Thesis (Ph.D.)--Indiana University, Dept. of Germanic Studies, 2007. / Source: Dissertation Abstracts International, Volume: 68-11, Section: A, page: 4721. Adviser: Claudia Breger. Title from dissertation home page (viewed May 22, 2008).

Thesis (Ph.D.)--Indiana University, Dept. of Germanic Studies, 2007. / Title from dissertation home page (viewed May 28, 2008). Source: Dissertation Abstracts International, Volume: 68-11, Section: A, page: 4721. Adviser: Claudia Breger.

Thesis (Ph.D.)--New York University, 1989. / Source: Dissertation Abstracts International, Volume: 50-09, Section: A, page: 2915. Adviser: Volkmar Sander.

From the sympathetic vibration of strings to the resonance disasters of collapsing bridges, the physical phenomenon of resonance has fascinated people for centuries. In the 20th century, German writer Alfred Döblin takes up the notion of resonance in his philosophical text Unser Dasein. In Döblin’s understanding of the individual as an ‘open system,’ resonance features as the main natural principle that connects individuals with each other, but also with the world in general. This dissertation investigates the concept of resonance in its anthropological and literary implications for Döblin. It combines a cultural studies approach with structuralist narratology. The first part of the dissertation examines the history of the discourse on resonance from the 16th to the 20th centuries with regard to a small set of examples of resonance phenomena, and leads up to an analysis of Döblin’s concept of resonance. The second part consists of close readings of Döblin’s novels Die drei Sprünge des Wang-lun and Berge Meere und Giganten, as well as his epic Manas, in light of this concept and its relationship to the problem of individuation. The dissertation argues that resonance as a figure of repetition and increase features both on a diegetic and a formal level in Döblin’s texts and, as ‘resonant narration,’ becomes a form-semantic principle in the literary text. / Germanic Languages and Literatures

The objective of this thesis is to describe the influence that changes in the target environment have on translations and adaptations. Two translations and two adaptations, belonging to different cultures and eras, of the fairy tale La Belle au bois dormant (1697) by Charles Perrault have been selected for contexualization and comparison. For each of the four target texts, I reconstruct the relevant historical, literary and translation context and describe the intended audience and purpose, drawing parallels between these external factors and the choices made by the translators and adapters in their respective texts. A discussion of Descriptive Translation Studies, polysystem theory, norm theory, the notions governing rewriting, and Skopostheory provides a theoretical framework for the thesis. The analysis is divided into three chapters. In the first I situate the source text within its genre and historical context and outline the origins of the tale, the life of its author and how the tale reflects both its humble roots and the aristocratic audience to whom it was addressed. The second chapter deals with two English translations: The Sleeping Beauty in the Wood (1729) by Robert Samber and The Sleeping Beauty (1957) by Geoffrey Brereton. Each of the translations is presented in relation to its era and a three-way comparison between the source text, the translations and their contexts brings forth some possible reasons for the differences in the target texts. The final chapter looks at two famous adaptations of this well-known tale, the Brothers Grimms' Dornroschen (Briar Rose) (1812) and Walt Disney's Sleeping Beauty (1959), and demonstrates how these authors were influenced by various factors of their respective eras.

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