The object of this study is Wieland's concept of irony. Wieland did not put forward a "theory of irony", but he has commented on irony in his works, in his correspondence, and in the footnotes to his translations of classical authors. This thesis consists of four parts, and the investigation proceeds as follows: Part One reviews the literature on Wieland's irony in order to establish a basis on which a contribution can be made to Wieland scholarship. No one denies that Wieland uses irony, but many disagree on its origin, its function, and its historical association. Part Two constitutes a detailed analysis of Wieland's most characteristic comments on irony as they occur in chronological order. Thus, an insight is gained into the development of the poet's theoretical understanding of irony which was conditioned by his attitude toward Socrates, the first historical eiron. As Wieland’s anti-Platonism gathered momentum, his use of the words Ironie and ironisch increased, and so did his attempts at defining irony. They are most numerous in Aristipp, Wieland's last novel, in which he also deals most extensively with Socrates. Part Three concerns itself with Wieland's manner of presentation. It is a study of the way in which the poet employs irony, and it investigates the stylistic devices in the service of this irony, with initial emphasis on his change from Platonist to Ironist. Part Four concludes the investigation by contrasting Wieland's irony with certain aspects of the romantic irony of Friedrich Schlegel and Ludwig Tieck. While it appears that Wieland uses stylistic techniques derived from literary models which also served the writers of the romantic generation, it also becomes evident that the intent of Wieland’s irony was more socially oriented than theirs. His central interest is in man himself, not in man's metaphysical concern. Wieland's irony is not irony for its own sake, but didactic irony for the purpose of enlightening the reader. As such, Wieland's irony serves as the means of characterization based on the contrast between eiron and alazon. In the light of his deep commitment to Reason (Natur), Wieland does not employ irony for the sake of suspending natural laws in the service of the wondrous. Basically, he establishes a constellation consisting of three human types: the misguided ethical and metaphysical idealist (Schwarmer), the cynical sensualist (Sophist), arid the representative of the graceful, Socratic golden mean (Philosoph). Whereas previous studies examine stylistic influences by other ironic writers on Wieland's manner, of presentation, this investigation reveals a by far greater influence of Socrates on Wieland's understanding and uses of irony. In this, the German author came to reject the characterizations of the eiron Socrates as presented in the works of Aristophanes and Plato, in preference to Xenophon’s description of the Greek philosopher as a pragmatist. / Arts, Faculty of / Central Eastern Northern European Studies, Department of / Graduate

CM. Wieland created a style of writing which was new for the German novel of the late 18th century. It is the aim of this thesis to show the various means Wieland used in order to present to the reader works of psychological, educational and political content which would be read, not only for that content, but also for pleasure. Mainly on the basis of two of his major works, Die Geschichte des Agathon, (1767), and Der goldene Spiegel, (1772), but also on some theoretical and critical works by other authors, some of the more important features of Wieland's narrative style are analysed and illustrated with examples. The first work to be dealt with, Die Geschichte des Agathon, was written for the upper and upper middle classes. Turning directly to the reader, Wieland, following the trends of his times, often addresses the female reader endeavouring to further her education. Moreover, in order to be pedagigical without being pedantic, Wieland assumes many roles beside that of author. We find him donning the mask of editor, translator, commentator and sometimes even that of an imaginary reader engaged in dialogue with the author. Asking rhetorical questions and voicing different opinions according to the role he plays at the moment, he taunts the reader, who is thus forced not only to take a position toward the action presented by the author, but also to pass critical judgement on and give thoughtful appraisal to ideas which underlie it. Innumerable humourous references to works of other writers entice the reader to read these works and thereby broaden his knowledge, round out his education, making reading more enjoyable. The other novel, Der goldene Spiegel, addresses itself to another class, that of princes and other rulers, since it deals with government. Its aim is the education of princes. Instead of conversing directly with readers, as in Agathon, Wieland has here chosen for his medium a narrative within a narrative. The characters of the various narrators serve for the most part, the functions which Wieland elsewhere discharged in his many disguises. So here, also, questions are asked and commentaries given in the form of conversation between the narrators, but in fact aimed at the reader, who may resemble the characters of either narrative. Wieland himself plays several roles. The most important is that of the philosopher Danischmend in the introductory narrative. He also gives comments and explanations, often of a humourous nature, by introducing various translators who in the course of centuries have translated the 'work' into several languages and commented on it. Each novel is of a different tenor. In the Agathon, where he is speaking to his own class, Wieland seems to be less restrained, whereas in the goldene Spiegel, since it pertains to matters of the great of this world, he uses a more subtle approach to make his own ideas more palatable without being offensive. The enjoyable and intelligent alternation among the disguises of his didacticisms serves to bring the reader closer to the problems which Wieland has at heart without presenting mere facts. The reader is so skilfully coaxed that the conclusions at which he will arrive will be at least similar to those aimed at by Wieland. That the reader may reach a high level of insight and humanity is the immanent goal of the novels. Added to his pedagogical purpose are his fluent style and mastery of language which give Wieland's novels an air of freshness and liveliness unknown to other German novels of his time. / Arts, Faculty of / Central Eastern Northern European Studies, Department of / Graduate

Texte remanié de: Dissertation--Literaturwissenschaft--Erlangen-Nürnberg, 1975" / Bibliogr. p. 96-105.

Zürich, Univ., Phil. Fak. I, Diss. von 1976. / Vollst. Ausg.: Europäische Hochschulschriften; Reihe XVIII. 9.