ao considerar a visão do outro, do estranho, do diferente. No romance, podemos encontrar diversos elementos da exofonia tanto na temática quanto em sua forma, e aqui pretendemos conduzir a análise de tais aspectos considerando-se sua tradução para o português e as implicações que a exofonia tem no processo tradutório. / Yôko Tawada, a Japanese author who writes in German, has contributed to a modern phenomenon responsible for resetting the boundaries of the concept of national or international literature in German-speaking countries and literatures. Tawada has paved the way to other exophonic authors to be regarded and studied as such. Exophony, a fairly recent term, refers to the specific case of writers who step outside of their mother tongue, choosing a foreign language to write literature in. The term, however, resonates with wider attempts at defining this literature which, according to Ottmar Ette (2005), has no fixed abode, i.e., does not belong. This work aims at a) translating Yôko Tawada’s novel Etüden im Schnee (2014) into Brazilian Portuguese in order to help bring the author into Brazil’s literary polysystem, b) introducing Tawada’s work and themes present in her books as well as her vision on translation and writing processes, c) introducing exophony as a valid way to read literary texts written in a foreign language and d) analysing Etüden im Schnee and its translation into Portuguese with a basis on the exophonic themes and formal structures that can be observed within the text. Drawing upon Tawada’s critical oeuvre as well as biographical elements and a general take on her works and what constitutes a Tawadian text, alongside with a wider canvas of what exophony is as well as the author’s own view on exophony and the process of writing in a foreign language, we aim at analysing her latest novel Etüden im Schnee and its translation into Portuguese taking into account the process of cultural, stylistic and cognitive translation, as presented by Wright (2010, 2013) in order to propose an exophonic view of translation. In the novel Etüden im Schnee Tawada imagines the inside world of a polar bear’s mind by giving three generations of polar bears, The Grandmother, Toska and Knut, a chance to tell a story, a story about politics, languages, different worlds and species and what makes bears and humans alike. The aim here is to identify elements of exophony as well as themes and strategies present in the novel and its translation.

Yôko Tawada, autora japonesa que escreve em língua alemã, representa novos caminhos da chamada literatura transnacional, e junto com outros autores não nativos, reflete novas tendências na literatura de língua alemã contemporânea. Sua contribuição pode ser melhor entendida considerando-se o conceito de “exofonia”, uma abordagem mais formal que considera o escrever em língua estrangeira como uma estratégia inovadora para a criação literária. O presente trabalho tem como objetivo geral a tradução do romance Etüden im Schnee (TAWADA, 2014), de Yôko Tawada, utilizando o texto para análise e tradução da exofonia a fim de propor, assim, uma nova maneira de abordar o texto exofônico, isto é, a escrita em língua estrangeira. Para isso, apresento elementos biográficos e da obra da autora para criar um panorama de sua obra e de temas e características recorrentes nela, assim como a visão da autora sobre escrita e tradução. Em seguida, apresento e discutido de forma mais pormenorizada o conceito de exofonia, em oposição e consonância com outros termos utilizados para designar essas literaturas sem morada fixa (ETTE, 2005) em que a exofonia se insere. Busco enriquecer o debate ao introduzir a visão de Yôko Tawada sobre a exofonia, encontrada em seu livro Ekusophonii assim como, de forma geral, sua visão sobre a língua materna, língua estrangeira, e o pertencimento ou dominação de uma língua. Com isso, apresentamos uma visão de tradução exofônica levando em consideração os elementos levantados, e em consonância com a tradução cultural e teorias de tradução que levam em consideração o estilo assim como a voz do tradutor. O objetivo aqui, além de introduzir todas as informações apresentadas, é analisar a obra e sua tradução sob uma perspectiva exofônica, identificando elementos formais e temáticos desse fenômeno de ir para fora da língua materna. O romance Etüden im Schnee, mais recente da autora, apresenta três ursos polares narradores, migrantes, deslocados, que representam uma extrapolação do conceito da exofonia, ao considerar a visão do outro, do estranho, do diferente. No romance, podemos encontrar diversos elementos da exofonia tanto na temática quanto em sua forma, e aqui pretendemos conduzir a análise de tais aspectos considerando-se sua tradução para o português e as implicações que a exofonia tem no processo tradutório. / Yôko Tawada, a Japanese author who writes in German, has contributed to a modern phenomenon responsible for resetting the boundaries of the concept of national or international literature in German-speaking countries and literatures. Tawada has paved the way to other exophonic authors to be regarded and studied as such. Exophony, a fairly recent term, refers to the specific case of writers who step outside of their mother tongue, choosing a foreign language to write literature in. The term, however, resonates with wider attempts at defining this literature which, according to Ottmar Ette (2005), has no fixed abode, i.e., does not belong. This work aims at a) translating Yôko Tawada’s novel Etüden im Schnee (2014) into Brazilian Portuguese in order to help bring the author into Brazil’s literary polysystem, b) introducing Tawada’s work and themes present in her books as well as her vision on translation and writing processes, c) introducing exophony as a valid way to read literary texts written in a foreign language and d) analysing Etüden im Schnee and its translation into Portuguese with a basis on the exophonic themes and formal structures that can be observed within the text. Drawing upon Tawada’s critical oeuvre as well as biographical elements and a general take on her works and what constitutes a Tawadian text, alongside with a wider canvas of what exophony is as well as the author’s own view on exophony and the process of writing in a foreign language, we aim at analysing her latest novel Etüden im Schnee and its translation into Portuguese taking into account the process of cultural, stylistic and cognitive translation, as presented by Wright (2010, 2013) in order to propose an exophonic view of translation. In the novel Etüden im Schnee Tawada imagines the inside world of a polar bear’s mind by giving three generations of polar bears, The Grandmother, Toska and Knut, a chance to tell a story, a story about politics, languages, different worlds and species and what makes bears and humans alike. The aim here is to identify elements of exophony as well as themes and strategies present in the novel and its translation.

Yôko Tawada, autora japonesa que escreve em língua alemã, representa novos caminhos da chamada literatura transnacional, e junto com outros autores não nativos, reflete novas tendências na literatura de língua alemã contemporânea. Sua contribuição pode ser melhor entendida considerando-se o conceito de “exofonia”, uma abordagem mais formal que considera o escrever em língua estrangeira como uma estratégia inovadora para a criação literária. O presente trabalho tem como objetivo geral a tradução do romance Etüden im Schnee (TAWADA, 2014), de Yôko Tawada, utilizando o texto para análise e tradução da exofonia a fim de propor, assim, uma nova maneira de abordar o texto exofônico, isto é, a escrita em língua estrangeira. Para isso, apresento elementos biográficos e da obra da autora para criar um panorama de sua obra e de temas e características recorrentes nela, assim como a visão da autora sobre escrita e tradução. Em seguida, apresento e discutido de forma mais pormenorizada o conceito de exofonia, em oposição e consonância com outros termos utilizados para designar essas literaturas sem morada fixa (ETTE, 2005) em que a exofonia se insere. Busco enriquecer o debate ao introduzir a visão de Yôko Tawada sobre a exofonia, encontrada em seu livro Ekusophonii assim como, de forma geral, sua visão sobre a língua materna, língua estrangeira, e o pertencimento ou dominação de uma língua. Com isso, apresentamos uma visão de tradução exofônica levando em consideração os elementos levantados, e em consonância com a tradução cultural e teorias de tradução que levam em consideração o estilo assim como a voz do tradutor. O objetivo aqui, além de introduzir todas as informações apresentadas, é analisar a obra e sua tradução sob uma perspectiva exofônica, identificando elementos formais e temáticos desse fenômeno de ir para fora da língua materna. O romance Etüden im Schnee, mais recente da autora, apresenta três ursos polares narradores, migrantes, deslocados, que representam uma extrapolação do conceito da exofonia, ao considerar a visão do outro, do estranho, do diferente. No romance, podemos encontrar diversos elementos da exofonia tanto na temática quanto em sua forma, e aqui pretendemos conduzir a análise de tais aspectos considerando-se sua tradução para o português e as implicações que a exofonia tem no processo tradutório. / Yôko Tawada, a Japanese author who writes in German, has contributed to a modern phenomenon responsible for resetting the boundaries of the concept of national or international literature in German-speaking countries and literatures. Tawada has paved the way to other exophonic authors to be regarded and studied as such. Exophony, a fairly recent term, refers to the specific case of writers who step outside of their mother tongue, choosing a foreign language to write literature in. The term, however, resonates with wider attempts at defining this literature which, according to Ottmar Ette (2005), has no fixed abode, i.e., does not belong. This work aims at a) translating Yôko Tawada’s novel Etüden im Schnee (2014) into Brazilian Portuguese in order to help bring the author into Brazil’s literary polysystem, b) introducing Tawada’s work and themes present in her books as well as her vision on translation and writing processes, c) introducing exophony as a valid way to read literary texts written in a foreign language and d) analysing Etüden im Schnee and its translation into Portuguese with a basis on the exophonic themes and formal structures that can be observed within the text. Drawing upon Tawada’s critical oeuvre as well as biographical elements and a general take on her works and what constitutes a Tawadian text, alongside with a wider canvas of what exophony is as well as the author’s own view on exophony and the process of writing in a foreign language, we aim at analysing her latest novel Etüden im Schnee and its translation into Portuguese taking into account the process of cultural, stylistic and cognitive translation, as presented by Wright (2010, 2013) in order to propose an exophonic view of translation. In the novel Etüden im Schnee Tawada imagines the inside world of a polar bear’s mind by giving three generations of polar bears, The Grandmother, Toska and Knut, a chance to tell a story, a story about politics, languages, different worlds and species and what makes bears and humans alike. The aim here is to identify elements of exophony as well as themes and strategies present in the novel and its translation.

Folgende Dissertationsschrift setzt sich zum Ziel, den gegenwärtigen Diskurs über Europas Osten auf der literarischen Ebene zu untersuchen. Wie Hartmut Böhme zu Recht anmerkt, seien sich Reisen und Schreiben in ihrem Wesen sehr ähnlich. Während Reisen ein Er-Fahren der Welt bedeutet, kann Schreiben als Durchquerung der Sprachräume gelten. Die Bewegungen im Raum der umgebenden Welt und im Raum der Imagination und der Sprache führen dazu, dass die symbolischen Topographien neu kartiert und dadurch neue Orientierungen vermittelt werden können. Anhand der Prosawerke der jungen, nach dem Krieg geborenen Generation der deutschsprachigen SchriftstellerInnen, die mit der Selbstverständlichkeit der bipolaren Teilung der Welt aufgewachsen sind, wird untersucht, wie die literarische Karte Europas im gegenwärtigen literarischen Diskurs neu entworfen wird. Die Verfasserin argumentiert, dass es keineswegs die der Ost-West-Dichotomie immanenten Denkmuster sind, die die auf der literarischen Ebene vermittelte Wahrnehmung der Region prägen. Im Gegenteil, während die AutorInnen auf überraschend viele literarische Stoffe, Motive literarische Denkmuster zurückgreifen, bestätigen sie die Gültigkeit der These von Horst Steinmetz auch in Bezug auf die neueste deutsche Literatur: dass literarische Werke nicht nur auf die konkreten Aspekte der umgebenden Welt, sondern darüber hinaus auf literarische Traditionen reagieren, denen sie sich immer wieder, zum Teil im Widerspruch, und zum Teil unbewusst, eingliedern. / The following PhD-thesis aims to analyze the contemporary discourse on Eastern Europe which has been established in the most recent German-language prose works. Just as Hartmut Böhme stated, traveling and writing are both very similar. While traveling means exploring the world, writing can be experienced as a transition through the spaces of language. All these movements, either in physical space or in the sphere of language and imagination, lead to new mapping of symbolic topographies and can so convey new reference points. On the basis of the prose works of the young post-World War II generation of German-language authors who grew up with the overwhelming awareness of the bipolar division of the world, the thesis investigates how they re-map the perception of Europe. The author argues that these are not the traded patterns of perception referring to the East-West-Division which are being used in contemporary prose works. On the contrary, by making recourse to a surprisingly large number of topics, subjects and motives from the prior literary works, the new generation of authors seems to confirm the assumption of Horst Steinmetz in regard to the most recent literature – literary works react not only to the concrete aspects of the contemporary world, but also to the literary traditions, that they repeatedly and constantly refer to. They contradict or affirm, in an unconscious or considered manner, prior literary traditions.

Abstract This study demonstrates the various facets of mediality in post-1945 German-language literature, using as examples seven works of prose by Nicolas Born, Ingeborg Bachmann, Peter Handke, Bodo Morshäuser, Uwe Johnson, Heinrich Böll and Martin Walser. The thesis is divided into two major sections: a theoretical section and a text-oriented research section. In the theoretical section, a positioning of media and literature is carried out in the context of history and the history of literature. Starting from the relationship between fiction and reality, a distinction is made between generative and classical mediality. In the research section, mediality in literature is analyzed under the following three thematic criteria: “attention”, “distance” and “reality”; each criterion is addressed using two works of prose as examples. The relatedness of these criteria is analyzed on the basis of the seventh book. This study reveals the diversity of the layers of mediality in the literature of the era and places the individual works of prose in an over-all literary context. / Abstract Die Untersuchung zeigt am Beispiel von sieben Prosawerken von Nicolas Born, Ingeborg Bachmann, Peter Handke, Bodo Morshäuser, Uwe Johnson, Heinrich Böll und Martin Walser verschiedene Facetten von Medialität in der deutschsprachigen Literatur nach 1945. Die Arbeit gliedert sich in einen theoretischen und einen textbezogenen Teil. Im theoretischen Teil wird eine Positionierung von Medien und Literatur in einem historischen und literaturgeschichtlichen Kontext vorgenommen. Ausgehend von der Fiktionsfrage wird eine Unterscheidung zwischen generativer und klassischer Medialität vorgenommen. Im textbezogenen Teil wird die Frage nach der Medialität in der Literatur unter den drei thematischen Schwerpunkten „Aufmerksamkeit”, „Distanz” und „Wirklichkeit” abgehandelt, wobei jeweils zwei Prosawerke zur Geltung gebracht werden. Die Bezüge zwischen diesen Schwerpunkten werden an einem siebten Prosawerk untersucht. Die Untersuchung zeigt die Vielfalt der Medialitätsschichten in der Literatur der Zeit und gestattet eine Positionierung der einzelnen Werke im gesamtliterarischen Kontext. / Tiivistelmä Tutkimus osoittaa mediaalisuuden erilaiset mahdollisuudet seitsemän proosateoksen avulla vuoden 1945 jälkeisessä saksankielisessä kirjallisuudessa. Tutkimus jakaantuu teoreettiseen ja proosakirjallisuutta tutkivaan osaan. Teoriaosassa mediat ja kirjallisuus sijoitetaan historian ja kirjallisuudenhistorian kontekstiin. Lähtökohtana on kysymys fiktion ja todellisuuden välisestä suhteesta, ja tässä yhteydessä tehdään ero generatiivisen ja klassisen mediaalisuuden välillä. Teoksiin keskittyvässä osassa kirjallisuuden mediaalisuutta tutkitaan kolmen temaattisen aspektin kautta: tarkkaavaisuus, distanssi ja todellisuus, joita tutkitaan aina kahden teoksen avulla. Näiden aspektien välisiä suhteita tarkastellaan sitten seitsemännessä proosateoksessa. Tutkimus osoittaa mediaalisuuden tasojen moninaisuuden aikamme kirjallisuudessa ja auttaa yksittäisten teosten sijoittamisessa kirjallisuuden koko kontekstiin.

Abstract In view of numerous texts from completely different genres the study shows to what extent and degree of differentiation the topic soccer is covered in German-language literature and allows general conclusions on a poetics of sport. Here solely German-language literary sources are considered. The work is divided into a theoretical and a text-related part. In the former section the approaches to the topic – on one hand via German studies and on the other hand via interdisciplinary sport science – is made clear by means of basic considerations on the questions “what is literature?” and “what is sport”. In addition, a revisable basis for the subsequent studies is provided. The text-related part – in turn subdivided according to the three main genres lyric poetry, epic poetry and drama – shows how exactly soccer appears as literary subject. Formal differences induced by the form of presentation within a genre (sonnet vs. visual poetry) or across genres (detective story vs. modern drama) take effect as well as context-related variations of the subject (soccer as symbolic carrier of meaning vs. soccer as vehicle for transporting ethical values). A concluding chapter each on the realization of the sport models introduced in the theoretical part in literary practice follow the individual genre areas. The various aspects that can be attributed to a poetics of sport conclude the study in a summarizing part. Not least here the comprehensiveness of the findings can be seen. / Abstract Die Untersuchung zeigt mit Blick auf zahlreiche Texte ganz unterschiedlicher Gattungen, in welchem Umfang und wie differenziert das Thema Fußball in der deutschen Literatur behandelt wird und lässt damit allgemeine Rückschlüsse auf eine Poetik des Sports zu. Betrachtet werden hier ausschließlich deutschsprachige, literarische Quellen. Die Arbeit gliedert sich in einen theoretischen und einen textbezogenen Teil. Im erstgenannten Abschnitt wird durch grundsätzliche Überlegungen zu den Fragen „Was ist Literatur? ” und „Was ist Sport? ” der einerseits germanistische, andererseits interdisziplinäre sportwissenschaftliche Zugang zum Thema verdeutlicht. Zudem ist hier eine überprüfbare Basis für die anschließenden Untersuchungen geschaffen. Der textbezogene Teil – wiederum untergliedert nach den drei Hauptgattungen Lyrik, Epik und Drama – zeigt, wie Fußball genau als literarisches Motiv erscheint. Formale Unterschiede bedingt durch die Darstellungsform innerhalb einer Gattung (Sonett vs. Visuelle Poesie) oder grenzüberschreitend (Kriminalroman vs. Modernes Drama) kommenden dabei ebenso zum Tragen wie inhaltliche Variationen des Motivs (Fußball als symbolischer Bedeutungsträger vs. Fußball als Vehikel zur Vermittlung ethischer Werte). Je ein resümierendes Kapitel über die Umsetzung der im theoretischen Teil eingeführten Sportmodelle in der literarischen Praxis schließt sich an die einzelnen Gattungsbereiche an. Die verschiedenen Aspekte, die sich einer Poetik des Sports zuschreiben lassen, schließen die Studie in einem zusammenfassenden Teil ab. Nicht zuletzt hier zeigt sich die Reichhaltigkeit der Untersuchungsergebnisse.

Ce travail a pour finalité de définir exactement ce que représentent les vocables Wanderschaft et Wanderung dans la littérature non fictionnelle de langue allemande entre 1770 et 1850. Ces deux concepts désignent tout voyage effectué majoritairement à pied pour diverses motivations, mais peuvent aussi prendre des sens métaphoriques, essentiellement religieux. Par l’analyse aussi bien synchronique que diachronique du réseau lexical, ainsi qu’à l’aide d’une approche pluridisciplinaire de divers types de documents intégrant littérature, linguistique, théologie, historiographie, arts visuels, musique et journalisme, il a été possible d’établir non seulement la polysémie des deux mots, mais aussi quelles fonctions ces termes recouvrent, en les replaçant dans leur contexte global. La préférence a été donnée à l’écriture non fictionnelle (relations viatiques, guides, correspondance, ouvrages pédagogiques). Les auteurs des récits de voyages pédestres sont originaires de deux couches distinctes de la société de cette époque : d’une part, l’élite cultivée (un groupe composite en train de se développer, majoritairement originaire de la bourgeoisie aisée), et de l’autre, les Compagnons, oscillant suivant les cas entre la moyenne bourgeoisie et le prolétariat, soudain revalorisés socialement par la publication de leur carnet de voyage. Tous sont originaires des pays de langue allemande, y compris les parties germanophones du royaume du Danemark et de la Suisse. L’évolution de l’emploi et des fonctions de ces deux vocables, ainsi que de leur champ associatif, reflète celle des structures sociales, économiques et culturelles entre 1770 et 1850. Parallèlement, la réduction et la virtualisation du voyage pédestre, amorcées dans les parcs à l’anglaise aristocratiques, se poursuivent dans les panoramas urbains, les pièces ou le jardin des demeures, ainsi que dans les jeux de société. Enfin, l’analyse est complétée par l’examen de la réception des deux notions dans les journaux, périodiques et almanachs, ainsi que dans la littérature didactique pour la jeunesse, les chansons populaires et les arts visuels. / The ultimate goal of this work is to clarify the precise definitions of Wanderschaft and Wanderung in non-fictional writing in the German language between 1770 and 1850. Those two concepts refer to any journey, mainly done on foot, undertaken for a variety of motives, but they can also take on a metaphorical sense, primarily religious. By use of both synchronic and diachronic analysis of the lexical network, as well as with the help of a multidisciplinary approach to a variety of documents, integrating literature, linguistics, theology, historical texts, visual arts, music and journalism, it has been possible to establish, not only the polysemy of the two words, but also which functions these terms cover, by putting them into their global context. Preference has been given to non-fictional writing (accounts by travellers, correspondence, educational works). The authors of accounts of travels on foot in this period come from two distinct social classes: on one hand, the cultural elite (a composite group, just coming into being and originating mainly from the affluent bourgeoisie) and on the other hand, the Companions, ranging in different cases from the middle to the working class, suddenly given social validation by the publication of their travel notes. They all come from German-speaking countries, including parts of the Kingdom of Denmark as well as of Switzerland. The evolution of the use and functions of those two words, as well as their associative fields, mirrors that of the social, economic and cultural structures between 1770 and 1850. At the same tine,the scaling down and virtualisation of the pedestrian journey, initiated in aristocratic English-style parks, continue in urban panoramas, the rooms or the garden of grand houses, as well as in society's games. Finally, the analysis is completed by examining how the two notions are dealt with in newspapers, periodicals and almanacs, as well as in didactic literature for young people, popular songs and the visual arts.

Abstract This thesis is a study of the phenomenon of prosaicness in the works of Martin Walser. The concept of prosaicness is based on an analysis of the existential philosophy of Martin Heidegger. This concept is the basis of the interpretation of selected texts. Walser's description of prosaicness is examined in depth in two subject areas: Firstly, the phenomenon of anonymity in his radio plays; secondly, experiences of deprivation in Walser's novels. Special emphasis is placed on the disappearance of the subject in everyday life, on childhood, on homeland and on the reunification of Germany in 1989/1990. Walser's existentialist writing is seen as a literary expression of coming to terms with occurrences of crises in modern times. / Abstract Die Studie untersucht das Phänomen der Alltäglichkeit im Werk Martin Walsers. Der Begriff der Alltäglichkeit wird aus einer Analyse der Existenzphilosophie Martin Heideggers gewonnen und als Leitbegriff zur Interpretation ausgewählter Texte herangezogen. Walsers Beschreibung der Alltäglichkeit wird in zwei Themenbereichen vertieft: In einem ersten Schritt wendet sich die Studie dem Phänomen der Anonymität in den Hörspielen zu; in einem zweiten Schritt wird nach Mangel-Erfahrungen in den Romanen gefragt. In den Blick geraten dabei das Verschwinden des Subjekts im Alltag, Kindheit und Heimat sowie die Wiedervereinigung Deutschlands 1989/90. Walsers existenzialistische Schreibweise wird als Ausdruck und als literarische Bewältigung von Krisenerscheinungen der Moderne verstanden. / Tiivistelmä Väitöskirjassa tutkitaan arkipäiväisyyden ilmiötä Martin Walserin teoksessa. Arkipäiväisyyden käsite pohjautuu Martin Heideggerin eksistentiaalifilosofiseen analyysiin ja sitä käytetään pääkäsitteenä valittujen tekstien tulkinnassa. Walserin arkipäiväisyyden kuvaukseen syvennytään kahden aihealueen myötä: ensiksi kuunnelmissa esiintyvään anonymiteettiin, toiseksi puutteen kokemuksiin romaaneissa. Tässä tutkimuksen kohteena ovat subjektin häviäminen arkipäivässä, lapsuus ja kotiseutu sekä Saksojen yhdistyminen 1989/90. Walserin eksistentialistinen kirjoitustapa ymmärretään modernismin ilmaisuksi ja kriisi-ilmiöistä selviytymiseksi kirjallisuuden avulla.