This is a translation of the only complete manuscript of Mechthild von Magdeburg's work, which was discovered in 1861 in Einsiedeln by Carl Greith and transcribed and published by P. Gall Morel in 1869. Mechthild (1212-1298) dictated Books I to VI to her friend and confessor, Heinrich von Halle, who rearranged the sequence of the chapters and translated them into Latin, entitling the work Lux Divinitas in Corda Veritatis. The original Low German version of Books I to VII was translated into High German by Heinrich von Noerdlingen in 1344. Notwithstanding difficulties due to inconsistencies of orthography, ambiguities, illogical use of the negative and confusing diacritical marks made by the editor, this translation remains as faithful in both content and format to the text as possible. Lyrical passages, however, were translated into prose so as not to sacrifice Mechthild's meaning to the pursuit of assonance.

The essential link between Volksmarchen and Kunstmarchen is the consistent theme in the Volksmarchen of restoration of a distorted world harmony. The impulse for the Romantic Kunstmarchen was an attempt to effect a reestablishment of order, both in the world and for the authors, by means of the Marchen. Connotations of Kunst in Kunstmarchen as either art or imitation correspond to the author's attitude towards the magical force: awe inspires artistry, but presumption produces imitations. Hebbel's abandonment of an absolute moral code results in a fundamental contradiction with the premises of the Marchen. Consequently, Der Rubin is an unconvincing attempt to reconstruct an all-encompassing harmony. Tieck, in Der blonde Eckbert, upholds the necessity of absolutes in the moral code as a foundation for the Marchen. Likewise, Huch shows in Lugenmarchen the unsatisfactory result of attempting to approach the magical realm through presumption and calculation.

This study identifies structural themes for analysis in relation to the mythopoeic contours of Alfred Doblin's "historical" novel Wallenstein. While its extensive historical and quasi-historical material conforms to empirical facticity, its fictional structure (or mythic aspect) reveals a modern gnostic myth of enlightenment and salvation countered by forces of darkness and chaos. The introductory chapter outlines bio-graphical conditions including Doblin's extensive research and planning before the writing of the novel. Partially on the basis of factual evidence, partly because of the coherent and intricate design of the novel, the "automatic" or spontaneous fallacy is rejected. Recent critical literature pertinent to Wallenstein and mythic elements in Doblin's works are examined. Finally, Doblin's own aesthetic theory of the genre and his reaction to the initial critical reception of Wallenstein are discussed in the context of the alchemical-esoteric images which are present to a limited degree even in Doblin's non-fictional writings. Chapter II presents a summary of the number symbolism imbedded in the novel's chapter and book divisions and gives a synopsis of the origins and traditions of numerology, astrology, Pythagoreanism, and gnosis as they pertain to the interpretation of the novel. The names of the polar figures of Ferdinand II and Wallenstein have gematric numeric roots which correspond to the numerical roots of the book divisions (1-5-5-5-5-1). The Valentinian gnostic myth of cosmogony integrates imagery and symbolism of the oriental salvation and mystery religions and offers a syncretistic doctrine both of dualism in the existential world and of the promise of man's mystic reunification with God. Fictional elements of knowledge, ignorance, love, and the metamorphosis of the main figure Ferdinand become the focus of the analytical third and fourth chapters. Figurative language, mythical and mythological material and religious allusions give the keys to the interpretation of Doblin's epic structure which has its center in the exemplary case of the fictional Emperor Ferdinand. The discussion presents a system of symbols and metaphors which are directly linked to alchemical and gnostic principles and arcana. In modern psychological terminology borrowed from Herbert Silberer and Carl Gustav Jung, Ferdinand's mythical metamorphosis functions as an example of introversion and re-birth of the personality. The newly transformed Emperor possesses freedom, resultant vitality, and understanding of self and world through his gnostic revelation. Chapter V shows the poetic structure of the chthonic counterpart to Ferdinand, i.e. Wallenstein. On the literal level, Wallenstein is portrayed as a ruthless and genial organizer of force. While this facet conforms to historical reality, Doblin mythifies the figure through frequent metaphors and imaginary-apocalyptic scenes. Commensurate with the Ferdinand-symbolism, Wallenstein's exposition is demonstrably informed with number symbolism.

A systematic discussion of Arthur Schnitzler's prose works discloses a hitherto neglected feature of his style. In his portrayal of contemporary figures one recognizes not only a humorously critical or skeptically elegiac attitude, but a new variant which is caricature. It becomes evident that the author chose a fictional mode which deviates from mimetic contours and which is the perfect medium to portray the wavering world of the fin-de-siecle and its human types. An analysis of the exaggerating narrative technique of caricature reveals the author's aggressive nature which until now has remained unnoticed. It underlines an aspect of his aversion to the artificiality and to the false doctrines of a doomed society, that of attempting, in his search for truth, to surpass a realistic narration by means of caricaturistic representation. It is his intent to provide new insights into human nature by overstating the conflicts between humaneness and evil which are most firmly pronounced in his narcissistic and sensitive characters. Caricature as an ambiguous narrative technique touches upon such related phenomena as satire and the grotesque. This relationship is discussed in the first chapter in order to define its distinct characteristics: satire is largely polemic in nature, and the grotesque is frequently an expression of abysmal and marionette-like qualities in people. Caricature, however, while sharing certain aspects of satire and the grotesque, is nonetheless a stylistic phenomenon in its own right. By exposing and magnifying man's moral ugliness as well as his presumptuousness it strips him of his power over others. The rejected human being appears ridiculous to the viewer who compares perceived reality and its distortion. This produces a sense of superiority in him which elicits laughter. By adding the subjective influence of the comic, however, a threatening exaggeration of the type can have appeasing force while only the sublime phenomena of humor can bring about exaltation and freedom of the ego. The second chapter discusses those fictional characters which can be recognized as belonging to distinct social types. They are officers, burghers, adventurers, artists, Jews, and antisemites. The important aspect is the pattern which they exhibit in their behavior and which defines them as social types. The stylistic means of caricature illuminates a new perspective by directing the reader's view towards a chaotic inner world through the exaggerated distortion of man's external deficiencies. The intent is to frighten, to teach, and to amuse. The conclusion reiterates how the literary technique of caricature helped Schnitzler present a convincing picture of Viennese society at the turn of the last century which still engages us today. While the different social types have been carefully arranged in order to be unmasked before the psychologist's scrutinizing eye, the reader obtains a penetrating and truthful insight into the chaos of the individual mind. Thus the caricaturistic mode of expression can be considered a positive means to institute a more compassionate coexistence among people.

The subject of this study is the image of woman in late 19th century German fiction. Upon examining a multitude of works produced within this time frame, it was found that the "naturalist" novel, in particular, provided a wealth of material on the literary interpretation of woman's place in society. And despite the fact that this genre has not, for the most part, been attributed the distinction of artistic quality, an unbiased analysis reveals that it offers perhaps the most comprehensive, illuminating, and realistic view of the life led by the Wilhelmine woman. The patterns of characterization and themes which emerged thus lent themselves to the formulation of a typology of female characters. It is a typology which reflects the temper of the times: the political, economic, social, and cultural upheaval wrought by the industrial revolution, and the subsequent concern of a group of writers and social reformers for the deterioration of the human condition. Part I of this study documents these efforts, while Part II presents the typology, the literary manifestation of social currents. The first of the female types to evolve from the study is designated the "mother-martyr-saint." This long-suffering wife and mother is posited as the "Grunderzeit" ideal. Her saintly behavior and sacrifices for the family insure the continuation of the established order. Hermann Sudermann's Frau Sorge and Wilhelm Hegeler's Mutter Bertha illustrate this type. The "fugitive into a world of illusion" constitutes the second type. This heroine engages in covert or subconscious rebellion against the "mother-martyr-saint" role. She becomes a distortion of Type 1 and thus represents a fissure in the heroic fascade erected by the "Grunder" society. Heinz Tovote's Mutter!, Gabrielle Reuter's Aus guter Familie, and Hermann Conradi's Adam Mensch represent the variations of Type 2. Type 3, the femme fatale, portrays the woman who is openly ill at ease with her role in society and who is determined to become the master of her fate. But her self-assertion, which is realized through her sexuality, exacts a price: the femme fatale destroys those who come under her influence. Magdalena Dornis, by Felix Hollander, best exemplifies this type of heroine. The woman who has either voluntarily or involuntarily rejected all societal norms is represented in Type 4, the "social outcast." Unlike the other types, this character no longer attempts to realize her potential within the given order. The variants of the "social outcast" are examined and defined in terms of the artist figure in Helena Bohlau's Halbtier, the unwed-mother in Gabrielle Reuter's Das Tranenhaus, and the prostitute in Else Jerusalem's Der Heilige Skarabaus.

The schema under which the specimen text can be apprehended relies primarily on binary units. They are either assembled onto an axis of opposition or similarity. If similarity is called for, smaller units are usually combined into larger units, or else are ordered into chains of equvalent parts. Larger units are organized into tripartite structures: the chapters form three major units (1); textual relations are represented as triangular models (2); and throughout the text, reference is made to the concept of the Trinity (3). The number three stands for completeness and the number thirteen functions similarly: there are thirteen chapters in the text. The "Wendepunkt" of the novella occurs in the middle, thus dividing the text into two equal parts which both function independently as all binary units do, but they are equivalent units in terms of structural relevance. As independent units, the first establishes the thematic material, the second completes the drama and confirms the prevailing sense of tragedy. Together they constitute the text. The basic motifs are already present in the first paragraph of Katz und Maus, and as the text continues, variation and juxtaposition work to expand on the notions the text has established in the beginning, so that the beginning already foreshadows the final event. Mahlke's body and its exceptional symmetry function as a map for textual relations. The straight line descending from his Mittelscheitel down to his Adamsapfel and further down to his genitals is the same vertical axis and center line which divides the novella in the middle of chapter seven. All other parts are fitted onto that axis and revolve around it as story, plot and characters are added into the thematic fabric of Katz und Maus. As a result the body's volume and density are increased while the skeleton's major axis starts to turn at regular intervals. As the axis continues to rotate, different parts come into view and are displayed as the elements that form an organic whole. At the intersection of the vertical and horizontal lines of that cross lies the source of all good and evil: Mahlke's Adamsapfel. Big, round and energetic, it feeds all other parts and dominates the entire structure. The Adam's apple is Mahlke's motor and the motor of all textual activity. It is procreator of the text and generator of the inherent major conflict which exists between Katz and Maus.

This study joins the scholarship on Gottfried's Tristan on the side that evaluates the lure of Tristan and Isolde positively. A second point of departure is that the scholarship has hitherto overlooked the substantial irony present in the plot development, as well as in the characterization of numerous secondary figures in Gottfried's romance. Developments in the plot which would seem to doom the love affair of Tristan and Isolde quite ironically create situations in which the love affair can flourish. The scheming Cornish count, by sending Tristan to Ireland in an attempt to murder him, actually gives Tristan the opportunity to practice his highly individual talents in Ireland, resulting finally in his meeting Isolde. Conversely, the apparently benevolent and paternal intentions of Rual, Tristan's foster father, involves Tristan in a morally dubious, and almost fatal, war of revenge, and were also aimed at forcing Tristan into a kingly role to which he is not by his nature suited. Characters in this romance which have in the scholarship been seen as figures of authority or even respectability are revealed in the light of irony, to be the least authoritative and respectable characters. Two prime examples are King Mark and Queen Isolde, both monarchs of worldly stature, yet both also utterly powerless to carry out their dearest worldly intentions. An important contrast is established between characters of this sort and Brangaene, who stands in an uncannily sympathetic relationship to Tristan and Isolde that is not determined by any social role. She is the lovers' servant and their only confidant, at the Irish court and in Mark's bed, and also their teacher, in the episodes of the lovers' ruses. Brangaene performs vital service for the lovers by helping to conceal their love and also by enhancing it through her verbal instruction and the positive example of her actions.

Fontane and Spielhagen wrote their novels almost simultaneously based on the same incident from Berlin society-life of the 1880s. The dissertation has two main thrusts: (1) An examination of the changes which Fontane made in his adaptation of the story shows clearly how conservative his treatment of the material was. He avoided the more progressive, controversial aspects of the case and made of a happening, which was entirely symptomatic of the development of the role of women in marriage and society on the threshold of the 20th century (and of the reactionary element, which sought to arrest this development) a fable, which is firmly anchored in the aristocratic life of 19th century Germany. These findings stand in clear contrast to those of Fontane studies of the last 30 years in general (and of feminist-oriented studies in particular), which have tended to exaggerate the importance of the social-critical aspect of his works at the expense of a more balanced view of progressive and conservative elements. (2) An examination of the technique of both authors, particularly in light of Spielhagens literary theories, shows that Spielhagen, who had sought to achieve a realistic representation of life through the use of a formula of "epic objectivity", failed in this endeavour, in spite of the great technical virtuosity of his work. Fontane, on the other hand, who did not commit himself wholeheartedly to this theory, was able to attain a high degree of realism by offering a wide perspective of subjective points of view (with none of which the narrator was identified), which in turn allow the reader to form his own "objectified" picture of reality.

This study examines the late plays Rosamunde Floris und Alain und Elise by the playwright Georg Kaiser (1878-1945). The childhood of Georg Kaiser was very traumatic and the recurring motive of "longing for Paradise" and the archetype of the orphan had their roots in this childhood. Examination of his letters shows that the "God is dead" philosophy became part of his beliefs at an early stage of his literary production. The main findings of this study are: (1) To replace the loss of belief in the Judaeo-Christian tradition, the poet returns to mythological structures and symbols. In Rosamunde Floris, Rosamunde is firmly placed in the matriarchal epoch of human history within the historical scheme of Bachofen. There is a clear progression from the initial aphroditic hetairism of Rosamunde to her final transfiguration as dionysian guardian of mysteries. Her death as Amazon signifies the highest degree of spiritual development within the demetrian epoch of humanity. (2) In Alain und Elise, the poet transcends this demetrian realm by the step from gynaicocracy to patriarchy and the inherent victory of enlightenment over chthonic darkness. The central court trial and its proclaimed search for truth is supported by literary allusions to the work of Novalis where the return to childhood and the finding of Paradise are central motives. In the final scene God is dead both in the sense of the Christian tradition and as metaphysical being. Final truth is to be found only within each human being, and the suffering of separation and exile prepares for a new transcendent found only in oneself. (3) The victory of the forces of light over the chthonic is carried to the conclusion in the Hellenic plays by Kaiser. In the last drama Bellerophon, Bellerophon is an orphan raised by the Light-God Apollo. For his unerring adherence to truth, Bellerophon is ultimately transposed into the stars, not only because truth has no place on earth, but also because the universe is so desolate that even the Gods are lonely. This re-evaluation of these late plays by Kaiser does not only prove that they constitute an integral part of the poet's literary development, but it necessitates also a re-assessment of Kaiser's entire literary oeuvre. (Abstract shortened with permission of author.)

ABSTRACT This project seeks to clarify the complex interrelation of utopia and nostalgia in post World War II German literature, as the nineteen sixties student protest movement develops into what has become known as the 'New Subjectivity' of the nineteen seventies. The introductory chapter frames the historical context of this development, problematizing the idea of '1968' as its climax or turning point, while establishing the interrelationship of the concepts of utopia and nostalgia as the principal methodological and interpretative foil for the literary readings that follow. In three subsequent chapters I propose close readings of this theme in Peter Schneider's Lenz (1973), Hans Magnus Enzensberger's Der kurze Sommer der Anarchie (1972), and Berward Vesper's Die Reise (1977). These, I argue, texts demonstrate a trajectory of utopian thinking toward nostalgic reflection that exposes a dialectical tension between utopia and nostalgia. Through their literary texts as well as their essays in one another's periodical publications, such as the Voltaire Flugschriften and Kursbuch, the three authors address this tension as a common experience of the transitional period between the sixties student protest movement and the dawn of the 'New Subjectivity' of the seventies. I read Lenz as road narrative that mobilizes the metaphor of the road as the locus of the utopia-nostalgia dynamic; the road is a transitional space that embodies the uncertainty of the post-revolutionary moment when reflective nostalgia seems to replace the disillusioned utopia. Der kurze Sommer der Anarchie engages the literary discourses of utopia and nostalgia via the documentary form, after its pre-1968 / Résumé Ce travail se propose de clarifier l'interrelation complexe entre utopie et nostalgie dans la littérature allemande d'après-guerre, lorsque le mouvement estudiantin de protestation des années soixante se transmue en ce qu'on nommera la 'nouvelle subjectivité' des années soixante-dix. Notre introduction reconstruit le contexte historique de ce développement, contestant la notion que '1968' en constitue le sommet ou la péripétie, et présente l'interrelation des concepts d'utopie et de nostalgie comme cadre à la fois méthodologique et interprétatif des lectures littéraires qui suivent. Au cours des trois chapitres suivants, nous proposons des lectures détaillées de ce thème chez Peter Schneider (Lenz, 1973), Hans Magnus Enzensberger (Der kurze Sommer der Anarchie, 1972) et Bernward Vesper (Die Reise, 1977). Ces trois textes dessinent une trajectoire de la pensée utopiste vers une réflexion nostalgique, exposant ainsi la tension dialectique entre utopie et nostalgie. A travers leur production littéraire ainsi que les essais publiés dans leurs revues respectives, telles Voltaire Flugschriften et Kursbuch, les trois auteurs en question traitent et thématisent cette tension en tant qu'expérience collective de la période transitoire entre le mouvement contestataire des années soixante et l'aube de la 'nouvelle subjectivité' des années soixante-dix. Nous proposons d'abord une lecture de Lenz en termes de récit de la 'grande route' (road narrative), mobilisant la métaphore de la route comme lieu de la dynamique utopie-nostalgie ; la route est un espace transitoire incarnant l'incertitude de la période postrévolutionnaire où la réflexion n