This essay concerns itself with the historical background to what it refers to as existential pedagogy, which designates the way in which existential literature presumably seeks to affect the reader so that he experiences his existence as isolated, and how this is done through the employment of harsh and uncompromising language and rhetorical devices. The assumption underlying this project is that there is a pedagogical purpose to the existential manner of de-livery, and this essay traces this purpose back to how in the 18th century certain thinkers – Johann Georg Hamann and Friedrich Schlegel – came to look back at Socrates rhetorical en-deavour in order to perfect their own desire to place the question of ‘meaning’, ‘knowledge’ or ‘truth’ into the hands of the receiving individual – the reader of a text or the student of a teacher. By studying the manner in which Hamann and Schlegel used this Socratic rhetoric in their own authorship, I seek to establish how they considered it vital that the recipient experi-enced himself as thoroughly alone in order to cultivate his ability to infuse meaning into the world. The essay continues to examine how Sören Kierkegaard – in his capacity as the mythi-cal ‘father of existentialism’ – conceived of the Socratic rhetoric as lacking in sufficiently accounting for the despair and sinfulness he saw as being intertwined with experiencing one-self as lonely and ignorant. By studying how Kierkegaard approached the reader in his pseu-donymous and existential literature, the essay makes it clear that the existential pedagogy util-ized by Kierkegaard works in order to simultaneously infuse the reader with a feeling of isola-tion and ignorance, as it, through repeatedly focusing on the despair involved in that condi-tion, provoked the reader into taking action, despite (or, existentially, because he was) being taught that he, on account of his inevitable loneliness and ignorance, could not.

This thesis explores the representation of Heimat in contemporary German novels and films by authors and directors born in the 1960s and 1970s within the context of globalisation. The following texts and films are examined: Hierankl (2003) and Winterreise (2006) by Hans Steinbichler, Wer früher stirbt, ist länger tot (2006) and Beste Gegend (2008) by Marcus H. Rosenmüller, Der Geschmack von Apfelkernen (2008) by Katharina Hagena, Klausen (2002) by Andreas Maier, and Usambara (2007) by Christof Hamann. I argue that the static notion of the concept of Heimat and concomitant concepts of identity are challenged by these authors and filmmakers as they pit them against the cultural, political, and social changes brought on by globalisation with its altered notions of identity. Within German political and public discourse, globalisation is often presented as a foreign concept threatening German institutions, customs, and even national identity itself. The dynamics between dwelling and travel/movement are at the centre of the films and novels under discussion. Each of the four chapters focuses on one of the major topics of current literary discourses of Heimat and globalisation: changing images and roles of women in general and mothers in particular; the house, which has often been fundamental in representations of Heimat, as the site at which patriarchal norms and values are being renegotiated; nature and environment as sites of threatened Heimat within the context of Heimat, tourism, and Umweltschutz; and Africa as other Heimat, threatened by, yet relatively untouched by globalisation. In their exploration of notions of Heimat, all of the texts and films discussed in this thesis self-consciously refer to the texts and films of the Heimat and the anti-Heimat genre respectively. But far from focusing on the tainted notion of Heimat within the German historical and political context, as did the generation of 1968 in their films and texts, the new generation of writers and filmmakers marks notions of Heimat much more positively and appropriates them for its own purposes. Nostalgia, irony, and ambivalence are the major characteristics of the new “Heimatroman” and “Heimatfilm.” / Thesis (Ph.D, German) -- Queen's University, 2009-09-23 18:40:27.127

Orientador: Jeanne Marie Gagnebin / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-04T02:05:09Z (GMT). No. of bitstreams: 1 LopezGallucci_NatachaMuriel_M.pdf: 8238986 bytes, checksum: 19cc229a9ac35ae1c299faa43ae45ff8 (MD5) Previous issue date: 2003 / Resumo: A presente pesquisa parte do interesse de Walter Benjamin (1892-1940) em redor do problema da origem e da essência espiritual da linguagem no período de sua juventude. Em 1916, Benjamin escreve o ensaio 'Sobre a linguagem em geral e sobre a linguagem humana', fonte principal deste estudo. Mostraremos que, uma referência de crucial importância para a compreensão desse controvertido ensaio, é a figura do escritor préromântico Johann Georg Hamann (1730-1788). A menção benjaminiana de Hamann opera, neste sentido, como ponto de apoio provocador e imprescindível para nossa análise. Em seus próprios contextos históricos, Benjamin e Hamann, fazem uma forte crítica aos conceitos de conhecimento e de experiência sustentados pela Aufkliirung e condensados por Kant. Na crítica dirigida por Benjamin e Hamann ao primado do fenômeno processual kantiano, tomam relevância as 'Idéias das Teologia' e a 'experiência mágica da Revelação', formando parte de um percurso extremamente provocador para a Füosofia Contemporânea. A abordagem benjaminiana da linguagem, em confluência explícita e implícita com Hamann, possibilita o desenvolvimento do presente estudo filosófico de ambos autores. Porém, para uma melhor compreensão do ensaio benjaminiano Sobre a linguagem, levaremos especialmente em conta dois textos bamannianos citados por Benjamin: 'Estética in nuce. Rapsódia em prosa cabalística' (1762) e 'O cavalheiro rosacruz, última opinião sobre a origem divina e humana da linguagem' (1772) / Mestrado / Filosofia / Mestre em Filosofia

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La disertación que presento hoy para optar por el Grado de Magister comprende dos partes: la primera es una breve aproximación, a modo de marco teórico, sobre la concepción del cuerpo humano en la escultura a través de las diferentes etapas de la historia del arte occidental, y sus implicancias. En la segunda parte, selecciono esculturas de diferentes etapas para elaborar una reflexión sobre mi aproximación al cuerpo humano como eje de mi propuesta escultórica. Aunque mi acento se torne categórico por momentos, quiero dejar en claro que esta interpretación parte de una reflexión desde mi situación particular al momento de realizar las obras. Y cómo es que este ejercicio del crear, plantea, fluye, se despliega, libera. Mi proyecto escultórico es también un medio para abrir nuevas brechas, a través de la reflexión, en ese misterio que es el cuerpo humano, sin que ello signifique que el problema estético quede resuelto totalmente. Por el contrario, los cabos sueltos se entrelazarán de muchas maneras y también “esos nudos”, esos amarres se soltarán. / Tesis

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