Diss. / Bibliogr. p. 447-461.

This thesis examins various representations of individual memories and collective memory in Hermann Hesse?s <em>Das Glasperlenspiel</em> (1946). The analysis of Hermann Hesse?s novel basically pursues three different objectives: First, the narrative construction of the protagonists individual memories and how these are related to his self-perception. The theoretical framework for this purpose includes on the one hand narratological categories and on the other hand approaches which combine narratology and representations of memory in literature as for example Basseler?s and Birke?s (2005) contribution ?Mimesis des Erinnerns. ? Their understanding of the mimesis of remembering implies the construction of memories on different narratological levels like the level of the narrator and the one of the characters. <br ><br /> The second goal of this thesis, the analysis of the Glass Bead Game as a metaphor, is inextricably intertwined with Josef Knecht?s individual development but also initiates problems of collective memory and how they can appear in the extra-literary reality. The institution of the Glass Bead Game embraces the essential problems the province of Castalia suffers from: the exclusion of history results in corporate stagnation. Aleida and Jan Assmann?s theory of cultural memory offers a view of the Glass Bead Game-metaphor that illustrates the consequences of a radical separation of cultural memory and communicative memory. Thereby the transmission of meaning is cut off and the contents of cultural memory lose their significance for individuals in a particular society. <br ><br /> Last but not least it is discussed why <em>Das Glasperlenspiel</em> can be considered to be a ?Ged??chtnisroman? (memory novel) and which narratological procedures of representation constitute it as such. The category of ?Ged??chtnisroman? derives from Astrid Erll?s enhancements of Jan Assmann?s theory of cultural memory and emphasizes the social function of memory-narratives. In <em>Das Glasperlenspiel</em> two rhetorical modes, the cultural and the reflective mode, can be identified as being dominant. That leads to the conclusion, that <em>Das Glasperlenspiel</em> on the one hand formulates a collective memory that exists outside of historical time and on the other hand places it in the context of a cultural tradition through functionalising a variety of ?cultural paradigms?. In the reflective mode, the novel allows an observation of the contemporary ?Erinnerungskulturen? (communities sharing collective memories) to the reader and creates a fictional model of collective memory that exemplifies its problematic dimensions. <br ><br /> The cultural studies approach of this thesis and especially the combination with theories of collective memory extends the investigation of memory as an inner-literal phenomenon and involves ?Erinnerungskulturen? as space of effect of literary texts. In this respect literature is no longer only a written medium but literary texts get subsumable as cultural forms of expression that make the development and change of ?Erinnerungskulturen? observable. In this spirit, literature is not restricted to being a medium of ?Erinnerungskultur?, but also takes part in the generation of memory.

M.A. / Hermann Hesse is one of the most widely read and translated German authors of our time. The potential problems for the translator posed by the time gap between the original publication of the source text and a contemporary Afrikaans translation is illustrated by means of an analysis and periodisation of some of his fairy tales. Hesse's fairytales were mainly written during the first quarter of the twentieth century and are in many ways representative of the spirit of the times. The radical changes and developments in a modern age touched all aspects of society and its influence on the corresponding German literary movement of the time, the expressionism, is best summarised by the motto: "Change, renewal and intensification" (Best, 1978:11). The diverse literary styles of this movement can be attributed to the different ways writers responded to these changes. Whereas some writers wanted to bring about change by means of ecstatic destruction, others like Hesse had a more moderate view that change could be brought about by means of an inner process. Alienation was another popular expressionist theme. Hesse did not restrict its use to theme only, but applied it as an alienation technique by using historical romanticism in a modern context. Knowledge of genre, hermeneutics, structuralism, formalism and stylistics is a useful tool for the analysis of the fairytales. An analysis of the potential post modern Afrikaans target reader's philosophy of life will further aid the translator in bridging the gap between source and target cultures. In response to the language crisis at the beginning of the twentieth century, Hesse applied a number of non-verbal style techniques. The musical nature of his prose can be seen as an expressive way of dealing with this problem. His narrative style shows influences of modernism in the way he experiments with perspective and focus in order to distinguish between inner and outer world. Change of focus and perspective often goes hand in hand with a change in register. Hesse's use of archetypes and symbols reflects expressionist bias towards abstraction as does his use of irony as an alienation technique. André Lefevere's emphasis on the importance of the ideology, poetics, frame of reference and language (in this sequence) of the target audience, is illustrated and discussed by means of a comparison of selected source text examples with English and Afrikaans translations. These methods of analysis for the fairytales are then applied to the Afrikaans translation of "Piktors Verwandlungen" and "Der Europäer".

This thesis examins various representations of individual memories and collective memory in Hermann Hesse?s <em>Das Glasperlenspiel</em> (1946). The analysis of Hermann Hesse?s novel basically pursues three different objectives: First, the narrative construction of the protagonists individual memories and how these are related to his self-perception. The theoretical framework for this purpose includes on the one hand narratological categories and on the other hand approaches which combine narratology and representations of memory in literature as for example Basseler?s and Birke?s (2005) contribution ?Mimesis des Erinnerns. ? Their understanding of the mimesis of remembering implies the construction of memories on different narratological levels like the level of the narrator and the one of the characters. <br ><br /> The second goal of this thesis, the analysis of the Glass Bead Game as a metaphor, is inextricably intertwined with Josef Knecht?s individual development but also initiates problems of collective memory and how they can appear in the extra-literary reality. The institution of the Glass Bead Game embraces the essential problems the province of Castalia suffers from: the exclusion of history results in corporate stagnation. Aleida and Jan Assmann?s theory of cultural memory offers a view of the Glass Bead Game-metaphor that illustrates the consequences of a radical separation of cultural memory and communicative memory. Thereby the transmission of meaning is cut off and the contents of cultural memory lose their significance for individuals in a particular society. <br ><br /> Last but not least it is discussed why <em>Das Glasperlenspiel</em> can be considered to be a ?Gedächtnisroman? (memory novel) and which narratological procedures of representation constitute it as such. The category of ?Gedächtnisroman? derives from Astrid Erll?s enhancements of Jan Assmann?s theory of cultural memory and emphasizes the social function of memory-narratives. In <em>Das Glasperlenspiel</em> two rhetorical modes, the cultural and the reflective mode, can be identified as being dominant. That leads to the conclusion, that <em>Das Glasperlenspiel</em> on the one hand formulates a collective memory that exists outside of historical time and on the other hand places it in the context of a cultural tradition through functionalising a variety of ?cultural paradigms?. In the reflective mode, the novel allows an observation of the contemporary ?Erinnerungskulturen? (communities sharing collective memories) to the reader and creates a fictional model of collective memory that exemplifies its problematic dimensions. <br ><br /> The cultural studies approach of this thesis and especially the combination with theories of collective memory extends the investigation of memory as an inner-literal phenomenon and involves ?Erinnerungskulturen? as space of effect of literary texts. In this respect literature is no longer only a written medium but literary texts get subsumable as cultural forms of expression that make the development and change of ?Erinnerungskulturen? observable. In this spirit, literature is not restricted to being a medium of ?Erinnerungskultur?, but also takes part in the generation of memory.

Zugl.: Bratislava, Univ., Diss., 2004

Texte remanié de la seconde partie de: Diss.--Geschichtswissenschaft--Bochum--Ruhr-Universität, 1983. / Bibliogr. p. 318-334.

Diss.--Universität Marburg, 1997. / Bibliogr. p. 179-188.

Inaug.-Diss.--Leipzig. / Includes bibliographical references.

Diss.--Geschichtswissenschaftliche Fakultät--Marburg--Philipps-Universität, 1992. / Bibliogr. p. 457-490.

The fundamental role that tragedy has played in the development of European philosophy and, by extension, psychology, has in part been due to its inextricability from an understanding of human life, facilitating its many transformations alongside major shifts in the political and social landscapes where it plays out. This dissertation draws a thread from the traditions of tragedy and German Trauerspiel through the nineteenth century and into the twentieth, focusing on the legacy of the tragic as it lived on in Nietzsche's psychological philosophy and was taken up by Hermann Hesse in his literary explorations of spiritual development and the fate of the German soul. Affirmative fatalism is the conceptual name for a tendency that I observe specifically in German literature from the eighteenth, nineteenth, and twentieth centuries, finding its clearest articulations in Goethe’s Faust and Nietzsche’s amor fati, and then becoming thematized itself in Hesse’s Glasperlenspiel. This study illustrates how ultimately in Hesse’s texts the sharp distinction is drawn between affirmative fatalism in its authentic sense – a love of and dynamic engagement with fate – and the passive fatalism of authoritarianism – a prostration before a prescribed fate, the obsequiousness of which is veiled in the language and pageantry of patriotic heroism.