Texte remanié de: Thesis Ph. D .--German studies--Lancaster university, 2003. Titre de soutenance : Auf du und du, auf gleicher Ebene : adventures in knowledge, narration and communication in Irmtraud Morgner's works, 1959-1974. / Bibliogr. p. 271-278.

Diss.--Philosophische Fakultät I--Zürich--Universität, 1992.

Proefschrift ter verkrijging van de graad van doctor--Katholieke Universiteit--Nijmegen, 1998. / Bibliogr. p. 301-312. Notes bibliogr.

Thesis (Ph. D.)--University of Adelaide, Dept. of German, 1990. / Includes bibliographical references (leaves vii-xxiii).

Bibliography: leaves vii-xxiii / xxiii, 342 leaves ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Thesis (Ph.D.)--University of Adelaide, Dept. of German, 1990

Akademische Abhandlung--Germanistisches Institut--Stockholm--Universität Stockholm, 1987.

This study describes and analyses the treatment of male characters in the work of the East German author, Irmtraud Morgner. The main focus of the thesis is on Morgner's handling of masculinity in relation to her treatment of the fantastic. Given that the majority of scholarship on Morgner concentrates on feminist aspects of her work, the aim of this thesis is to redress this imbalance by concentrating on the importance to her fictional narratives of male figures. The ways in which Morgner portrays her male characters shed significant new light on the function of the fantastic in her work. A detailed analysis of her texts shows that Morgner excludes all but a few of her male characters from the fantastic. By investigating the reasons for this, the thesis seeks to contribute to a better understanding of Morgner's complex views on gender issues. The argument is advanced that Morgner's treatment of her male characters and their interaction, or lack of interaction with the fantastic, reveals a more nuanced disillusionment with society than emerges from examinations of her female characters alone. Such a reading therefore permits a deeper and more differentiated understanding of her work.

Thesis (doctoral) - Universität, Freiburg im Breisgau, 2008. / Includes bibliographical references (p. 327-347).

Zugl.: Freiburg (Breisgau), Univ., Diss., 2008

Recent German literature and film reflect (on) the loss of promise for both self and societal realization under not one but two ideological regimes: socialism and capitalism. The socialist utopia never arrived; was the capitalist meritocracy ever there? The guarantee of some kind of telos—an endpoint, a ‘good life,’ towards which everyday life was supposed to be going—has thus been frustrated on two historical fronts. I take this parallel as grounds for juxtaposition across historical, affective and aesthetic lines, investigating the waning of teleological promise in the final two decades of the GDR and the last twenty years of 21st century Germany. I present the ‘post-teleological’ as a concept for trans-ideological and cross-temporal comparison, offering a new lens through which to draw texts into unconventional comparative constellations. The questions that this concept raises are the following: how do literature and film translate the affective experience of ideology’s failing persuasive power as aesthetic experiences? How does a juxtaposition of disparate contexts further our understanding of individual works’ break with hegemonic conventions to deliver critique? And how do discrete formal strategies pass comment on the movement (or non-movement) of history? I interrogate literary works by Brigitte Reimann, Irmtraud Morgner, Kathrin Röggla and Shida Bazyar, and films by Konrad Wolf, Evelyn Schmidt, Christian Petzold and Valeska Grisebach, to track the arc of ideological promise’s decline across both periods. I query what affective and aesthetic practices may follow the sense of stasis which accompanies the disappearance of an alternative to neoliberal capitalism.