Thesis--Hamburg. / Bibliography: p. [174]-178.

Thesis (Ph.D.)--Indiana University, 2006. / Source: Dissertation Abstracts International, Volume: 67-01, Section: A, page: 0197. Adviser: Fritz Breithaupt. "Title from dissertation home page (viewed Dec. 12, 2006)."

Thesis (Ph.D.)--Indiana University, 2005. / Source: Dissertation Abstracts International, Volume: 66-12, Section: A, page: 4396. Chair: Claudia Breger. Title from dissertation home page (viewed Oct. 11, 2006).

Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2006. / Source: Dissertation Abstracts International, Volume: 67-07, Section: A, page: 2557. Adviser: Rajeshwari Pandharipande. Includes bibliographical references (leaves 284-299) Available on microfilm from Pro Quest Information and Learning.

Through an analysis of the four novels Sansibar (1957), Die Rote (196 1), Efraim (1967) and Winterspelt (1974), this thesis explores the development of the principles of freedom and truth upheld by the characters in Sansibar into the concept of the artistic outline found in the later novels. Crucial to an understanding of this is the Sartre quotation in Winterspelt . According to Sartre's ‘original project’, the individual human being starts off life as a rough outline, which lives itself subjectively, filtering objective reality through its own preconceptions and thus experiencing nothing which is not part of these preconceptions. As a painter creates an outline on a blank canvas, so we create the outline of our own lives and determin our destiny. In Andersch's novels, which are set against the existential void, the fate of the characters is never predetermined; rather, it is the individual's line of thinking which determines his or her course of action, and determines the nature of his or her relationships with others. As Andersch's characters become more aware of their freedom as human beings, they are able to develop conscious artistic outlines and so turn the existential void into a place of freedom. This thesis looks at four closely interrelated aspects of the artistic outline: ‘Lines of Thought’, ‘The Development of Outlines’, ‘New Directions’ and ‘Co-existence and convergence: the individual artistic outline as part of a whole’. By showing the development of these aspects across the four novels, it draws conclusions not only about Alfred Andersch's development as a writer but also about his vision of humanity. / Subscription resource available via Digital Dissertations only.

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Friedrich Duerrenmatt was one of the most important German-language writers of the post-World War II period. He was the most produced playwright in German-speaking countries between 1964 and 1974, with 213 productions during that ten-year period. Eight of Duerrenmatt's thirty plays and adaptations of three of his prose works were produced in one form or another (play, film or opera) in America. These productions included six on Broadway, two national tours, four off Broadway, two off-off Broadway, and others in at least fifteen regional theatres and numerous semi-professional theatres. He was awarded the New York Drama Critics' Circle Award for best foreign play in 1959 for The Visit. Two major films and one opera based on his works were presented in the United States. / The purpose of this study was to document the history of Friedrich Duerrenmatt's plays on the American stage. The emphasis was on the productions, the people involved, and the critical and popular response to the productions. The organization of the study was as follows: The American productions of each play were discussed in chronological order of their first mounting in the United States, beginning with the 1958 production of Fools Are Passing Through in New York and ending with the 1994 Milwaukee Repertory Theater production of The Visit. The study included all professional productions, including plays, films, and operas, which were mounted in the United States and which were either written by Duerrenmatt or derived from a literary work by the playwright. / Source: Dissertation Abstracts International, Volume: 56-11, Section: A, page: 4207. / Major Professor: John Degen. / Thesis (Ph.D.)--The Florida State University, 1995.

acase@tulane.edu

acase@tulane.edu

The German literary craftsman Christoph Martin Wieland (1733-1813) was a great spokesman for the eighteenth century, not least in the compulsion to discourse on erotic love, combining observation with a rhetoric of allusion and metaphor. Erotic love dominated Wieland's earlier prose and poetry. Idealized and rather seraphic in the beginning, it seemed to change radically after 1760. Wieland was then often accused of appealing to prurient interests and was ultimately branded undeutsch, unchristlich and unsittlich Modern scholarship largely discounts the charges of immorality leveled against Wieland. A concensus remains, however, that the poet's approach to love and virtue changed considerably with experience. This view, supported in part by the poet's own declaration that he experienced a great personal metamorphosis toward 1760, is challenged in the study at hand, which--building on contributions by Gruber, Hoppe, Sengle, Seiffert, Paulsen, McCarthy and others--compares Wieland's portrayal of erotic experience during his controversial years 1750-1780, before and after his 'great transformation.' In Part One, Chapters I and II chronicle Wieland's life to 1780, focusing on the relationship between his writing and women, and on factors significant in his perception of love. In Part Two, Chapter III traces the early history of Wieland's eroticism and of critical reaction to the poet's depiction of love, and reviews briefly previous scholarly analyses of Wieland's erotic writings. Chapter IV examines vocabulary, style and content of works written by Wieland in the 1750's in which the erotic is a significant factor, as compared to selected works written in the 1760's and 1770's, after Wieland's 'metamorphosis.' True to the Horatian dictum, Wieland's primary concern was to convey lessons in esthetically pleasing form. His lessons were in love. After his 'great transformation,' he believed the best way to entertain and edify was through humor. The elements of Wieland's Liebeslehre, however, remained essentially unchanged, as did the vocabulary he employed to describe the love encounter. Indeed, in his metaphor, Wieland was more erotic as a 'Platonic enthusiast' and 'seraphic poet' in the 1750's, than he was later when censured by many as an advocate of sexual license / acase@tulane.edu