Zugl.: Hamburg, Univ., Diss., 2005

Thesis--Munich. / Bibliography: p. 244-249.

Diss.--Erlangen-Nürnberg--Friedrich-Alexander Universität, 1996. Titre de soutenance : Die "Venus Libitina" und die "Demokratie der Götter" : Aspekte des "Hellenismus" im Werk Heinrich Heines (1827-1837). / Bibliogr. p. 228-232.

Heinrich Heine (1797-1856) é costumeiramente lembrado como um escritor engajado. Ora lido como um defensor do povo judeu do qual descendia ora como um intelectual livre que buscou um olhar crítico sobre as religiões e sobre o mundo burguês em formação. Sua obra O Rabi de Bacherach (1840) literaliza a saga do povo judeu em face do cristianismo na Alemanha. Eis, portanto, um vasto leque de possibilidades para análise do engajamento político de Heine, que se mostra nessa obra não de modo panfletário, senão a partir de uma visão crítica da religião. Dentro desse viés, o presente trabalho propõe-se a fazer uma leitura do seu Rabi destacando os recursos estilísticos da ironia e da paródia, acionadas frequentemente por Heine para operar com forças políticas de sua época, o que marcou profundamente sua poética ao mesmo tempo jocosa e crítica. / Heinrich Heine (1797-1856) is usually remembered as a politically engaged writer. Sometimes he is thought of as a defender of the Jewish people from whom he descended sometimes like a free thinker, who had a critical point of view about religions and the emerging bourgeoisie world. His work The Rabbi of Bacherach (1840) describes the saga of the Jewish people in view of Christianity in Germany. Thus, there is a wide range of possibilities to analyze Heines political engagement, which appears in this work not like pamphlet literature, but from a critical point of view about religion. In this context, the present work intends to point out the stylistical mechanisms of irony and parody in his Rabbi, which were often used by Heine to work with political forces of his time. Consequently his poetry was marked both in a funny and in a critical way.

Heinrich Heine (1797-1856) é costumeiramente lembrado como um escritor engajado. Ora lido como um defensor do povo judeu do qual descendia ora como um intelectual livre que buscou um olhar crítico sobre as religiões e sobre o mundo burguês em formação. Sua obra O Rabi de Bacherach (1840) literaliza a saga do povo judeu em face do cristianismo na Alemanha. Eis, portanto, um vasto leque de possibilidades para análise do engajamento político de Heine, que se mostra nessa obra não de modo panfletário, senão a partir de uma visão crítica da religião. Dentro desse viés, o presente trabalho propõe-se a fazer uma leitura do seu Rabi destacando os recursos estilísticos da ironia e da paródia, acionadas frequentemente por Heine para operar com forças políticas de sua época, o que marcou profundamente sua poética ao mesmo tempo jocosa e crítica. / Heinrich Heine (1797-1856) is usually remembered as a politically engaged writer. Sometimes he is thought of as a defender of the Jewish people from whom he descended sometimes like a free thinker, who had a critical point of view about religions and the emerging bourgeoisie world. His work The Rabbi of Bacherach (1840) describes the saga of the Jewish people in view of Christianity in Germany. Thus, there is a wide range of possibilities to analyze Heines political engagement, which appears in this work not like pamphlet literature, but from a critical point of view about religion. In this context, the present work intends to point out the stylistical mechanisms of irony and parody in his Rabbi, which were often used by Heine to work with political forces of his time. Consequently his poetry was marked both in a funny and in a critical way.

Diss.--Philosophische Fakultät--Aachen--Rheinisch-Westfälische Technische Hochschule, 1988.

Drawing on the concept developed in Stephen Greenblatt’s Renaissance Self-fashioning: From More to Shakespeare, this thesis presents Heinrich Heine as an extreme case of the ‘self-fashioning’ writer. I argue that his preoccupation with self-construction determines what and how he writes, how he treats his reading public and, crucially, how he perceives and evaluates his own career. Though self-fashioning occurs in his earliest works, Heine’s decision to move to Paris (1831) was the single biggest self-determining act of his life; he constructs it as a moment of rebirth. Inspired by the July Revolution, he sought a new authorial identity in harmony with the supposed new world order and his own social, political and artistic ideals. However, the reality of juste-milieu society—a continual seesawing between modernisation and restoration—cast doubt on the possibility, even the desirability, of novelty and progress, the goals of revolution. In this context, Heine cultivates the identity of a perpetually embattled writer through confrontational dialogue with contemporary ideologies and his readership alike; ever ambivalent in his attitude to the role of art in a modernising world, he is also engaged in an internal battle with the self. First I show how he establishes himself in the role of cultural correspondent in the early journalism by developing a mode of self-conscious spectatorship which enables him to negotiate between contemporary French conditions and German readership expectations. Second I investigate the strategies he uses to free himself from his Buch der Lieder legacy and redefine his identity as a poet in Paris; I show how the Neue Gedichte (1844) are assembled to record and reflect on this transitional process, making the collection a monument to his self-fashioning tendencies. Finally I explore how Heine manipulates the relationship between public and private within a concept of self to construct his authorial identity; I consider a number of self-editing and self-reconstructive practices in prefaces, letters and autobiographical writing.

As an accepted genre of female composition, song lies in a unique position among musical genres. This allows it to stand largely outside the area of Claude Steele’s notion of “stereotype threat,” and being absent such weighty pressures, it could then furnish an arena in which female composers can do their best work. As a genre that combines the arts of music and poetry, song is based upon a given set of symbols that provide the composer with inspiration. The study of these symbols and their possible metaphorical meanings can offer a guide to that inspiration. By studying two settings by male composers and two settings of female composers, we can compare their individual and gendered approach to those symbols for elements of a masculine or feminine style. Heinrich Heine’s 23rd poem in Die Heimkehr, analyzed thoroughly in Chapter 2, is the focal text in this study. In Chapters 3 through 6 each of the settings is examined at length using both a standard formal analysis and the “Grundgestalt” concept of Schoenberg. The settings examined are “Ihr Bild” by Franz Schubert, “Ich stand in dunkeln Träumen” and “Ihr Bildniss” (two versions of the same work) by Clara Schumann, “Ich stand in dunkeln Träumen” by Hugo Wolf, and a setting of the same name by Ingeborg von Bronsart. Each discussion focuses on the individual reactions to the specific symbols identified in Chapter 2, as well as the global approach to some well-known literary aspects of paternalistic literary culture of the time. The thesis concludes with a summary of the similarities and differences in the preceding four examinations. Chapter 7 also draws conclusions based on those contrasts, which yields an evaluation of gendered reactions and the possibility of a feminine style in the nineteenth century.

Zugl.: Bonn, Univ., Diss.

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