This dissertation examines literary modernism as foremost an endeavor that concerns the imagination. Gaston Bachelard, whose studies on material and dynamic imagination provide the theoretical underpinning for the dissertation, defined the imagination as "nothing other than the subject transported inside the things." Reformulation of subject-object relations, clearly suggested in that definition, is indeed an important element in the aesthetics of Bachelard and that of Adorno, another thinker whose thought informs the dissertation. As the principle behind modernist responses to the crisis of the modern world, the crisis Georg Lukács captured in the phrase "transcendental homelessness," reformulation of subject-object relations impels the mobilization of creative energies in the way that may very well be called "the modernist imagination." I first state the premise for the dissertation and situates it in the present landscape of modernist scholarship. Then I examine Adorno and Bachelard at the intersections of their thoughts, in preparation for a theory of the modernist imagination. Next I consider Mrs. Dalloway as a modernist probing of the sensual, in which familiar dualisms – subject vs. object, the external vs. internal, life vs. death, mind vs. body – collapse. Following this, I examine The Magic Mountain as an attempt at what Adorno calls materialist metaphysics. The novel's preoccupation with death in all its aspects, its problematizing of the human body and the imagination of cold are examined in light of Adorno's view on reviving metaphysics in modernity. Then I read in Ulysses water's lyricism, a lyricism learned from water, into which important modernist themes (not least the ones considered previously in the dissertation) converge. Lastly I look at a film – Andrei Tarkovsky's Solaris – and a science fiction novel from the 1950s – Ray Bradbury's Fahrenheit 451 – in light of what may be called the "philosophy" of modernism. The spirit of modernism – the primacy of the object as a modernist dictum, modernism‘s resistance to identity thinking and its dismantling of dualisms – is shown to continue in genres other than literature and in the period now called "post"-modern.

This thesis focuses on the anachronistic poacher-hero figure in late nineteenth-century German literature. Historian Hobsbawm has suggested that the symbolic endurance of "noble robber" figures (of which we can view poacher-heroes as a subset) takes place in an ideal imaginary "stripped" of the "local and social framework" (2000, 143). My thesis shows, in multiple examples across multiple genres, that in fact the poacher-hero is uniquely available for re-contextualization and renewal of social relevance, even under changed social and economic circumstances. The poacher-hero is not only a device for making statements about the past, but also for expressing claims on the future. It is perhaps this dynamism that makes the poacher-hero excellent carrier for different kinds of social critique as well. In my first chapter, I give a brief historical overview of the period and the motif. In the second chapter, I show how the poacher and his rural context are brought into contact with urban, imperial themes. In the chapter I read two novels, Der verlorene Sohn (The prodigal son, 1884-1886) and Quitt (Even, 1890), and the play Waldleute (Forest people, 1896) thematically to show how upward social mobility is associated with and adapted to the poacher figure. In the third chapter of the thesis, I examine narrative strategies and their employment in the construction of a socially critical viewpoint in Der verlorene Sohn and Quitt. I show how both high and low literary works, intended and written for different audiences, achieve similar results in their positioning of the poacher-protagonist through different narrative structures. This convergence shows the malleability of the societal frame for the poacher-hero. Finally, in the fourth chapter, I show regional adaptations of the motif, by examining different versions of a folk ballad "Das Jennerweinlied" ("The Jennerwein song"). This thesis furthermore shows how study of a motif can be used to bring together a diverse group of roughly contemporary texts. Viewing these texts in relationship with one another brings into question the scholarly focus on certain texts at the expense of others. / text

Theodor Adorno’s view of Arnold Schoenberg can be seen in light of his criticism of Immanuel Kant. Critiquing Kant’s concept of Enlightenment and his dualist philosophy, Adorno also critiques common misconceptions about Kant's work in bourgeois society. Similarly, in Schoenberg's oeuvre Adorno finds radical musical creation but also a reversion to formulaic composition in its reception by Richard Hill among others. In both Kant and Schoenberg, Adorno identifies a tripartite movement: (1) A radical work (philosophical or musical) is created by a member of bourgeois society. (2) The work adopts the function of a societal critique. (3) However, bourgeois society is incapable of understanding the work as critique and erases its radical nature. Seen in light of Adorno's thought, the thesis explores the transactional nature of idea production and reception in society.

Zugl.: Freiburg (Breisgau), Univ., Habil.-Schr., 2006/2007

Zugelich: Diss. Frankfurt (Oder), 2008. / Literaturverz.

Thesis (doctoral)--Freie Universität, Berlin, 2008. / Includes bibliographical references (p. 245-267).

Universiẗat, Diss., 1999--Konstanz. / Gedr. Ausg. im Verl. Der Andere Verl., Bad Iburg.

This thesis deals with an analysis of chosen books written by a famous German writer Thedor Fontane. Particularly, there are three main books I have chosen for my analysis ? Desire, Torment, Effie Briest and L?Adultera. There is a theoretical part at the beginning of my thesis. I have focused on dealing with specialized foundation. This represents later a basic part for a following analysis in the second, practical part. The second part, the analysis of books, includes general information about the book, brief content of a book and attributes of main characters. It is followed by comparison of historical reality with reality shown in the book. At the end of the whole thesis, there is the third part ? comparison of all three novels, generally as well as from the point of view of the main characters and the historical fidelity of books.

A Residência Integrada em Saúde (RIS) é um dispositivo pedagógico-clínico-políticoburocrático que movimenta o debate acerca da atenção à saúde no país e, por conseguinte, o pensamento em torno dos impasses e enigmas da formação em serviço no contexto do SUS. Esta tese procurou lançar a escuta e o olhar crítico, bem como o pensamento reflexivo, sobre os espaços, tempos e dispositivos de formação em uma das ênfases do programa da RIS do Grupo Hospitalar Conceição, na cidade de Porto Alegre-RS. Para tanto, contou com elementos conceituais, dentre eles a teoria dos quatro discursos de Lacan, em especial o discurso da Universidade, aspectos do pensamento de Benjamin, elementos da formação do psicanalista, bem como as propostas dos principais autores nacionais que se dedicam ao tema da formação de profissionais em saúde e o SUS. A escolha pela forma ensaística como é apresentada a tese é sustentada pela teoria de Adorno e privilegiada como o modo mais adequado de dar tratamento expressivo e conceitual ao corpus, composto por cenas do cotidiano da Residência colecionadas pelo pesquisador. Partindo da diferenciação entre saber e conhecimento, associada às exigências quanto à formação do novo profissional em saúde, para cumprir as promessas do SUS à população, que parecem recair mais na construção de saberes do que de conhecimentos, a tese afirma e formaliza a possibilidade de transmissão de um saber a partir do que estipulou como cena de formação. Finalmente, analisa os papéis dos formadores - equipes e preceptores - para problematizar sua posição na cena de formação, constituindo, desse modo uma teoria sobre a ensinaprendizagem em residências integradas em saúde. Destaca-se, além da cena de formação, a supervisão como dispositivo com potencial de torção no discurso da universidade, ato essencial para que as propostas de formação do profissional em saúde em situação de Residência contemplem as expectativas contidas nos objetivos de seus projetos pedagógicos. / The Integrated Health Residency (RIS) is a pedagogical, clinical, political and bureaucratic device that moves the debate on health care in the country and hence the thinking on the dilemmas and enigmas of in-service formation in the context of the SUS. This thesis purported to launch listening and critical look as well as reflective thinking about space, time and formation devices in one of the emphasis of the RIS program of the Hospital Group Conceição, in Porto Alegre-RS. This involved with conceptual elements, including the theory of Lacan's four discourses, in particular the discourse of the University, aspects of Benjamin's thought, elements of the formation of psychoanalysts, as well as the proposals of the major national authors who focus on this issue of training of health professionals and the public health system. The choice for the essay form as the thesis is presented is supported by Adorno’s theory, and privileged as the most appropriate way of giving expressive and conceptual treatment to the corpus, composed by scenes of Residence’s everyday life, which were collected by the researcher. Starting from the distinction between knowledge and learning, associated with the demands on the formation of the new health professional to carry out the SUS’ promises to the people, which appear to fall more on building of knowledge than learning, the thesis states and formalizes the possibility of transmission of knowledge from what it stipulated as formation scene. Finally, it analyzes the roles of educators - staff and tutors - to discuss their position on the scene of formation, constituting thus a theory on teachinlearnig in integrated residences in health. It stands out, besides the scene of formation, the supervision as a device with potential torsion in the university discourse, an essential act to that the proposals of formation of health professionals in situations of Residence contemplate the expectations contained in the objectives of their pedagogical projects.

O presente trabalho procura acompanhar a proposta modelar de Theodor W. Adorno, formulada de modo ensaístico e paratáxico na Teoria estética. Visa compreender esse modelo de pensamento, sua atualidade como manifesto crítico e como possibilidade de construção cognitiva não mais voltada a uma racionalidade que se sobrepõe às particularidades do objeto do conhecimento, reprimindo-as em favor da soberania do sujeito. Busca esclarecer como o estético, em Adorno, tornou-se um experimento teórico para apresentar objetos sociais e históricos – as obras de arte – que resistem ao jogo do valor de troca e que, por meio de uma linguagem enigmática e de uma perspectiva utópica, propõem mudanças para o atual estado de coisas. Pretende, ainda, mostrar que a Teoria estética superou os traços desesperançosos e pessimistas que marcavam o discurso de Adorno: a razão humana não está destinada a reprimir-se e a reprimir a natureza e os homens. A obra de arte resiste e, ao resistir, nega. Ao negar, propõe algo que não existe, um não-idêntico, algo que não se sabe o que é. O desejo de algo novo, liberto do peso totalizador da Aufklärung, atravessa a Teoria estética. / This paper is an attempt to study Theodor W. Adorno‟s model proposition formulated in an essay-like and parataxic-like model in his Ästhetische Theorie. The paper pursues a better understanding of Adorno´s thought model, its today‟s actuality both as a criticism manifest and as a possibility of cognitive construction no longer dependent on a rationality that supersedes the particularities of the object under study, inhibiting them in favour of the subject‟s sovereignty. The paper also tries to make it clearer how the concept of esthetics, in Adorno, has become a theoretical experiment to present social and historical objects – works of art – that do not yield vis-a-vis the exchange value game and which, by means of an enigmatic language and of a utopic perspective, propose changes in favour of the present-day status quo. Besides, this paper also tries to show that Adorno‟s Ästhetische Theorie has overcome the hopeless and pessimistic traits that marked Adorno‟s discourse: human nature is not bound to repress itself and to repress nature and men. A work of art resists and, upon resisting, it denies. Upon denying, it proposes something that does not exist, something non-identical, something one does not know what it really is. A desire for something new, free from the totalizing weight of the Aufklärung permeates the Ästhetische Theorie.