No description available.

This dissertation draws on contemporary philosophical and sociological approaches to trust and engages them in a dialog with literary, poetological, and philosophical texts from the nineteenth century. In doing so it seeks to explore both what other disciplines have to offer to literary studies with regard to the interpretation of trust as a literary motif, as well as to show how literary texts evoke compelling scenarios in which the conceptual and semantic complexities of the phenomenon of trust take on theatrical, rhetorical, and narrative forms that can both illustrate and challenge sociological or philosophical claims. Close readings of texts by Ludwig Tieck, Heinrich von Kleist, Franz Grillparzer, and Friedrich Nietzsche offer new interpretations of canonical texts and discuss the relationship of trust to aesthetics, cultural memory, mythography, and performativity.

La pensée esthétique de K.W.F. Solger (1780-1819) constitue un axe essentiel de ses réflexions philosophiques et philologiques, et marque chacune des étapes de son évolution intellectuelle. Ce travail en éclaire la genèse et la réception à partir de ses manuscrits et de leurs premières éditions posthumes. Sont d'abord présentées les sources dont nous disposons (imprimées et manuscrites), ainsi que les rpaports entre ces différents textes, et les concepts forts de la pensée esthétique de Solger (symbole, tragique et ironie). Une analyse historique permet ensuite de dégager les grandes lignes de la biographie intellectuelle de Solger, et plus spécifiquement son rôle au sein de l'université de Berlin entre 1811 et 1819. Un travail sur les différents états de textes montre pour finir les enjeux littéraires d'une oeuvre laissée inachevée par son auteur et largement remanièe par ses éditeurs posthumes. L'ensemble de cette recherche s'appuie plus spécifiquement sur la correspondance de Solger, et s'attache à retracer les relations de l'un des protagonistes du Berlin romantique et idéaliste avec ses contemporains.

This dissertation explores the intimate relationship between irony and romantic subjectivity, by drawing on feminist psychoanalytical theory, via an examination of the shiftings of irony, and humor, in the works of the Swedish romanticist P. D. A. Atterbom (1790–1855). It looks at the critical role played by irony in the formation of Romantic subjectivity, and explores irony’s potential to undermine dualistically gendered notions of subject-object relations. For Atterbom, irony is an aesthetic concept closely related to drama, informed not only by German Romantic-ironic theorists such as Friedrich Schlegel and Jean Paul, but also by the works of Shakespeare, Ludwig Tieck, and E. T. A. Hoffmann. The thesis follows the shiftings of Romantic irony in Atterbom’s major literary texts: the cycle of poems Blommorna [The Flowers] (1811), where the Ovidian transformations are used metafictively to play with the relation between poet, poem, and reader; and the literary satire Rimmarbandet [The Rhyme Band] (1810), which, inspired by Tieck’s Der Gestiefelte Kater (1797), uses the metafictive theatre-in-the-theatre motif, as well as carnivalesque and grotesque motifs to expose contrived theatricality and homosocial misogyny in the prevailing culture. The dynamic between the satirist’s subject and the attacked object is a polarized power struggle, where revolt is followed by submission. In this respect, Romantic satire is here conservative. In the fairy tale play Lycksalighetens ö [Island of Felicity] (1824–27), tragedy’s irony is a dialectic between the ideal and the real that strives to create both inner and outer renewal. The play reaches out metafictively to the reader and turns her/him into the poet of a new version of the fairy tale. The reading/writing process inscribed in the work thus becomes a form of renewal and liberation from grief, and old, patriarchal gender roles. Finally, the humorous, unfinished idyll Fågel Blå [Blue Bird] (1814, 1818, 1858) is a work in many pieces, a fragment, a sketch and a non finito that together stages a restorative creative process, where the reader is asked to take part in joining together the scattered parts of Blue Bird itself. To conclude, irony is a feature of Romanticism, which makes the Romantic, literary subject relational and dialogical, open to its Other, and herein lies a form of ethics and an escape from a conventional, patriarchal notion of the self. I discuss this with Julia Kristeva’s theories on how subjectivity changes when it becomes poetic and Jessica Benjamin’s Winnicott-influenced theory of how play can offer a way out from patriarchy’s strict gender roles. The shiftings of irony in Atterbom’s work show a development from the satirical subject, where an aggressive form of self-assertion conceals a lack of individuality – via tragedy’s painstaking efforts to integrate repressed aspects of the self – to the idyll’s more harmonious subject, who has the capacity to laugh at him/herself and see both the grotesque in the holy, and the holy in the grotesque.

Texte remanié de : Dissertation : ? : Universität Tübingen : 2006. / Bibliogr. p. [599]-621. Index.

No description available.

Univ., Diss.--Regensburg, 2005. / Literaturverz. S. 201 - 217.

Freie Univ., Diss.--Berlin, 2006.