Thesis (Ph. D.)--University of Wisconsin--Madison, 1968. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (Ph. D.)--University of Chicago, Department of Comparative Literature, December 2000. / Includes bibliographical references (p. 544-569). Also available on the Internet.

Thesis--Freiburg i. Br. / Vita.

Zugl.: Hamburg, Universiẗat, Diss., 2006.

Zugl.: Hamburg, Univ., Diss., 2007

Ludwig Tieck’s Italian journey of 1805–6 is usually considered to be a turning point in the life and oeuvre of this author. The poetological and aesthetic differences between works he wrote before and after the time in Italy cannot be ignored. The lived experience of early romanticism turns into ‘remembered romanticism’ in the first decade of the nineteenth century, and in ‘Reisegedichte eines Kranken’ and ‘Rückkehr des Genesenden’, both of which were composed during the Italian journey, the ironic playfulness of ‘Universalpoesie’ seemingly makes way for a realistic view both of experiences gained in Italy and of the contingency of history. However, a closer look at the realism of the ‘Reisegedichte’ reveals traces of exactly that early romanticism from which the poems allegedly depart. The introductory poems, in particular, constitute a poetic and self-referential framework for the double cycle that connects the texts to Tieck’s earlier ideas on aesthetics. Tieck’s realism, this essay argues, is less the result of a complete reorientation in his aesthetics than it is a realignment of early romantic modes of thought.

Le but de notre étude était d'identifier des structures « analogues au mythe » dans des textes en prose du préromantisme allemand. La théorie sur laquelle nous nous appuyons est la théorie du « mythe formel » selon Clemens Lugowski. Notre hypothèse était qu'il y avait très souvent, dans les romans et contes du préromantisme allemand, des structures et qualités « mythiques » (au sens de mythe formel) qui sont liées de façon équivoque à des structures narratives modernes. Ces structures mythiques et prémodernes se manifestent particulièrement dans la motivation de l'action et dans l‘accumulation des motifs fatidiques et généalogiques. Notre étude a été réalisée en trois étapes. Dans un premier temps, nous avons analysé, discuté et adapté les théories de la motivation narrative et du mythe formel. Puis, nous avons élargi le sujet d’un point de vue de l’histoire culturelle, en expliquant le rôle du mythe, de la mythologie et du concept romantique de la « nouvelle mythologie » ainsi que l’idée de généalogie à la fin du 18ème siècle en Allemagne. Nous avons conclu la partie historico-culturelle par un chapitre sur la situation des éditions, des auteurs et de la littérature populaire vers 1800. Ensuite, nous avons concentré les analyses des textes sur des structures mythiques qui apparaissaient dans les motifs, dans la forme et dans les péritextes des contes et romans du préromantisme allemand. Notre corpus de textes se composa de romans et contes de Ludwig Tieck, Friedrich Schiller, Johann Wolfgang Goethe, Clemens Brentano, Dorothea Veit et Novalis. / The aim of our study was to identify "myth-like" structures in prose texts of German early Romanticism. The theory on which we rely is the theory of the "formal myth" according to Clemens Lugowski. Our hypothesis was that in the novels and tales of German early Romanticism there were very often "mythical" structures and qualities (in the sense of a formal myth) that are linked equivocally to modern narrative structures. These mythical and premodern structures are particularly evident in the motivation of action and in the accumulation of fateful and genealogical motives. Our study was carried out in three steps. In a first step, we analyzed, discussed and adapted the theories of narrative motivation and formal myth. Then we broadened the subject from a historico-cultural perspective, explaining the contemporary role of myth, mythology and the romantic concept of the "new mythology" as well as the idea of genealogy at the end of the 18th century in Germany. We concluded the historico-cultural part with a chapter about the situation of editions, authors and popular literature around 1800. We then concentrated the analyzes of the texts on mythical structures that appeared in the motifs, in the form and in the peritexts of the tales and novels of German early Romanticism. Our corpus of texts consisted of tales and novels by Ludwig Tieck, Friedrich Schiller, Johann Wolfgang Goethe, Clemens Brentano, Dorothea Veit and Novalis.

No description available.

Thesis (doctoral)--Universität Leipzig, 1909. / Master Negative No. 91-1935. Vita. Also published under title: Die Ironie als Entwicklungsgeschichtliches Moment. Jena : E. Diederichs, 1909.

Since its entry into the literary field in the late eighteenth century, the vampire has seen many permutations, ranging from the truly monstrous to the present-day seductive stranger. The creature’s mutability stems from its liminal placement, hovering as it does between life and death. In exploring the figure of the vampire within the Germanic tradition, two works separated not only by medium, but also by nearly a century of time, emerged as the focus of this thesis: Ludwig Tieck’s Romantic Kunstmärchen “Der Runenberg” and Friedrich Wilhelm Murnau’s Expressionist film Nosferatu: Eine Symphonie des Grauens. Superficially, this link appears tenuous, but in analyzing Tieck’s fairy tale and Murnau’s neo-Romantic film several thematic connections emerge. Both works contain a complex and fluid depiction of gender, a narrative of infection, and a vampire that is an embodiment and corruption of nature. Using a syntagmatic approach, this thesis explores the similarities between the two works, as well as the differences, with a focus on the element of vampiric nature and the representations of gender. / Graduate