Zugl.: Magisterarbeit

Universiẗat, Diplomarbeit, 2002--Innsbruck.

Este trabalho trata da tradução do conto Der blinde Geronimo und sein Bruder (1900) [O cego Geronimo e seu irmão] de Arthur Schnitzler segundo a abordagem de Jií Levý. O primeiro capítulo analisará a teoria geral da tradução literária descrita pelo teórico tcheco em sua obra Die literarische Übersetzung Theorie einer Kunstgattung [A tradução literária teoria de um gênero artístico] de 1963. No segundo capítulo haverá a leitura crítica do conto. O terceiro capítulo trará a tradução do conto na íntegra. O quarto, os comentários, os quais visam esclarecer as decisões do tradutor. / This work deals with the translation of the tale Der blinde Geronimo und sein Bruder (1900) [Blind Geronimo and his brother], written by Arthur Schnitzler, according to Jií Levýs approach. The first chapter will examine the general theory of literary translation described by the Czech theoretician in his book Die literarische Übersetzung Theorie einer Kunstgattung (1963) [The literary translation theory of an artistic genre]. The second chapter will comprise a critical reading of the tale. The third chapter will bring the translation of the tale in full. The forth will present the notes, which aim to clarify the translators decisions.

In the early 20th century, authors increasingly experimented with literary techniques striving towards two common aims: to illumine the inner life of their protagonists and to diverge from conventional forms of literary representations of reality. This shared endeavour was sparked by changes in society: industrialisation, developments in psychology, and the gradual decay of empires, such as the Victorian (1837–1901) and the Austro-Hungarian (1867–1918). Those developments yielded a sense of uncertainty and disorientation, which led to a so-called “turn [inwards]” in the arts (Micale 2). In this context, this essay examines Virginia Woolf’s (1882–1941) development of her literary technique by comparing To the Lighthouse (1927), written in free indirect discourse, with Arthur Schnitzler’s (1862–1932) Fräulein Else (1924), written in interior monologue. Instead of applying Freud’s theories of consciousness, I will demonstrate how empiricist psychology informed and partly helped shape the two narrative techniques by referring to Ernst Mach’s (1838–1916) idea of the unstable self, and William James’ (1842–1910) concept of the stream of consciousness. Furthermore, I will show that there is a continuous progression of literary ideas from Schnitzler’s Viennese fin-de-siècle connected to impressionism, towards Woolf’s Bloomsbury aesthetics connected to Paul Cézanne’s post-impressionist logic of sensations. In addition to that, I address how the women’s movement, starting in the end of the 19th century, inspired Woolf and Schnitzler to utilise their techniques as a means of revealing women’s restricted position in society. Methodologically, I will analyse the two novels’ narrative techniques applying close reading and by that point out their differences and similarities in connection to the above-mentioned theories as well as the two author’s literary approaches. I argue that this comparison demonstrates that modernist literary techniques of representing interiority evolved from interior monologue towards free indirect discourse. This progression also implicates that modernism can be seen as a continuum reaching back to the fin-de-siècle and culminating in the 1920s.

The purpose of this study was to investigate Arthur Schnitzler’s depiction of three female figures in short stories with a specific focus on how the figures are portrayed in relation to socially sanctioned roles in late nineteenth and early twentieth century German-speaking Europe. The figures and works selected as subjects of this study were Friederike in Die Frau des Weisen (1898), Elise in Der Mörder (1921) and Else in Fräulein Else (1924). The primary question that was investigated was whether Schnitzler depicted these female figures in a manner that could be interpreted as impacting the loosening of the grip of such expectations on women. As an approach, passages in the text that mirror expectations placed on women by society in this era were sought out and analyzed. Prior to the analysis of the three figures, information on the major trends of such expectations was identified through selected passages in Hedwig Dohm’s Der Frauen Natur und Recht (1876). Results of the study demonstrated that Schnitzler often depicted these figures in a manner resembling the views of sanctioned roles as expressed by Dohm. While Schnitzler did not portray the figures as specifically breaking out of such roles, he appeared to make a statement regarding the toxicity level in his society for women as a result of the roles that were imposed upon them. Additional findings were that Schnitzler’s boldness in his depiction of the figures seemed to increase over time and that many observations that critics have made about his dramas could also be said of these works of prose.

Thesis (Ph. D.)--University of Chicago, Department of Germanic Languange, March 2001. / Includes bibliographical references. Also available on the Internet.

The purpose of this study was to investigate Arthur Schnitzler’s depiction of three female figures in short stories with a specific focus on how the figures are portrayed in relation to socially sanctioned roles in late nineteenth and early twentieth century German-speaking Europe. The figures and works selected as subjects of this study were Friederike in Die Frau des Weisen (1898), Elise in Der Mörder (1921) and Else in Fräulein Else (1924). The primary question that was investigated was whether Schnitzler depicted these female figures in a manner that could be interpreted as impacting the loosening of the grip of such expectations on women. As an approach, passages in the text that mirror expectations placed on women by society in this era were sought out and analyzed. Prior to the analysis of the three figures, information on the major trends of such expectations was identified through selected passages in Hedwig Dohm’s Der Frauen Natur und Recht (1876). Results of the study demonstrated that Schnitzler often depicted these figures in a manner resembling the views of sanctioned roles as expressed by Dohm. While Schnitzler did not portray the figures as specifically breaking out of such roles, he appeared to make a statement regarding the toxicity level in his society for women as a result of the roles that were imposed upon them. Additional findings were that Schnitzler’s boldness in his depiction of the figures seemed to increase over time and that many observations that critics have made about his dramas could also be said of these works of prose.

Focusing largely on the analysis of the representations of feelings and thoughts of literary characters or even the hidden “desires” of their authors, literary criticism for the most part has neglected to discuss the portrayal of the ‘inside’ of literary characters as a construction. Similarly, the critical discussion of texts by psychological theorists such as Sigmund Freud and C.G. Jung attests to an oversight regarding the fact that they had to contend with the exact same challenge their colleagues in literature faced, namely the linguistic construction of a descriptive model for something singularly elusive and essentially non-verbal. The turn of the nineteenth to the twentieth century in particular – just when the schools of Analytical Psychology, Psychoanalysis and Gestalt theory were emerging – proved to be a period in which literature responded to a particularly high popular interest in gaining insight into the supposed ‘inner world’ of literary characters. In pairing literary texts of that period by Richard Beer-Hofmann, Arthur Schnitzler, and Robert Musil with theoretical texts by Jung, Freud, and Robert Musil, this project examines the deployment of symbol, allegory and metaphor as well as the use of “Gestalten” – figures or shapes – in order to simulate the ‘inside.’ The first chapter examines the writings of C.G. Jung and Richard Beer-Hofmann’s novella, Der Tod Georgs (1900), for ways in which their respective construction of the ‘inside’ relies on the trope of symbol. The second chapter does the same in regard to allegory with the writings of Freud, specifically his Bruchstück einer Hysterie-Analyse (1905), and Arthur Schnitzler’s stream-of-consciousness novella, Fräulein Else (1924). The final chapter juxtaposes literary writings with psychological texts by the same author, Robert Musil, and demonstrates that the construction of the ‘inside’ in his novella, Die Vollendung der Liebe (1911), relies heavily on metaphors informed by his great familiarity with key ideas of Gestalt theory. In conclusion, this dissertation argues that the charting of inner human landscapes is essentially a narrative endeavor, in literature as in psychology.

Diss. : Neuphilologische Fakultät : Tübingen : 1984-1985. - Bibliogr. p. 155-161. -

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