From the dawn of film history to today, film-adaption has generally been treated as the unfavored stepchild of the literary work upon which it is based. One reason for this bias is that film is seldom viewed as a free-standing work of art but rather as an off-shoot of its literary model. This perception is particularly true of German literary criticism. In this thesis I intend to study more closely the problems involved with film-adaption and to demonstrate on the basis of three examples that process of transforming a literary work into film can in fact be a fascinating construct of intermediality.

This dissertation examines the evolution and interaction of the public policy debate on reproductive issues in Germany and literary portrayals of crisis pregnancies in German literature and concentrates mainly on literature produced in the 20th century. Clusters of works thematicizing infanticide and abortion appear when public attention is focused on issues of morality and population concerns. The discussion about the rising number of infanticide cases during the late 18th century was accompanied by a cluster of works aligned with the Storm and Stress movement. These works explored injustices committed by the upper classes against the lower classes and evoked sympathy for the woman by depicting the woman's circumstances and motivations. During the Weimar Republic left-wing and left-leaning political parties called for a liberalization of the complete ban on abortions in place since 1871. The plays and novels that appeared in the 1920s and early 1930s explored the class-discriminatory effects of the law. Many depicted young, single, working women, an image that called up both positive and negative cultural connotations including a rational, efficient outlook on life as well as decadence and consumerism. The postwar works fall into three phases. The early works of the 1950s and 1960s explore the issue within the context of war atrocities and question society's view of death and killing. In the mid-1970s, abortion was legalized in the East and liberalized somewhat in the West. A cluster of works appeared in the early 1980s that explores the longer-term effects of abortion on both men and women. Two novels by women written after reunification return to a more direct political message and explore how choice affects women's lives. These last two works represent the opposite viewpoint of the works from the 1920s and 1930s, but like their historical precursors, they are opposed to the prevailing legal status of abortion.

This work is an edifying text in which the interlocutors are experts in evil deeds--they are none other than Sathan and Lucifer. Sathan, at the request of his master, reveals numerous details on the way in which people lived at the end of the Middle Ages: their work and their leisure activities, their sins and their good deeds. With its humour and richness of language, the dialogue between the devils is in the best tradition of the "Rhetoriqueurs" and Francois Villon. Furthermore, as an historical document, it bears witness to the medieval conception of Hell and the representatives of Good and Evil. / We are proposing a new edition of Eloy d'Amerval's Le Livre de la Deablerie, an edition fully justified by the richness of both text and language. Our reconstruction of the twenty thousand eight hundred and four verses of the incunabulum of 1508 (no manuscript of this book has appeared to date) is based on the principles of Bedier's method of text editing. (Abstract shortened by UMI.)

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.

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.

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.

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.

Thesis (Ph.D.)--Indiana University, Dept. of Germanic Studies, 2007. / Source: Dissertation Abstracts International, Volume: 68-09, Section: A, page: 3875. Adviser: William Rasch. Title from dissertation home page (viewed May 8, 2008).

Thesis (Ph.D.)--Indiana University, Dept. of Germanic Studies, 2007. / Source: Dissertation Abstracts International, Volume: 68-09, Section: A, page: 3876. Adviser: Claudia Breger. Title from dissertation home page (viewed May 8, 2008).

Thesis (Ph.D.)--Indiana University, Dept. of Germanic Studies, 2007. / Title from dissertation home page (viewed April 8, 2008). Source: Dissertation Abstracts International, Volume: 68-07, Section: A, page: 2962. Adviser: Fritz Breithaupt.