Inaug.-Diss.--Halle. / Vita.

Habilitationsschrift--Göttinger, 1975. / Includes bibliographical references (p [199]-217) and index.

Thesis (Ph. D.)--Königl. Universität Breslau, 1910. / Cover title. Vita. Includes bibliographical references.

Thesis (Ph. D.)--Johns Hopkins University, 1942. / "Reprinted from Hesperia: studies in Germanic languages, Nr. 21." Bibliography: p. 297-298.

Thesis (doctoral) - Universität, Iasi (Rumänien), 2004. / Includes bibliographical references.

This thesis examines the translation of stylization of orality in the context of linguistics, the development of language and literature as well as translation theory. Three contemporary Czech novels and their translations are analyzed in regard to their oral features. The statistical analysis applies selected elements, that are characterized in specialized literature as typical for orality. It explores their incidence using a corpus analysis method. As concerns the source texts, the results show differences regarding the levels of language and groups of lexemes, which indicates an individual stylization. This is, to a lesser extent, true of the target texts as well, notwithstanding the fact that they show a greater uniformity overall. A contrastive comparison leads to the conclusion, that oral features with more commonality in Czech tend to be neutralized to a greater extent. A functional analysis of orality is also carried out. Its aim is to characterize the impression (Wirkung) of orality in a given passage and distinguish between the so called adapted and mimetic kinds of orality. The analysis follows its own model and points to, amongst other things, a special role of Common Czech (obecná čeština) and of particles as well as adverbs devoid of meaning in German. It becomes clear, that the...

This thesis examines the translation of stylization of orality in the context of linguistics, the development of language and literature as well as translation theory. Three contemporary Czech novels and their translations are analyzed in regard to their oral features. The statistical analysis applies selected elements, that are characterized in specialized literature as typical for orality. It explores their incidence using a corpus analysis method. As concerns the source texts, the results show differences regarding the levels of language and groups of lexemes, which indicates an individual stylization. This is, to a lesser extent, true of the target texts as well, notwithstanding the fact that they show a greater uniformity overall. A contrastive comparison leads to the conclusion, that oral features with more commonality in Czech tend to be neutralized to a greater extent. A functional analysis of orality is also carried out. Its aim is to characterize the impression (Wirkung) of orality in a given passage and distinguish between the so called adapted and mimetic kinds of orality. The analysis follows its own model and points to, amongst other things, a special role of Common Czech (obecná čeština) and of particles as well as adverbs devoid of meaning in German. It becomes clear, that the...

<p>As a representative of the Viennese classical music tradition, Wolfgang Amadeus Mozart (1756-1791) embodies not only an artistic inspiration but also an aesthetic, social, and national expression for musicians, writers, and scholars from diverse fields over the past two and a half centuries. The legend of this genius, together with his timeless music, remains a popular subject in the fields of contemporary textuality, including drama.</p><p>Thomas Bernhard (1931-1989) and Elfriede Jelinek (1946-), two controversial and highly acclaimed writers in the German-speaking world, have much in common. Both, similar to Mozart, have a love-hate relationship with their home country, both offer poeticized provocations of the media and postwar political discussions, and both are critical of Austria’s involvement with National Socialism that positions their literary work as anti-<i>Heimat </i>literature, strengthening their reputation as “Nestbeschmutzer/in” as well as <i>enfants terribles</i>. But most importantly, both had a comprehensive musical education and demonstrate their aesthetic<b> </b>approaches by referring not only to musical form but also to musical personae in their literary creations.<b></b></p><p>In their postmodernist dramas <i>Der Ignorant und der Wahnsinnige</i> (1972) and <i>Raststätte oder Sie machens alle</i>(1994), Bernhard and Jelinek deliberately refer to Mozart and his respective representative operas buffa <i>Cosi fan tutte </i>(1790) and Singspiel <i>Die Zauberflöte</i> (1971). As intertext, Mozart’s opera tends neither toward a certain musicality nor a musical discourse; instead, the playwrights engage the idea of “the presence of the past” to encode the Enlightenment mode of gender discourse within a (post)modern context. The postmodernist approach to intertextuality subsequently leads us to question how writers return to language and use linguistic and rhetorical devices to (de)construct the gender related issues. </p><p>The current research, located in the social, political and historical context of Austrian postmodernism, aims to examine how both playwrights subversively reconfigure the enlightened binary models of gender differences, embedded in Mozart’s operas, in new cultural contexts. It focuses on the gendered alterity that is determined by external sources (i.e., within certain spatio-temporal contexts) as well as framed by interior facts (e.g., language). For a multidimensional analysis, I employ discourse theory and critical linguistics, combining a psychoanalytical reading and a deconstructive reading, to identify Bernhard’s and Jelinek’s specific agendas under the meta-historical category of the Enlightenment while disclosing their postmodernist poetology.</p>

No description available.

Thesis (doctoral)--Universität Osnabrück, 1993.