Diss. Phil.-hist. Fak. Univ. Basel, 1997. / Erscheint zur Ausstellung "Viereck und Kosmos - Künstler, Lebensreformer, Okkultisten, Spiritisten in Amden 1901-1912" Amden SG und Kunsthaus Glarus 27. Juni bis 29. August. Bibliogr. S. 245-256.

D. Litt. et Phil. (German) / Conrad Ferdinand Meyer is, on the grounds of his stories, counted among the Realists in German literature, whilst many have also discovered symbolistic elements in his poetry. The questions upon which this thesis is based are, firstly, on how far the apparently merely realistic events and descriptions in Meyer's stories (most of which are based on historic facts) are of a metaphoric or symbolistic nature and, secondly, what can, as a result of this, be said about Meyer’s view of life and the human condition. In the Introduction certain aspects of the wide field of research on the concept of the ‘symbol’ , are raised, as well as the differences between 'metaphors' and ‘symbols’ pointed out. The larger part of this work is concerned with the detailed analysis of metaphors and symbols in three of Meyer's stories, "Das Amulett", "Der Heilige" and “Angela Borgia”. As the three stories comprise the whole of the poet’s creative life, possible variations and developments in his use of metaphors and symbols can be pointed out. By analysing them within the context of the individual story, the danger of destroying the unity of the work is avoided. The careful analysis of the stories showed that despite their richness and variety, there are certain spheres from which the poet time and again takes his metaphors. The most important of these are: nature, colours, art, mythology and Christian symbolism. Many of these metaphors are used mainly for the characterization of people, or to emphasize or relate certain events and situations, but the majority can be called symbols, as they show certain aspects of Meyer's view of life as a whole: the idea of the world as a stage, the conflict of reality and pretence, the basic ambiguity of all things, the close relation of life and death, the aspect of hunters and hunted and the depiction of the world mainly as an inner and outer hell in which paradise has but a very small room. The metaphoric richness in "Angela Borgia" compared to “Das Amulett” has increased largely, but nevertheless one cannot speak of a gradual increase throughout Meyer's creative life. In conclusion, certain aspects of Meyer's position within his own time have been outlined. In contrast to Romantic works in German literature one does not find unrealistic descriptions in Meyer's prose works - for this he can be called a 'Realist'. Yet the metaphoric and symbolic qualities of his work may be stronger than in that of the other Realists, although he has little in common with either the Naturalists or the Symbolists or the l'art pour l'art movement. 'Realistic' art is to Meyer the depiction of the ambiguity and suffering which characterize human life, but he still sees an ideal in humane behaviour and compassion which can bring about a certain redemption in a basically Christian sense.

This dissertation, The Itinerant Red Bauhaus, or the Third Emigration, addresses a movement of architects from Europe to the Soviet Union during the interwar period. These architects (who include Hannes Meyer and Ernst May and their respective brigades) mostly relocated before the war, and many returned to Europe after the war. This larger frame helps to situate the specific group of architecture students from the German Bauhaus who followed Meyer to the Soviet Union in 1930 after he was expelled from the directorship of the Bauhaus: the Red Bauhaus Brigade. Driven by collectivist ideology, Meyer and his short-lived brigade staged an itinerant extension of the interrupted ‘second’ Bauhaus. Part of the research focuses on Meyer’s pedagogical project in order to unfold the education received by the students and understand the evolution of their architectural ideas after they moved to the Soviet Union. The dissertation concludes in the postwar period in the countries where the Brigade members Tibor Weiner, Konrad Püschel, Philipp Tolziner, and René Mensch were independently active as designers, city planners, teachers, polemicists, and political activists. Their distinct professional approaches can be read against their Bauhaus origins and Soviet experience, but are not reducible to them. Shifting the focus from Meyer to his students allows the foregrounding of the point of view of these secondary characters, activating a new reading of the period studied and an in-depth evaluation of an overlooked Bauhaus legacy.

Texte remanié de: Diss.--Philosophische Fakultät--Jena--Friedrich-Schiller-Universität, 1998. / Bibliogr. p. 591-621. Index.

Dissertation--Oldenburg, 2002. / Bibliogr. p. 327-349.

Through a study of Twilight literary texts, fangirls' online discourse, and cinematic adaptations, I theorize the rhetorical dimensions of "neo-Victorian melodrama," a pervasive mode of discourse in girl culture. These rhetorical functions include the validation of girls' emotional lives, especially affective responses to coming-of-age experiences. Through the confessional revelation of interiority, neo-Victorian melodrama promotes empathy and intimacy among girls and functions to critique restrictive constructions of contemporary girlhood, which has inherited Victorian discourses related to female youth. Theorizing these rhetorical dimensions helps advance an appreciation for girls' rhetorical activities and their cultural preferences. These preferences have often been derided by ageist and sexist critiques of Twilight, a phenomenon initiated by Stephenie Meyer's young adult vampire romance. In order to determine the rhetorical dimensions of neo-Victorian melodrama in girl culture, I use generic rhetorical criticism. Specifically, Meyer's Twilight Saga appeals to contemporary girls through melodramatic moments shared with Charlotte Brontë's nineteenth-century Jane Eyre. Fangirls' online discourse certifies this appeal while also demonstrating how melodrama qualifies girls' own speech practices. Thus, generic criticism is complemented by ethnographic approaches to fandom. In addition, a focus on narrating voiceover, a sound convention with a legacy in girls' media, helps make sense of the Twilight cinematic adaptations' translation of neo-Victorian melodrama from page to screen. The rhetorical dimensions of neo-Victorian melodrama in girl culture are consistent with previous feminist theoretical insights related to the revelation of affect, intimacy, and personal experience for the purpose of community building. While feminist rhetoricians have addressed women's rhetorical practices, they have not theorized girls to the same extent, nor have they used generic criticism to account for melodrama's redemptive or progressive potential. Likewise, while scholars of literature, film, and media studies have advanced an appreciation for women's preferences for melodrama, these feminist scholars generally have not treated girls' preferences for the melodramatic mode. And while feminist critics in girls' studies have theorized girls' productive cultural contributions, as well as their complex reading and viewing strategies, such scholarship has not accounted for girls' preferences for melodrama. My study at once builds on and remedies the gaps in this theoretical foundation. / text

No description available.

No description available.

Thesis (M.A.)--Rutgers University, 2010. / "Graduate Program in Liberal Studies." Includes bibliographical references (p. 32-33).

Inaug.-Diss. Univ. Bern, 1984. / Diese Arbeit erscheint unter dem gleichen Titel als Band 35 der Schriftenreihe "Sprache und Dichtung" im Verlag P. Haupt Bern und Stuttgart. ISBN 3-258-03350-1. Literaturverz. S. 212-215.