Die vorliegende Arbeit geht der Frage nach, inwieweit in Veröffentlichungen der (grundschul)pädagogischen Diskussion um die Vermittlung der Geschichte des Holocaust und Nationalsozialismus seit Ende der 1980er Jahre auf Adornos berühmte Radioansprache "Erziehung nach Auschwitz" von 1966 zugegriffen wird und in welcher Weise bzw. zu welchem Zweck dies geschieht. Anhand von vier typischen Bezugnahmen auf Adornos Vortrag wird gezeigt, dass ein solcher Zugriff nicht immer dem Inhalt des Vortrages gerecht wird, und dieser zum einen sehr unterschiedlich und zum zweiten häufig auf fragwürdige Weise ausgelegt und für die eigene Argumentation herangezogen wird. Um den Hintergrund für die pädagogische Rezeption von Adornos Ansprache zu erhellen, liefert die Arbeit einen historischen Überblick über die Entwicklung der grundschulpädagogischen Diskussion um die Frage, ob und wenn ja wie der Holocaust Gegenstand des Unterrichts in der Grundschule sein kann, und diskutiert dabei kritisch vier verschiedene Zielstellungen, die mit einer solchen Thematisierung verbunden werden: Demokratielernen, Gedenken, Fragen der Kinder bedienen sowie geschichtsdidaktische Absichten. Die inhaltliche Analyse jener Interpretationen von Adornos "Erziehung nach Auschwitz", die innerhalb der pädagogische Diskussion um eine Vermittlung der Geschichte des Holocaust vorgenommen werden, zeigt, dass die Zielvorstellungen des historisch-politischen Lernens häufig Leitmotiv für das Verständnis von Adornos Rede sind und sich dieses Verständnis vom Gegenstand einer „Erziehung nach Auschwitz“ bei den allermeisten Autor_innen auf eine „Erziehung über Auschwitz“ beschränkt.:Einleitung 2 Hauptteil A Theoretischer Teil 1 Theodor W. Adorno: „Erziehung nach Auschwitz“ 7 1.1 Entstehungskontext des Vortrages 7 1.1.1 Der bildungspolitische/historische Kontext 8 1.1.2 Im Kontext des Instituts für Sozialforschung (IfS) 9 1.1.3 „Adorno und die Pädagogik“ 14 1.2 Inhalt des Vortrages 17 2 Erziehung über Auschwitz 31 2.1 Erziehung über Auschwitz in der Grundschule 31 2.2 Ziele einer Erziehung über Auschwitz 41 2.2.1 Demokratiepädagogische Zielstellungen 42 2.2.2 Gedenkpädagogische Zielstellungen 54 2.2.3 Kindzentrierte, pädagogische Zielstellungen 56 2.2.4 Geschichtsdidaktische Zielstellungen 59 B Empirischer Teil 3 Vorbemerkungen zu den aufgefundenen Texten und Vorgehen 62 4 Erziehung über Auschwitz – zehn Autor_innen mit argumentativem Bezug auf Adorno 65 5 Vier Bezugspunkte in Adornos Vortrag 72 5.1 Das Verständnis von „Erziehung nach Auschwitz“ 72 5.2 Identifikation 89 5.3 Die „Wendung aufs Subjekt“ 94 5.4 Frühe Kindheit 98 Schluss 103 Literaturverzeichnis 108

The objective of this thesis is to examine how the bereavement of a mother tongue in various ways affects a person and how literature discusses this experience. How does literature reflect it and is it possible to identify any specific and recurring themes? Are there any similarities between the experience of migration and the experience of colonialism? What purpose does writing serve in this and how to describe the impact of language? Hopefully this thesis will contribute to a better understanding of the situation for newly arrived people and for persons living in Sweden with Swedish as a second language. The thesis has a postcolonial perspective as the focus is fiction dealing with a relocation from east to west. Earlier research and writings that has inspired is in particular the works by the two postcolonial theorists Franz Fanon and Sara Ahmed. The main source material for the study is literary works, e.g. the works of Jila Mossaed, Theodor Kallifatides, Athena Farrokhzad, Burcu Sahin and Yoko Tawada. The thesis is intentionally written in the form of an essay, suggesting the power of language and storytelling. The main objective of the thesis is to describe, rather than to arrive at a conclusion. One main focus is the author’s personal relation to the subject and to the Philippines and its colonial past. The literary works addressed in this study suggests that literature dealing with migration and language bereavement mainly focuses on a discussion about the relation between the native tongue and the new language, the relation between the metaphysical body and the new geographical location, about feelings of speechlessness and alienation that becomes physical. All these concurrent themes can be used as tools to define an experience that in many aspects is inconceivable. The thesis also identifies similarities between colonialism and migration, as both raise the question of inherit right to a place and a lifelong search for a place to call home. In this effort, writing is important and may function as an emancipatory lever to create new places.

La notion philosophique de mimésis, perçue à travers Adomo et Horkheimer, nous permettra de comprendre l'échec du projet émancipateur de la raison dans l'histoire et l'aporie qui se pose lorsque l'homme emploie la ruse pour se constituer en sujet. Cette étude fera également ressortir le revers dialectique de la ruse hégélienne de la raison. Nous verrons que, poussé par la nécessité de conserver sa vie, l'homme s'empare du pouvoir originel de la nature par le biais de la représentation mimétique. S'il renverse l'imagination mythique par le savoir et développe une identité, la ruse systématise toutefois le principe de domination hérité des pratiques sacrificielles. Autrement dit, la raison reproduit le pouvoir qu'elle renverse tandis que le sujet intériorise le sacrifice. À certains égards, le processus auto-constitutif de la raison et du sujet se révèle alors autodestructeur.

L’histoire du concept d’idéologie est riche des différentes définitions qui ont tenté de le circonscrire, en tension entre la description de visions du monde et la dénonciation de la « fausse conscience ». Chez les penseurs regroupés sous le nom d’ « École de Francfort », l’idéologie en vient à équivaloir au phénomène de l’industrie culturelle, c’est-à-dire la mise au service de la raison technique dans la production de la culture. Le statut du cinéma est intéressant à cet égard : non seulement est-ce un art né à l’époque industrielle et indissociable des possibilités techniques offertes par celle-ci, mais il a été mobilisé pour de nombreuses entreprises propagandistes, plus ou moins subtiles. La question directrice de l’interrogation est donc la suivante : selon la théorie critique de l’École de Francfort, le cinéma peut-il être considéré comme de l’art ou est-il confiné au domaine de l’idéologie ? Autrement dit, le cinéma peut-il revendiquer un statut qui ne ferait pas de lui qu’un support de la domination de l’humain par l’humain ? / The history of the concept of ideology is rich in different definitions that have attempted to circumscribe it, in a tension between the description of different worldviews and the denunciation of “false consciousness.” For the thinkers grouped under the name “Frankfurt School” ideology comes to equate the phenomenon of the Culture industry, that is to say, technical reason put at the service of the production of culture. The status of film in interesting in this regard: not only is it an art born in the industrial age and inseparable from the technical possibilities offered by the industry, but it has also been used for numerous, more or less subtle, propagandist undertakings. The leading question of our inquiry is thus the following: according to the critical theory of the Frankfurt School, can film be considered as a genuine form of art or is it confined to the realm of ideology? In other words, can film claim a status which would not make it solely a support of human-over-human domination?

Theodore Fontane is best known as the author of numerous women's novels, which he wrote in the last ten years of his life. This diploma thesis deals with the topic of women's emancipation on the basis of textual analysis of two latter novels by Theodore Fontane - Effi Briest and Mathilde Möhring. In the first part, it characterizes the topic of the period women's emancipation and puts the author's biography into context. In the second part, it creates the picture of position of the main women characters. The last part describes the personal development of the women characters, on the basis of which I determine how much the women's emancipation reflects in the author's work and what is his attitude towards it. This thesis deals with the interpretation of the author's intent to illustrate the creation of an advanced character like Mathilde Möhring. Key words: Theodore Fontane, women's emancipation, Effi Briest, Mathilde Möhring, development of women's characters, women's novels, interpretation, author's intent, counterpoint

I den här uppsatsen undersöks den intertextualitetsteori som framkommer i Kallifatides 2000-talslitteratur, och hur den kan användas för att läsa de autofiktiva inslagen i romanerna. Uppsatsen kommer fram till att Kallifatides ansluter sig till en poststrukturalistisk syn på intertextualitet, där intertextualitet inte så mycket handlar om direkta referenser i ett verk till ett annat, utan utgör en del i den poststrukturalistiska insikten att allt är konstruktion. Genom att människans syn på världen anses sakna essens och istället konstrueras genom språket kan text med denna syn endast referera till andra språkliga konstruktioner, det vill säga, annan text. Livet är något som ”levs mellan två citattecken”. Parallellt tycks dock Kallifatides intertextualitet inneha en mindre språkburen dimension som går tillbaka på en mer konkret historieskatt, och ett arv av kollektiva erfarenheter. Överlag ansluter sig Kallifatides trots allt till kända intertextualitetsteoretikers, såsom Kristeva och Barthes, syn att språket bär på en inneboende intertextualitet. I uppsatsen finner jag emellertid att Kallifatides skiljer sig från nämnda teoretiker i sin inställning till detta beroende. Där Kristeva och Barthes ser en förlorad individuell frihet och agens, ser Kallifatides en vunnen samhörighet och gemenskap. Insikten om synen på intertextualitet i Kallifatides litteratur används sedan i en läsning av de autofiktiva inslagen i verken. Där finner jag att man med en medvetenhet om nämnda intertextualitetsdiskussion kan läsa de autofiktiva inslagen som en sorts praktisk tillämpning av tankarna kring beroendet av myt och fiktion. Sammanblandandet av verken och det litterära arvet, med författarens liv, blir en exemplifiering av idén att livet levs inom redan uppdragna narrativa strukturer. Genom att blanda dåtid och nutid, fiktion och verklighet, exemplifierar Kallifatides att ”det är detaljerna som skiljer oss” från historien och myten, och ”ibland inte ens de”. Individen och författaren lever på så vis texter som redan är skrivna. Vidare menar jag i uppsatsen att de autofiktiva inslagen på detta vis upprättar en sorts ”oklar linje” mellan författare och verk och författare och myt, där synen på förhållandena mellan verk och litterärt arv, och författaren, inte ses uteslutande som enkelriktat kausala. Författarens relation till verket blir alltså inte likriktad: istället för att författaren allena formar verket, formar verket också författaren. Även om skrivandet visserligen anses sprunget ur erfarenhet, ger det på samma gång struktur och form till erfarenheten. Fiktionen är på så vis en del av konstruktionen av oss som individer. Relationen mellan författaren och myten är mer kausalt riktad, det är arvet som påverkar författaren. Den oklara linjen handlar här mer om en oklarhet kring var författarens liv börjar och var myten slutar. Sammantaget läses autofiktiva inslagen som en praktisk tillämpning av de teoretiska resonemangen. Funktionen blir att illustrera tidlösheten hos det litterära arvets narrativa strukturer, och att peka på författarens dubbelriktade förhållande till sin fiktion.

This thesis identifies strategies of queer/irony in the writings of Lord Byron, Heinrich Heine, Theodor Fontane, and Oscar Wilde. Key to the understanding of irony is Friedrich Schlegel's re-evaluation of the concept. The thesis establishes an approach to the multifaceted concept of irony and identify key concepts of queer theory. The focus, however, is close reading. First, Lord Byron's epic satire Don Juan is read with regards to the interplay of narrative strategies and the depiction of gender, homoeroticism and the concept of the child. Furthermore, reviews published at the time of the publication of Don Juan are examined: Why did the reviewers reject the work so violently? Second, in Heine's Buch der Lieder we find ironic strategies that Richard Rorty subsumed into the concept of 'final vocabularies.' By acknowledging the formulaic nature of language in general and Romantic tropes in particular, Heine succeeds in subverting a heteronormative discourse on love and desire. Heine's Reisebilder – 'Die Reise von München nach Genua' and 'Die Bäder von Lucca' – depict the limits of queer/irony: Where meaning is fixed, as in the case of the Platen polemic, irony loses its propensity to contain multitudes. Third, Theodor Fontane's novels of adultery are read against the background of irony as established through a Schlegelian reading of Frau Jenny Treibel and a queer reading of Ellernklipp. The novels Unwiederbringlich and Effi Briest question notions of truth and map the danger of knowledge. At the core of this chapter lies the notion of 'knowledge management,' a strategy closely related to irony. The figure of the courtier Pentz in Unwiederbringlich becomes a harbinger of dangerous, queer knowledge similar to the way Crampas' use of Heine quotations negotiates sexually suggestive knowledge in Effi Briest. In a final step, the aforementioned queer/ironic strategies are employed to read texts by Oscar Wilde. Are the strategies as inferred in the other chapters valid for Wilde's writings as well? We find that, in a time where homoerotic behaviour was heavily sanctioned, ironic writing had become a liability. Wilde's ironies are too opaque for the reader: They have become a movement where nobody is allowed to 'play along'.

This thesis explores the origin and expression of dialectical thought in the life and writings of the American modernist Laura Riding. Within a biographical framework, I trace the steps by which it became the defining characteristic of her poetic, literary and critical works. A few have noted Riding's dialectical manner; none have appreciated its centrality. This is the first detailed study. An introductory outline of the origin and definition of dialectic provides a working theoretical context for the study that follows. Riding was born Laura Reichenthal in New York City, 1901. Her father, a Jewish émigré, was a committed activist for the left and included Riding in his campaigning at a very young age, immersing and educating her in the political and philosophical radicalism thriving in New York's Jewish communities of the era. There she internalised the revolutionary dialectics that would inform her aesthetic practice. Breaking with her father in her teens, she abandoned politics for literature. As Laura Riding - the name she adopted in 1927 and with which her literary writings continue to be associated - she moved to London and began collaborating with Robert Graves, relocating with him to Majorca in 1929. Producing poetry, fiction, criticism and experimental philosophico-literary works, she became a formidable presence within European literary modernism. Many aspects of her work are dialectical. Paradox, inversion and negation are perennial textual features. Key events in her life were also experienced as dialectical. Her insistence upon 'death' as an inverted sigil of unmediated vitality points toward a negatively dialectical mode of thought. In this regard, the theories of Theodor W. Adorno prove invaluable. Adorno provides a unique lexicon of terms - 'constitutive subjectivity', 'administered world', 'true object' - with which to draw out Riding's dialectical subtleties. Reading them alongside Adorno's negatively dialectical theory of modernist art and aesthetic praxis, certain aspects of Riding's writings are illuminated and, in some respects, they correspond. After a suicide attempt in 1929, Riding's perspective changed. Before it, her point of view was positioned within institutionally determined 'reality', and 'truth' beyond it was adumbrated by dialectical means. Afterwards, she believed herself transfigured: the embodiment of immediate, consciously apprehended noumenal objectivity. But the written word remained recalcitrant toward her attempts to inscribe this newfound positive 'truth'. This frustration contributed to her abandonment of poetry at the end of the 1930s. Re-emerging in the 1960s as Laura (Riding) Jackson, her disavowal of poetry and exploration of 'truth-potential' in language utilised dialectical approaches derived from her earlier experiences and writings.

Made available in DSpace on 2016-04-27T17:27:20Z (GMT). No. of bitstreams: 1 Gianpaolo Franco Dorigo.pdf: 345580 bytes, checksum: 54b385ab8d051139e6e2d357a46d2b16 (MD5) Previous issue date: 2007-11-06 / This work attempts to read the Livro do Desassossego de Bernardo Soares by Fernando Pessoa identifying in its main character/narrator a model of the Common Man , as a typical figure of modern times. The view presented in the book is in many ways similar to Theodor Adorno s thought, leading this reflection to establish a dialogue between the Portuguese writer and the German philosopher, on the common ground of a possible relation between Literature and Philosophy / Este trabalho pretende fazer uma leitura do Livro do Desassossego por Bernardo Soares de Fernando Pessoa, identificando seu narrador-personagem como uma figura típica da modernidade, o homem-comum . A visão expressa na referida obra se aproxima em diversos aspectos do pensamento de Theodor Adorno, fazendo com que a reflexão resulte em um diálogo entre escritor português o filósofo alemão, sob a égide de uma relação possível entre Filosofia e Literatura

Within the science fiction genre, utopian as well as dystopian experiments have found equal representation. This balanced treatment of two diametrically opposed social constructs results from a focus on the future for which this particular genre is well known. Philip K. Dick’s VALIS, Neal Stephenson’s Snow Crash, Samuel R. Delany’s Babel-17, and Chuck Palahniuk’s Lullaby, more aptly characterized as speculative fiction because of its use of magic against scientific social subjugation, each tackle dystopian qualities of contemporary society by analyzing the power that language possesses in the formation of the self and propagation of ideology. The utopian goals of these texts advocate for a return to the modernist metanarrative and a revision of postmodern cynicism because the authors look to the future for hopeful solutions to the social and ideological problems of today. Using Slavoj Žižek’s readings of Jacques Lacan and Theodor Adorno’s readings of Karl Marx for critical insight, I argue these four novels imagine language as the key to personal empowerment and social change. While not all of the novels achieve their utopian goals, they each evince a belief that the attempt belies a return to the modernist metanarrative and a rejection of postmodern helplessness. Thus, each novel imagines the revision of Žižek’s big Other through the remainders of Adorno’s inevitably failed revolutions, injecting hope in a literary period that had long since lost it.