Das von Hermann Hesse im Jahre 1920 veroffentlichte Buch Wanderung ist eine Form der Reisedarstellung. Es ist jedoch mehr als die Beschreibung einer Reise. Vielmehr ist Wanderung eine interessante Zusammenstellung von Gedanken, Uberlegungen und Fragen in den unterschiedlichen Kunstformen wie Malerei, Presa und Dichtungen. Das Buch ist ein Ergebnis Hesses personlichen Versuches, einen Teil seines Lebens zu erklaren. Anders gesagt, es ist eine Reise auf dem Weg in das eigene Innere, wo der Mensch mit seinem Dase in um eine Antwort auf die Fragen des Alltags ringt. Weil Hesse selbst ein Mensch mit vielseitigen Interessen ist, kann er auch so viele Menschen mit seinen Werken erreichen. Auf ganz unterschiedlichen Wegen versucht er, seine Gedanken zu verdeutlichen und wei t erzugeben bald ein Bild, bald ein schones Gedicht oder auch ein ProsastUck. Sie sind vielleicht eine Hilfe flir die, die eigene Klarheit suchen; aber sie sind sicher entstanden mit dem Interesse, etwas Uber Hesses eigenen Weg, das eigene Ziel, den Sinn des Lebens fUr sich und fUr andere verstandlich machen zu wollen. Dem KUnstler ist es wichtig, daB sein Werk eine AuBerung seines Ichs darstellt und ist also von seiner Sichtweise und seinen Interessen abhangig. Der Kilnstler welche Form er auch herstellt, mochte ein ganzheitliches Verstandnis fordern oder auch GefUhle wecken. So versucht es Hesse in diesem Werk. Wanderung ist ein Ergebnis von einem Versuch, uns zu zeigen, was er von sich, von seiner Welt, bzw. Umwelt denkt. Filr uns ist also zu fragen, welche Verbindung es zwischen dem Kilnstler, seinen Gedanken und seinen Bildern gibt. Der Leser sollte spilren, was Hesse in seinem Leben wahrnimmt und selbst ins Nachdenken kommen, nach sich selbst zu fragen und seine Platz in der Welt zu finden. Hesses Schilderung ist kein Ersatz filr die eigenen Schritte. Keiner auBer dem einzelnen Menschen kann dessen Wegen aussuchen. Kunst ist das ideale Mittel filr die AuBerung dieser Gedanken. Sie sind individuell formuliert und in der Herstellung eines Kunstwerkes werden viele unterschiedliche Elemente zusammenkommen. Jedes Werk reprasentiert den Kilnstler und die Gedanken, die ihn einpragen. Durch das Werk konnte man einen Tei! des Kilnstlerlebens kennenlernen. Wahrend wir sein Leben anschauen, milssen wir selbst Uberlegungen Uber das eigene Leben machen. Wir sind so konzentriert auf die Dinge, die wir tun, daB wir so oft die Hauptfrage vergessen: Wer sind wir? Erst vor diesem Hintergrund sind die anderen Fragen wichtig und zu beantworten. Es gibt eine sehr groBen Reichtum unterschiedentlichen Seins unter den Menschen, die eine GroBzahl von Moglichkeiten und Fahigkeiten haben. Sie werden, auch in demselben Menschen, jedesmal anders ausgedrilckt. Jeder Mensch ist der Kilnstler seines eigenes Lebens. Er nimmt die vorhandenen Elementen, interpretiert und~ gestaltet sie um. Dabei spilren die anderen, wie er seine Welt sieht, wie er denkt und fUhlt. So ist der ProzeB des kilnstlerischen Schaff ens eine Quelle filr neue Einsichten und Erkenntnise, eine Einladung, weitere Schritte zu versuchen. Seine Werke sind sein Beitrag zu der Welt. Der wandernde Kilnstler ist ein ideal es Sinnbild und eine gute Ausdrucksform fUr die Verkorperung der nicht enden konnenden Suche nach einem bedeutsamen Dasein. Jeder muB das eigene Dasein finden, das Leben gestalten - es gibt keine allgemeinen Rezepte, um in Frieden und Harmonie in und mit der Welt zu leben. So soll mit dieser Arbeit der Versuch unternommen werden, die Verbindung zwischen einzelnen Ausdrucksformen der Kunst und der Bedeutungg der Situation des Menschen und seine Gedanken flir die Gestaltung dieser Ausdrucksformen zu zeigen. Am Beispiel der Wanderung von Hermann Hesse mochte ich deutlich machen, was der Dichter selbst, vor allem aber uns, zu sagen hat.

Zugleich: Diss. Siegen, 2006. / Literaturverz.

Hermann Hesse's reflection on youth is one of his most popular themes. In his novel Unterm Rad (1906), Hesse explores youth and their search for identity. The author not only accuses the German educational system of at the turn of the century, but also the teachers and parents, of standing in the children's way in developing an individualized personality. According to Hesse, this development, however painful, is the primary responsibility of the adolescent. Hermann Hesse feels strongly about becoming a personality, namely the privilege to feel, act, and think independently of the masses. Every individual has an obligation to follow his inner voice and to develop his own identity. The first part of this thesis concentrates on the novel Unterm Rad and consists of a summary, thematic discussion, the novel's presentation and its original and succeeding receptions. It then discusses the definition and theory of "identity" in regard to young people. By focusing on the two protagonists Giebenrath and Heilner, their goals and the reality of their lives, their struggle on their way to adulthood becomes apparent. Finally this thesis explores Hesse's own childhood and youth and examines the autobiographical elements in the literary figures of this novel.

Zugl.: Düsseldorf, Univ., Magisterarbeit, 2006

Over the course of this thesis, three of Hermann Hesse’s novels will be examined – Demian (1919), Der Steppenwolf (1927), and Siddhartha (1922) – as performative texts in order to demonstrate how Hesse presents a blueprint of ideal paths to personal enlightenment through common themes that flow through his works, such as breaking out, creation and destruction, and Jungian archetypes. These themes will be compared to Nietzsche’s work on the transformation of the soul. Each of these performative texts by Hesse present a unique opportunity, not only to enjoy a masterful tale of such vivid characters, but also a chance for readers to discover for themselves a new access to peace of mind.

Quelles valeurs et fonctions à la fois sociales, éthiques et poétiques peuvent être attribuées à la création artistique ? Dans les romans étudiés – 'Rosshalde' et 'Le Dernier Eté de Klingsor' de H.Hesse, 'Jean-Christophe' de R. Rolland, L’'Arc-En-Ciel' et 'Femmes amoureuses' de D.H. Lawrence, la création apparaît comme le moyen privilégié de résister à la mécanisation de la société industrielle et au désenchantement moderne, bien plus, elle vise à repenser les fondements du monde occidental. Un rôle civilisateur et régénérateur est attribué à l’art. Cette idée conduit à aborder différentes conceptions du sujet et de l’identité de l’artiste : la création permettrait de concilier harmonieusement le singulier et l’universel, et l’artiste incarnerait volontiers une forme de philosophe, de héros, ou de prophète, ayant un rapport ambivalent à la communauté. De plus, ces romans empruntent des procédés d’écriture et de composition à la musique et à la peinture, tout en laissant également la part belle aux dialogues mettant en oeuvre des développements conceptuels. Le roman, en intégrant des raisonnements à la fiction, ne fixe pas d’interprétation. Il critique le dogmatisme et valorise une pensée dynamique et constamment liée à l’expérience. / Which values and functions, social, ethical as well as poetic, can be attached to artistic creation ? In the novels we studied - 'Rosshalde' and 'Klingsor’s Last Summer' by H.Hesse, 'Jean-Christophe' by R.Rolland, The 'Rainbow' and 'Women in Love' by D.H. Lawrence, creation seems to be the preferred means to resist the mechanization of the industrial society and to hold out against modern disillusionment, even more, it aims at rethinking the foundations of the western world. A civilizing and regenerating role is attributed to art. That leads us to approach different conceptions of the subject and of the identity of the artist : creation as a way to reconcile harmoniously the singular with the universal, and the artist as the reincarnation of a form of philosophy, of a hero, or of a prophet, having ambivalent relations with the community. Moreover, these novels adopt methods of writing and composition from music and painting, but they also give a lot of importance to dialogues making use of conceptual developments. By integrating reasoning to fiction, the novel does not fix the interpretation. It criticizes dogmatism and enhances dynamic thinking constantly linked to experience.

Profondeur et complexité de la pensée poétique d’Hermann Hesse ont souvent échappé à une réception critique induite en erreur par la limpidité d’une écriture qui, aux antipodes de « la consternation » requise dans l’après-guerre, obéit à une poétique de l’allégresse, de la Heiterkeit. Identification et analyse de cette poétique exigent d’adopter la perspective active de Hesse, celle de lecteur-créateur, afin de mieux le suivre dans sa libération progressive de divers cadres de pensée philosophico-poétiques. Hesse se démarque d’abord, lors d’une première crise, des canons weimariens de la Heiterkeit puis, dans une seconde crise, de l’esthétique créatrice nietzschéenne de l’allégresse. Confronté à l’urgence de la situation historique, Hesse trouve alors à la fin des années vingt sa propre poétique de résistance aux idéologies totalitaires, notamment au national-socialisme : une poétique de l’allégresse originale qui, utopique et initiatique, n’évacue pas le non-rationnel de l’esprit, comme Thomas Mann à la même époque. L’auteur parvient, en incluant le non-rationnel dans le fondement historique et anthropologique qu’il retire de sa lecture de Jacob Burckhardt, à éviter les écueils d’une autre poétique se dédiant au même moment au combat historique et transhistorique contre le fascisme – la poétique benjamienne de l’aura et de « l’image dialectique ». La poétique hesséenne de l’allégresse sera initiation par traces de témoignages à une lecture-écriture allégoricienne faisant participer l’individu à une communication authentique, créatrice de vrai et de joie dans le partage culturel d’une parole poétique originaire où, avec l’autre, l’homme advient historiquement à lui-même. / Depth and complexity of Hermann Hesse’s poetical thinking have been foregone by many of his critics misled by the limpidity of a prosa which, displaying his concept of serene joy (Heiterkeit), dissented from « the consternation» litterature that prevailed after the war. To identify and to analyse this poetics we need to adopt Hesse’s active perspective of reader-creator while following his progressive liberation from different kinds of philosophical and poetical frames: in a first crisis, he struggles himself free of the Heiterkeit canons of the Weimar Classics whereas the second crisis enables him to break the spell of Nietzsche’s creative poetics of joy. Urged by the historical context of the late twenties, Hesse creates his own poetics of resistance against totalitarian ideologies, in particular against National Socialism: an utopian and initiatory poetics of joy, that does not dismiss the non-rational of the mind like does Thomas Mann. Hesse’s poetics is based on the historical and anthropological foundations originating from his reading of Jacob Burckhardt’s works. It therefore prevents itself from the pitfalls of another poetics dedicated to the historical and transhistorical fighting against fascism, i.e. Walter Benjamin’s poetics of the aura and the “dialectical image”. Hesse’s poetics of joy is an initiation, through traces of testimony, towards an allegorical reading-writing which allows the individual to take part in an authentic communication that creates both truth and joy by the cultural sharing of an original poetical language through which the human being is coming, together with the other, historically to himself.

Thesis (doctoral)--Université de Genève, 1987. / Spine title: L'Espace existentiel chez Hermann Hesse. Cover title: L'Espace existentiel dans la vie et l'œuvre de Hermann Hesse, 1877-1962. Includes bibliographical references (p. 357-388).

Buscando compreender o que seria e a própria possibilidade de uma experiência de existência de modo autêntico, o presente trabalho busca apresentar diferentes construções de tal experiência, escolhidas principalmente pela proximidade temática e do contexto de produção. No campo da filosofia, será apresentada a construção realizada pelo filósofo Martin Heidegger em Ser e Tempo, enquanto que no campo da literatura serão analisados traços das construções presentes em duas obras de Hermann Hesse O Lobo da Estepe e Sidarta e em duas obras de Clarice Lispector Uma Aprendizagem ou O Livro dos Prazeres e A Paixão Segundo G.H. Ele está dividido em três partes. A primeira refere-se à construção da experiência de existência autêntica em Ser e Tempo. Em seguida, serão analisados os quatro romances eleitos utilizando como referência, mas não se limitando a, conceitos heideggarianos. Por fim, será realizada uma análise comparativa, quando serão contrapostas as ferramentas utilizadas em cada romance para apresentar tal experiência, e então alguns desdobramentos possíveis serão apresentados. Como principal questão que liga as obras estudadas, pode-se perceber que em todas elas está presente o ser quem se é, modo no qual ocorre uma abertura própria do ser que nós mesmos somos / Trying to understand what would be and the possibility itself of an authentic existence, this work tries to present different constructions of such an experience, chosen mainly by their thematic closeness and proximity in the writing context. In the field of philosophy, it will be presented the construction made by Martin Heidegger in Being and Time, while in the field of literature it will be analyzed traces of the constructions presented in two works of Hermann Hesse The Steppenwolf and Siddhartha and in two works of Clarice Lispector An Apprenticeship or the Book of Delights and Passion According to G.H. It is divided into three main parts. The first one includes the construction of the experience of an authentic existence in Being and Time. Then, it will be analyzed the four chosen novels using as reference, but not limited to, Heideggers concepts. Lastly, it will be shown a compared analysis, when it will be opposed the ways in which each novel presents such experience, and then some possible developments will be shown. As a main question that connects all the studied works, it can be noticed that in all of them it is central the be who you are, mode in which it occurs an authentic opening of the being which ourselves are

Buscando compreender o que seria e a própria possibilidade de uma experiência de existência de modo autêntico, o presente trabalho busca apresentar diferentes construções de tal experiência, escolhidas principalmente pela proximidade temática e do contexto de produção. No campo da filosofia, será apresentada a construção realizada pelo filósofo Martin Heidegger em Ser e Tempo, enquanto que no campo da literatura serão analisados traços das construções presentes em duas obras de Hermann Hesse O Lobo da Estepe e Sidarta e em duas obras de Clarice Lispector Uma Aprendizagem ou O Livro dos Prazeres e A Paixão Segundo G.H. Ele está dividido em três partes. A primeira refere-se à construção da experiência de existência autêntica em Ser e Tempo. Em seguida, serão analisados os quatro romances eleitos utilizando como referência, mas não se limitando a, conceitos heideggarianos. Por fim, será realizada uma análise comparativa, quando serão contrapostas as ferramentas utilizadas em cada romance para apresentar tal experiência, e então alguns desdobramentos possíveis serão apresentados. Como principal questão que liga as obras estudadas, pode-se perceber que em todas elas está presente o ser quem se é, modo no qual ocorre uma abertura própria do ser que nós mesmos somos / Trying to understand what would be and the possibility itself of an authentic existence, this work tries to present different constructions of such an experience, chosen mainly by their thematic closeness and proximity in the writing context. In the field of philosophy, it will be presented the construction made by Martin Heidegger in Being and Time, while in the field of literature it will be analyzed traces of the constructions presented in two works of Hermann Hesse The Steppenwolf and Siddhartha and in two works of Clarice Lispector An Apprenticeship or the Book of Delights and Passion According to G.H. It is divided into three main parts. The first one includes the construction of the experience of an authentic existence in Being and Time. Then, it will be analyzed the four chosen novels using as reference, but not limited to, Heideggers concepts. Lastly, it will be shown a compared analysis, when it will be opposed the ways in which each novel presents such experience, and then some possible developments will be shown. As a main question that connects all the studied works, it can be noticed that in all of them it is central the be who you are, mode in which it occurs an authentic opening of the being which ourselves are