Universiẗat, Diss., 2006--Passau. / Erscheinungsjahr an der Haupttitelstelle: 2005.

The purpose of this thesis is to examine from a feminist perspective two novels of the Austrian writer, Marlen Haushofer (1920, Frauenstein-1970, Steyr): Die Tapetentur (1957) and Die Mansarde (1969). / Both work were written in a "pre-feminist" period in the history of German women writers. However, with the aid of contemporary feminist approaches, they can be rediscovered and deciphered for the modern reader. / In the first chapter I will introduce the theories to be applied, the biography of her author and the reception of the work, focusing on areas relevant to the topic of the thesis. The recurring themes of spatial isolation and speechlessness will then be analysed in terms of form and content. Through the observation of physical spaces and their psychological implications, and through the investigation of a new form of verbal expression and freedom, a process of writing continuity ("Fortschreibung") emerges from Haushofer's world. / In the related characters of two women figures, Annette in Die Tapetentur and the unnamed heroine in Die Mansarde, Marlen Haushofer establishes a line of development in her work. At the end of her literary career, she succeeds in delivering to the reader her encoded version of the liberation of women from their fettered, hopeless existence.

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Cette recherche se concentre sur le roman *Die Wand* de l'écrivaine autrichienne Marlen Haushofer, un roman publié en 1963 et traduit vers le français par *Le mur invisible* en 1985. La présente recherche s'effectue à partir de la traduction française du texte. Initialement peu remarqué, le roman a été redécouvert dans les années 1980 grâce aux études féministes. Il raconte l'histoire d'une héroïne isolée par une barrière invisible dans une région montagneuse, qui doit survivre seule avec des animaux. Cette situation lui permet de se redéfinir hors des contraintes de la société patriarcale. L'isolement de la protagoniste est décrit comme une régression vers un mode de vie primitif lui offrant la possibilité de repenser son identité et son rapport au monde. Le récit, présenté sous forme de manuscrit, témoigne d'une transformation personnelle ainsi que de la capacité d'agir de l'héroïne, qualifiée d'agentivité littéraire. Le texte, riche en silences et en indéterminations, incite les lecteur.ice.s à une lecture active et spéculative, ce qui a donné lieu au fil des décennies à diverses interprétations critiques. Ce mémoire s'intéresse à la narratrice et à son rapport au monde en s'appuyant sur trois genres littéraires : la robinsonnade, le roman post-apocalyptique et le récit d'émancipation féminine. Chacun de ces genres, avec leurs codes et conventions, contribue à contester l'ordre établi et à éclairer la voix narrative de la protagoniste. À l'aide des outils fournis par l'écocritique, les études féministes, les études animales et les études culturelles, nous nous attarderons à montrer comment le roman, bien qu'il ne s'inscrive pas entièrement dans une logique de filiation de ces genres, reprend et subvertit certains codes afin de mettre en valeur une prise de parole complexe, existentielle et consciente de ses contradictions. / This research focuses on Austrian writer Marlen Haushofer's novel *Die Wand*, published in 1963 and translated into French in 1985 as *Le mur invisible*. The analysis carried out in this thesis is based on the French translation of the text. Initially little noticed, it was rediscovered in the 1980s thanks to feminist studies. The novel tells the story of a woman who, suddenly isolated by an invisible wall in a mountainous region, must survive and care for a group of animals. This situation enables her to redefine herself outside the constraints of a modern patriarchal society. The protagonist's isolation is described as a regression to a primitive way of life, offering her the opportunity to rethink her identity and her relationship to the world. The narrative, presented in manuscript form, bears witness to a personal transformation and to the heroine's capacity for action, which can be described as discursive agency. The text, rich in silences and ambiguities, encourages an active and speculative reading that has given rise to various critical interpretations over the decades. This thesis focuses on the narrator and her relationship to the world, drawing on three literary genres: the robinsonade, the post-apocalyptic novel, and the female emancipation narrative. Each of these genres, with its codes and conventions, contributes to a challenging of the established order and illuminates the different ideological discourses behind the protagonist's narrative voice. Using the tools provided by ecocriticism, feminist studies, animal studies, and cultural studies, we will examine how the novel, while not entirely following the logic of filiation of these genres, takes up and subverts certain codes to reveal a complex, existential and sometimes contradictory narrative discourse.

No description available.

Albrecht Haushofer wrote the Moabiter Sonette while confined in a Nazi prison in Berlin during the last months of World War II. His arrest resulted from his indirect involvement in the resistance movement which culminated with the July 20, 1944 attempt on Hitler’s life. From 1933 to his arrest Haushofer was directly and indirectly involved in work aimed at overthrowing Hitler’s regime and forming a new government. Through his father’s friend, Rudolf Heß, Haushofer was ‘inofficially’ appointed in 1933 to the Foreign Office under Ribbentrop. His effect on German government policies was however nil. In 1937 he left the Foreign Office and devoted himself to his professorial duties at the University of Berlin. His activities with the resistance movement under the leadership of Johannes Popitz began during these years. The failure of the July, 1944 coup led to the immediate arrest of all those who were in the least suspected. Haushofer fled to Bavaria where he successfully avoided detection and arrest until early December, 1944. He was murdered on April 23, 1945, by the Nazis. To a keen observer like Albrecht Haushofer the fact that Germany was doomed was a foregone conclusion and with his arrest he also realized that the chances of the own survival were slim. Alone in his prison cell he reflected on his life, his family and friends, his travels and his homeland. He brought these reflections to poetic expression in the Moabiter Sonette. They represent a poetic monologue, a poetic diary whose entries recall a variety of personal experience, memories and ideas. For the purpose of this investigation, the sonnets are divided into categories. In one category the sonnets reflect memories of family, friends, of homeland and far-reaching travels. His deeply felt despair over the total destruction of Germany, her lands as well as her tradition, constitutes a second category. Sonnets referring to his fellow prisoners as well as to those countless innocent people who suffered under the tyrannical, destructive hands of the Nazi regime are also included in the second grouping. His passionate longing for freedom forms yet another group. But most important of all are those sonnets which demonstrate the poet’s fundamental personal evolution, in which he comes to a new and deeper understanding of himself, and an eventual surmounting of his fears of death. From a point of suicide he rises, despite recurring despair, to a newly discovered inner peace and contentment in the face of certain death. It is this ‘becoming’ which speaks most loudly and most clearly out of the lines of the Moabiter Sonette. This thesis traces the historical events which lead up to Haushofer’s arrest and develops through the sonnets as well as Haushofer’s dramatic works, his ‘Weltanschauung.’ With this basic background the sonnets are interpreted from a ‘biographical’ standpoint. Apart from this historical, philosophical and biographical interpretation, the sonnets are investigated in regard to poetic form. A discussion is undertaken in order to ascertain why the poet chose the sonnet form as a means of expression. A comparison is made with earlier unpublished lyrical works in an attempt to underscore the sonnets from a standpoint of form and content and to trace Haushofer’s development as a poet. The final chapters of the thesis discuss Haushofer as a political poet and summarize my own thoughts and the thoughts of numerous critics regarding the worth of the sonnets as poetry and as a document of the so oft forgotten spirit which moved men like Haushofer to risk their lives for the belief that justice and freedom could and should prevail.

No description available.

This work is meant to contribute to the research of adaptation studies by focusing on a special case: the transformation of a fictional diary into a movie. In order to sustain the form of the literary source the adaptation to movie requires certain strategies. Först of all, the diary genre is characterized by a one-dimensional narration. Second, diaries only supply a few written dialogues, hence this "void" has to be compensated and filled by media specific measures. Third, the investigated diary is a story of individualization and emancipation of a single woman. Therefore not only the lack of dialogues but also the lack of actors composes a challenge to the work of adaptation. The main task is thus to analyze the literary source and the movie and identify the specific strategies that make the transformation of a fictional diary to a movie possible.

Wien, Univ., Dipl.-Arb., 2009.

Proefschrift Erasmus Universiteit Rotterdam. / Lit. opg.: p. 266-285. - Index. - Met een samenvatting in het Engels.