Germany can be considered a country of immigration due to the fact that there have been several waves of immigrants moving to Germany from different countries due to various circumstances. One of the immigrant groups addressed in this thesis is the group of young Turks who were invited to work in the Federal Republic of Germany after 1960. This group is referred to as the pioneer generation of the guest workers. Whereas the second and third-generation of guest workers are known as the foreigner generation and the resident generation, respectively. Additionally, another group addressed in this thesis is the more recent group of refugees who fled from the civil war in Syria, which started in 2011. In order to investigate the guest workers’ and refugees’ identities within the foreign literature, I will use Anthony Gidden’s identity concept of choice of identity. Moreover, the notion of identity will be further analyzed through both the rhetorical and linguistic choices as well as the topics discussed in the literature. The aim of this thesis is first to analyze the identity of authors that belong to different groups (author identity) of foreign literature (pioneer literature, foreigner literature, resident literature, and refugee literature), and secondly to examine the identity of the foreign literature itself (literature identity). Thus, I will also address the question of what foreign literature (especially refugee literature) means to German literature. In regards to the author identity, the rhetorical and linguistic choices reveal the following: First, the pioneer generation unites the parts of its Turkish and German identity into a personal identity; secondly, the foreigner generation forms its identity by integrating elements from Turkish and German, as well as other languages or dialects (e. g., English, slang, North German dialect); and lastly, the resident generation’s identity is more deeply rooted in the guest culture (Germany) than the identities of the other two groups. In contrast, the refugee’s identity cannot be analyzed based on language because it is not originally written in German but rather translated. Finally, in regard to the literature identity, it is evident that through the distribution of refugee literature, the readership should become more informed about Arabic-speaking countries, as well as more aware of the stereotypes towards Arabic-speaking people that should be reduced. / A Thesis submitted to the Department of Modern Languages and Linguistics in partial fulfillment of the requirements for the degree of Master of Arts. / Spring Semester 2018. / April 11, 2018. / Ausländerliteratur, Flüchtlingsliteratur, Gastarbeiterliteratur, Identität, Inländerliteratur, Pionierliteratur / Includes bibliographical references. / Tatjana Soldat-Jaffe, Professor Directing Thesis; Birgit Maier-Katkin, Committee Member; Alina Dana Weber, Committee Member.

In this thesis, I interpret Adelbert von Chamisso’s novella Peter Schlemihl, Patrick Süskind’s novel Das Parfum, F.W. Murnau’s film Nosferatu, Werner Herzog’s film Nosferatu, and E. Elias Merhige’s film Shadow of the Vampire in light of Jacques Lacan’s theory of the mirror stage in order to explore the significance of the loss of external representation, be it the form of a visual reflection, visual shadow, or odor. Lacan’s theory states that the moment a child first recognizes his or her reflection in the mirror is the beginning of an individual’s ego-formation and thus is significant for mature development. I argue that experiencing a reversal of this process would cause a reversion to a psychological pre-mirror stage, which would fracture the ego, and thus eventually result in the person’s immaturity. This process, however, is not just individual; this is owing to the social aspect of the mirror stage, transitivism, by which one misidentifies with an “other.” Because societies mark the protagonists of the works I am analyzing as “other” owing to their loss of external representation and reject them, these figures, in fact, constitute as “inappropriate other[s].” I borrow this term from Trinh T. Minh-Ha’s because it helps trace these figures’ ambiguous social status: although they are outsiders in their respective societies, they succeed in performing as insiders for limited periods of time. As the members of the respective societies misidentify with these “inappropriate others” in all the works I interpret, their mirroring processes and self-images are affected. In Peter Schlemihl, the protagonist learns the value of his shadow when he trades it for a bag of endless gold. Despite the shadow serving no real purpose, he is later ostracized because of his lack of representation, revealing the immaturity of a society which values the symbolic (the shadow) over the real (the person who casts the shadow). I read this narrative as the text’s critique of a society which values one’s external representation over one’s real self. Similarly, in Das Parfum, Jean-Baptiste Grenouille is feared and detested from infancy due to his being born without a body odor. Ironically, his almost supernatural sense of smell makes up for this seemingly minor deficiency. Grenouille’s goal becomes creating the ultimate perfume, which he does by murdering virgin girls for their scents. He is caught, but on his execution day, he uses his master perfume to manipulate everyone into loving him. As I argue, Süskind’s Das Parfum critiques not only a society that is so deceived by a murderer’s odiferous representation that those gathered to watch the spectacle of his death eventually embrace him but one that has also created the conditions for this murderer to flourish in its midst. In the third chapter, I show that the curse of the vampire is an abstraction of the mirror stage. Because each vampire loses all human, corporeal existence, he (or she) clings to vampiric representations (Count Orlok, bird, rat, etc.). These films also critique the societies which let themselves be deceived by the vampire’s representations with disastrous consequences. Shadow of the Vampire takes the role of representation even further when it shows how the protagonist, the director Murnau, ironically sacrifices the lives of his crewmembers to a real vampire, his lead actor, in order to make the most realistic vampire film of all time. In this case too, as I argue, the film levels a criticism of a society that values representation above everything else, and primarily visual representation, in this case, the body-less medium of cinema. In sum, my thesis connects canonical works of German literature and international film that have not yet been interpreted together, and especially not in light of Lacanian mirroring. By this combination of primary sources and this new reading, the interpretation highlights new and relevant dimensions of these works’ social and aesthetic critique, which they share across time and media. / A Thesis submitted to the Department of Modern Languages and Linguistics in partial fulfillment of the requirements for the degree of Master of Arts. / Spring Semester 2018. / April 09, 2018. / inappropriate other, Jacques Lacan, mirror stage, otherness, psychoanalysis, shadow / Includes bibliographical references. / A. Dana Weber, Professor Directing Thesis; Christian Weber, Committee Member; Tatjana Soldat-Jaffe, Committee Member.

An analysis of Hermann Hesse's three novels Demian, Siddhartha, and Der Steppenwolf is presented within the framework of world mythology as outlined by Joseph Campbell in his work The Hero With a Thousand Faces. The study seeks to deduce the meaning of the works through analysis of their mythological structure with the ultimate objective of clarifying the way Hesse views the relationship between human desire and experience. This presentation of desire and experience is seen through the development of the characters and the delineation of the plots. / In Chapter I particular notice is given to the typical structure of world mythology. Additional attention is given to Hesse's knowledge of world mythology and his own interpretation of the importance of the mythological journey. Finally, this chapter reviews three scholarly works concerned with myth in the novels of Hesse. / Chapter II analyzes Hesse's novel Demian and shows how it reflects the typical pattern of world mythology on two levels. First, the study demonstrates that the external structure, the sequence of events, is similar to the mythological pattern. Second, it illustrates that the internal structure, the conscious and unconscious events that occur, also coincide with the mythological structure. / Chapter III on Siddhartha shows that the novel also conforms to the pattern of world mythology closely. The analysis is again on two levels, external and internal. / Chapter IV studies Hesse's novel Der Steppenwolf. In showing that the events of Der Steppenwolf follow the basic pattern of world mythology the study focuses on the internal structure. / From these analyses it becomes possible to deduce a pattern for Hesse's presentation of the relationship between human desire and experience. Chapter V, then, depicts this pattern as Hesse wrestles with the problems of human existence. This chapter concludes the study and establishes that Hesse has used an artistic application of the triadic structure common to world mythology to organize plot delineation and as a vehicle of communication for character development. / Source: Dissertation Abstracts International, Volume: 43-12, Section: A, page: 3925. / Thesis (Ph.D.)--The Florida State University, 1982.

The preterite-present verbs of the Germanic languages have long presented an anomaly to linguistic description. Not only has an inconstant and less than easily categorised syntactic and morphological status been attributed to the members of this group, an unlikely origin narrative is implicated in their thematic presents, which evince a striking commonality of form with the preterites of the corresponding strong verb classes. In this thesis, the matter of the processes of change behind the development of the preterite-presents is revisited. An attempt is made to ascertain whether a revised take on Grimm's theory, the earliest such approach to these verbs, can be formulated using up-to-date analytical apparatus, as has been forthcoming with more recent advances in the field of semantics. The pursuit of this goal is preceded in Chapter 1 with a discussion of the problems and solutions that have received attention in past and current theory. It is here that arguments are laid in favour of returning to the theory of a preterite/strong-verb origin, where an attempt is made to show that alternative frameworks come with problems of their own. In Chapter 2, meanwhile, a number of theory-based arguments are propounded to the end of resolving those more fundamental of the conceptual difficulties believed to face Grimm's theory. This paves the way for Chapter 3, where a new theory of change explaining the supposed Past to Present transition is developed. In the process of formulating this approach, an in depth look at how preterite-present verbs handle Modality is attempted. By appealing to this semantic domain, it is shown that something of the change defined as Past > Present can be accounted for semantically; yet, it becomes clear that a number of problems arise with any simple transposition of existing modal theory when taken in isolation. It is through a careful reformulation of the fundamental ideas associated with Modality, along with measured consideration of how the categories Realis/Irrealis can be incorporated into a wider semantic model, that a basis with which to account for the preterite-present verb can be devised. The advancements come in the form of showing how more precise variations of current theory can resolve ongoing problems associated with subjectivity, and how invoking the Realis/Irrealis distinction can go lengths to illuminate the diachronic links observable between lexical and modal meanings in verbs. Finally, in Chapter 4, it is shown that this new insight can be combined with the revised process of change outlined in Chapter 2, such that a theory explaining the origin process behind preterite-presents begins to appear forthcoming.

Source: Dissertation Abstracts International, Volume: 37-10, Section: A, page: 6491. / Thesis (Ph.D.)--The Florida State University, 1976.

Thesis (Ph. D.)--University of Chicago, 1913. / Published also as Linguistic studies in Germanic, edited by F.A. Wood, no. I. "List of sources": 3d-4th prelim. leaves. Includes bibliographical references. Also available on the Internet.

Untersuchungsgebiet ist das heutige Bundesland Brandenburg. In diesem Raum werden von alters her germanische und slawische, seit dem Mittelalter a uch niederdeutsche (= plattdeutsche) und hochdeutsche Mundarten gesprochen. Mit der Industrialisierung im 19. Jahrhundert breitete sich die Stadtsprache Berlins als Umgangssprache auch in Brandenburg aus und trat vielerorts an die Stelle der alten Mundarten (= Dialekte). Dieser Vorgang dauert bis heute an. Das Forschungsprojekt soll seinen Stand Mitte der 90er Jahre erfassen und so Material für Vergleiche mit älteren und mit zukünftigen Erhebungen liefern. <br /> Untersuchungsmethode: Erhebung sprachlicher Daten und Ermittlung von Einstellungen zur Sprache mittels eines Fragebogens, der in einer Auflage von 8.000 Stück über Schulen, Pfarrämter, Heimatpfleger, freiwillige Helfer und Studierende der Universität Potsdam im ganzen Land Brandenburg verteilt wurde. Im Februar 1996 wurden zudem in ausgewählten Regionen insgesamt 20 Tonbandaufnahmen von Sprechern unterschiedlicher Mundarten und auch des Berlinischen als aktueller Umgangssprache aufgezeichnet. <br /> Erhebungszeitraum: Pilotstudie 1994, Erhebung 1995, Nacherhebung und Sprachaufnahmen 1996

Proefschrift--Groningen. / "Inleiding" (p. [i]-viii) includes bibliographical references.

Thesis (Ph. D.)--University OF MICHIGAN.

Thesis (Ph. D.)--University of Chicago. / Preprinted from Modern philology, VIII, no. 4. At head of title: The University of Chicago. eContent provider-neutral record in process. Description based on print version record. "Sources": p. 51.