The term “Indian” has come to represent not the Indigenous peoples of North America but the European construct of an entire people. My dissertation examines this construct with a view to answering the following question: to what extent is “the Indian” not simply a White or a European invention, but a German one? In my dissertation I investigate the origins and trace the development of the image of North American Indigenous peoples in three works of German fictional prose from the period between the late eighteenth-century and the late nineteenth-century: Sophie von la Roche (1730-1807), Erscheinungen am See Oneida (1798); Charles Sealsfield (1793-1864), The Indian Chief or, Tokeah and the White Rose (1829) and Karl May (1842-1912) Winnetou I-III (1893). My analysis shows the role that representations of North American Aboriginals played and continue to play as stereotypes of the Other in the ongoing and complex processes of German identity-formation. The three works belong to different moments in a historical period of rapid change, but their authors have made a significant contribution to the enduring image of the Aboriginal. All three authors mobilize an image of Indigenous populations that reveals tensions in the representations of the European and the Aboriginal characters. Chapter One discusses La Roche’s emphasis on the underdevelopment that she believed existed in Aboriginal society in the realms of education and culture. Chapter Two examines how Sealsfield championed Manifest Destiny by showing that the archaic political system of the Oconee, which he based on the Metternich regime, led to the tribe’s demise. Chapter Three considers May’s Winnetou as an elegiac reflection on the “dying man,” and the author’s motivation in creating a fantasy Blood Brotherhood of Germans and Apache. All three authors seem to work with the distinction between the “good Indian” and the “bad Indian.” This dissertation argues that the distinction creates a simplistic dichotomy that fails to fully describe the roles of Aboriginal characters in the texts examined. I maintain that it is the words and actions of Aboriginal characters in the narratives, when read in a more nuanced way, show that they are more intricate literary creations than perhaps the authors intended. The Epilogue challenges the reader to consider the future of this German image in a global context. Bear Witness’ short film The Story of Apinachie and her Redheaded Warrior is used as a case study. In his short film, Witness confronts the audience with a provocative juxtaposition of two stock images of Aboriginal peoples, one from a West German Karl May film and the other from the video game Virtual Fighter V. Witness shows that Aboriginal peoples are aware of the German image of Indigenous cultures and are now slowly beginning to reclaim these images as their own in the context of a postcolonial discourse.

Texte remanié de: Th. doct.--Sci. éduc.--Lyon 2, 2001. Titre de soutenance : Le plan éducatif fondateur de la Société du Sacré-Coeur de Jésus et ses formes actuelles. / Bibliogr. p. 217-220.

Thesis (M.F.A.)--University of Central Florida, 2009. / Adviser: Steven Chicurel. Includes bibliographical references (p. 142-143).

No description available.

Die Studie strebt an, die Lücke innerhalb der literaturwissenschaftlichen Forschung, die hinsichtlich der Relevanz des Phänomens der körperlichen Ohnmacht für die deutsche Literatur des späten 18. und frühen 19. Jahrhunderts festzustellen ist, im Rahmen eines Typologieentwurfs zumindest in Teilen zu füllen. Dazu werden alle Ohnmachtsszenen innerhalb der Gesamtwerke Heinrich von Kleists, Friedrich Schillers, Johann Wolfgang von Goethes, J.M.R. Lenz‘, E.T.A. Hoffmanns, Sophie la Roches und Sophie Mereaus untersucht, kategorisiert und untereinander verglichen. Der erste Teil der Untersuchung beschäftigt sich ausschließlich mit den Werken Heinrich von Kleists, während sich der zweite Teil der Frage nach der Übertragbarkeit des kleistschen Ohnmachtsverständnisses auf die Gesamtwerke der anderen Autoren widmet. Die Thematisierung der Ohnmacht um 1800 bildet hier einen übergeordneten Bezugspunkt, wobei der Kontext ‚Körperzeichen’ neben den philosophisch-medizinischen Aspekten sowie der Analyse des Zusammenhangs zwischen den geschlechterspezifischen Differenzierungen und dem zeitgenössischen Tugend- und Weiblichkeitsideal besondere Beachtung findet. Zudem steht die Beantwortung der Frage nach einer möglichen genre- sowie epochenspezifischen Gesamtverteilung der Ohnmachten im Fokus.

Zugl.: Bonn, Univ., Diss., 2005

Thesis (M. A.)--Florida State University, 2005. / Advisor: Karen Bearor, Florida State University, School of Visual Arts and Dance, Dept. of Art History. Title and description from dissertation home page (viewed Jan. 25, 2006). Document formatted into pages; contains vii, 62 pages. Includes bibliographical references.

La réalisation de l’expression artistique n’a jamais été si « facile » qu’aujourd’hui, et les enjeux de la création n’ont jamais été si « banals ». Il existe divers moyens pour satisfaire nos désirs expressifs, tels des moyens traditionnels et contemporains. Malgré cette facilité, nous avons peu de possibilité pour devenir un artiste célèbre. Nous sommes aujourd’hui bien conscients de cette situation difficile jusqu’à ce que nous soyons même parfois désespérés vis-à-vis de ce nouvel environnement médiatisé.Cependant, selon les recherches archéologiques, cette situation n’est pas nouvelle ni particulière. L’art est depuis toujours un moyen possible pour surmonter des problèmes personnels. En cherchant une expérience partageable avec les autres, nous bénéficions de l’utilité de l’art pour sublimer la difficulté de la vie.Le monde caractérisé par sa nature « mobile » et « liquide », donne naissance à l’art contemporain qui met souvent en lumière la question de l’intimité. Sa signification est en fait liée à l’universalité, qui semble pourtant s’éloigner de la notion d’égoïsme et d’individualité.Cette thèse a pour but de considérer l’exposition de soi « plurielle » pratiquée à l’époque « mobile » et « liquide », afin de comprendre la véritable signification de l’acte expressif. À travers l’observation des réalisations artistiques telles la photographie, la mode, la littérature et d’autres créations, je fonde une étude sur l’esthétique de l’exposition de soi non seulement par les artistes mais aussi par les amateurs, pour interpréter son utilité des points de vue sémiologique, phénoménologique, archéologique, anthropologique et esthétique. / Artistic expression has have never been easier to carry out than today. Engaging in creation has even become a mundane, commonplace undertaking. We have a vast array of mediums available to us to satisfy our desire for self-representation, including traditional and modern medias and advanced technologies. Despite this ease of access to platforms for self-expression, creators have no chance of becoming a celebrated artist. Facing this truth during our everyday interactions online and with modern media leads us to feel rather disheartened with today's media environment. However, from historical point of view, today's context of creative work and exposition is neither new nor unique. Art has always been one possible way to process or overcome personal problems. In our search for shared experiences with others, art is useful in easing life's difficulties.Today’s world, characterized by its "fluid" and “mobile” nature, is giving birth to a contemporary art that often highlights the question of intimacy. Its significance is universal, while being distant from notions of egoism and individualism.This thesis aims to consider “plural” self-representations practiced in our “fluid” and “mobile” world, in order to better understand the importance of expressive acts. Through the careful study of artistic activities such as photography, fashion, literature and other domains, I present a study on self-representation and exposition, found in both professional and amateur creative activities, to interpret how self-representation and exposition is useful and even essential, from semiological, phenomenological, archeological, anthropological and aesthetic points of view.

Research has shown that studies on the impact of literature on the individual probably have been bigger than we previously thought. The 19th century writers had great power in influencing public opinion on current social issues. Well aware of their power, they used it to the maximum. Both the way they wrote, and the content, was adapted to relate and speak to the reader and maximise the literatures influence. This study is based on this statement and focus on author Marie Sophie Schwartz short stories. The study focuses at how women in the short stories viewed themselves and their role in society, in what ways they were included and excluded, how the outside world treated women who violated the current norms and ideals and what expressions/desires for change they expressed? These are some of the questions that are investigated in this study. The source material was processed through a qualitative and inductive method with a narrative approach. Furthermore, the material was coded based on the studies focus questions to be able to answer them. The survey shows that despite the fact that society’s norms and ideals are largely upheld, patterns and themes emerge that challenge this. One can clearly see the ambiguity in Schwartz’s message. Her own everyday life and prevailing norms and ideals are opposed to her own thoughts and opinions. The short stories give a glimpse of female emancipation, break prejudices about class differences and show that norm-breaking action do not always lead to misfortune and exclusion for the individual. Schwartz tried to show people that life is unpredictable and there is no manual to follow to be happy, which is completely contradictory from the common themes that appeared in the 19th century literature.

No description available.