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L’œuvre de l’Autrichienne Elfriede Jelinek (Prix Nobel de Littérature en 2004) est ici approchée par la bande, c’est-à-dire par les « petits textes » rédigés tout au long de sa carrière en marge de ses pièces et romans. Textes de circonstance, ces essais reposent sur un paradigme esthétique spécifique que le présent travail se propose d’exposer en revenant à leurs conditions de publication initiales. On s’aperçoit ainsi qu’il s’agit de textes de commande véhiculés par des supports médiatiques différents du livre (revue, tract, programme, internet) et qui impliquent une réception particulière, induite par leur dispersion et leur fugacité. La présentation du corpus se fait sur fond des grandes césures de l’œuvre jelinekienne mais aussi de la littérature autrichienne d’après 1945, recomposant le réseau personnel et professionnel de l’auteur et la réintégrant dans sa génération. Trois chapitres sont consacrés à une analyse détaillée des textes. Celle-ci montre d’abord la genèse progressive de leur thématique centrale, à savoir la possibilité d’une œuvre féminine. Elle s’attache ensuite aux trois principes fondamentaux de leur style que sont l’évidement, le paradoxe et la fluidification. Elle étudie enfin le rapport au lecteur conçu sur le mode du brouillage et de l’interférence, qui permet, pour un temps, de prolonger la vie de textes dont le sens tend à s’obscurcir rapidement. Les notions de relation et de singularité sont placées au cœur de cette thèse, identifiées comme l’enjeu esthétique et politique majeur du corpus mais aussi d’une partie de la tradition du genre dont quelques définitions emblématiques (Lukács, Adorno, Barthes, Marielle Macé, Georg Stanitzek) sont discutées. / This thesis discusses the work of the Austrian writer Elfriede Jelinek (Nobel Prize for Literature 2004) from its margins, from a corpus of “short texts” written from the beginning of her career beside her novels and plays. As occasional prose, these essays are grounded in a specific aesthetic paradigm, which this dissertation seeks to define by examining their original conditions of publication. This method brings to light that these are commissioned works, released on very different media formats than a book (journals, flyers, programs and the internet), which have their own mode of reception due to their volatility in space and time. The corpus is presented against the backdrop of Jelinek’s main work and its major turning-points. It is also set in the context of Austria’s post-1945 literature according to the author’s personal and professional network in order to reintegrate Jelinek in her generation. Three chapters are then dedicated to a detailed analysis of the texts. This thesis highlights the slow genesis of their main theme, the possibility of a feminine work of art. Then it studies three characteristics of their style - hollowing, paradox and liquidity. Lastly, it deals with the relation to the reader, conceived as jamming and interference, both allowing, at least for a time, to prolong the text’s meaning, as it otherwise tends to become more and more obscure. Relation and singularity are key notions of this thesis, considered as the main aesthetic and political issues of its corpus, being also part of the essayistic tradition, discussed through some canonical definitions (Lukács, Adorno, Barthes, Marielle Macé, Georg Stanitzek).

Abstract not available

The Austrian novelist Heimito von Doderer (1896-1966) gained his reputation after World War II with the novels Die Strudlhofstiege (1951) and Die Dämonen (1956). His interest in language, its functions and its innermost essence appears from his novels, his diaries and his essays. In order to express his energetic conception of language he used an individual and partly newly-created terminology.This dissertation deals in the main with an analysis of approximately 25 central sentences {Fundamentalsätze), containing more than 100 terms, according to the criteria of content and formal aspects. Chapter 5 focuses on Doderer's view of life (Lebensphilosophie), a combination of philosophy, psychology and religion. The role of memory, the exploration of thinking and the depiction of creativity constitute combined endeavours in his work, in which he was influenced by Weininger's and Swoboda's terms and theses. Chapter 6 treats linguistic terminology proper. Two different examples may demonstrate Doderer's remarkable intuition for linguistic essentials. Beginning with the indirect essence of language he supposes that there is no fundamental difference between the birth of language and the creation of metaphors. Secondly he conceives of a sentence as being formed as a structural unit, based on a formula (Strukturformel). Similar opinions are represented in modern linguistics.The formal aspects of his terminology are dealt with in Chapter 7, including the different types of terms and the possibilities of word-formation, to express definitions and thematic connections. In the novel Die Merowinger (1962) Doderer constructs a burlesque travesty of erudite professional language. / digitalisering@umu

This paper offers an empirical analysis of net job creation patterns at the firm level for the Austrian economy between 1993 and 2013 focusing on the impact of firm size and age. We propose a new estimation strategy based on a two-part model. This allows to identify the structural parameters of interest and to decompose behavioral differences between exiting and surviving firms. Our findings suggest that conditional on survival, young Austrian firms experience the largest net job creation rates. Differences in firm size are not able to explain variation in net job creation rates among the group of continuing enterprises. Job destruction induced by market exit, however, is largest among the young and small firms with this effect being even more pronounced during the times of the Great Recession. In order to formulate sensible policy recommendations, a separate treatment of continuing versus exiting firms as proposed by the new two-part model estimation approach seems crucial.(authors' abstract) / Series: Department of Economics Working Paper Series

This thesis considers exhibitions in natural history museums as a process of negotiation between three parties: the museum as an institution, the museum staff, and the visitors. These represent different interests that shape exhibitions relating to nature. The thesis asks the following main question: In what way do discourses play a role in the staff’s work within natural history museums? The empirical sources are based on interviews conducted with staffmembers from eight different natural history museums: six in Austria and two in Norway. The interviews are analysed based on the principles of discourse psychology and critical discourse analysis. The theoretical framework is based on postmodernism as a reaction and countermovement to modernism. Kant’s theory of knowledge, the concept of representation and discourse theory are considered in relation to one another and form an ontological departure for the epistemology. The methodology combines critical discourse analysis and discourse psychology as applied to conversational text. The discourse analysis reveals different discourses concerning the museum as institution, professional museum staff, and the visitors. The thesis concludes that the museum as institution is characterised by a knowledge culture/tradition that was particularly substantiated during the Enlightenment. In turn, the knowledge tradition is characterised by discourse that places expectations regarding the procedures of the employee, but also through the visitors’ expectations as to what a museumis and what the exhibitions provide them with. The employees meet the museum understood as discourse through mainly three different strategies for how exhibitions should function. I call these strategies ‘action promotion’, ‘communication focus’ and ‘political context’. In this way, the identities and actions of the employees depend considerably on their personal relationship to the museum as a concept and discourse, as well as to the visitors’ presumptions, expectations and experiences concerning museums. / Diese Master-Arbeit betrachtet die Ausstellung eines naturgeschichtlichen Museums als Ergebnis eines Verhandlungsprozesses zwischen drei Parteien mit unterschiedlichen Interessen: dem Museumspersonal, dem Museum als Institution sowie dem Publikum. Die Hauptfragestellung der Arbeit lautet: In welcher Weise spielen Diskurse in der Arbeit derwissenschaftlichen Angestellten naturgeschichtlicher Museen eine Rolle? Der theoretische Rahmen der Arbeit basiert auf dem Postmodernismus als einer Reaktion auf und Gegenbewegung zum Modernismus. Kants Erkenntnistheorie, das Konzept der Repräsentation sowie die Diskurstheorie bilden zusammen die ontologische Grundlage der Epistemologie. Die Methodologie kombiniert gesprächsbezogene kritische Diskursanalyse und Diskurspsychologie. Das empirische Material besteht aus Interviews mit wissenschaftlichen Angestellten acht naturgeschichtlicher Museen, davon sechs in Österreich und zwei in Norwegen. Die Diskursanalyse deckt unterschiedliche Diskurse hinsichtlich des Museums als Institution, der wissenschaftlichen Angestellten sowie des Publikums auf. Die Arbeit schlussfolgert, dass das Museum als Institution von einer Wissenskultur gekennzeichnet ist, die insbesondere in der Zeit der Aufklärung begründet ist. Diese Kultur ist insofern diskursgeprägt, als dass sie bestimmte Erwartungen an die Arbeit des Museumspersonals beinhaltet, aber auch durch die Erwartungen des Publikums an ein Museum und seine Ausstellungen. Die Angestellten nähern sich dem Museum als Diskurs, in dem sie hauptsächlich drei verschiedene Strategien im Hinblick auf die Funktion von Ausstellungen verfolgen: Inspiration zu eigenständigem Handeln (”Handlungspromotion”),auf das Publikum zugeschnittene Kommunikation (”Kommunikationsfokus”) sowie Einbeziehung politischen Kontexts. Insofern hängen Identität und Handeln der Angestellten stark von ihrer persönlichen Beziehung zum Museum als Konzept und Diskurs ab, ebenso wie von ihren Annahmen bezüglich der Erwartungen des Publikums und dessen Erfahrungen mit Museen.

Revised thesis (doctoral)--Universität Łódź, 2004. / Includes bibliographical references (p. 193-214).

Thesis (Inaugural-Dissertation)--Friedrich-Alexander-Universität, Erlangen-Nürnberg, 2006. / Includes bibliographical references.

A pesquisa que ora se apresenta consiste em uma investigação sobre o recente trabalho de reavaliação das obras de membros do chamado Círculo de Viena, que foi o primeiro e principal grupo representativo da perspectiva filosófica conhecida como positivismo lógico. Nossa pesquisa compreende três partes: a primeira parte voltada para a reconstrução histórico-conceitual do período entre o alvorecer das idéias neopositivistas e os primeiros momentos posteriores à recepção norte-americana da imigração intelectual vienense; na segunda parte do trabalho, por sua vez, lançaremos luz propriamente à natureza de tal perspectiva contemporânea, a partir de uma descrição sobre o método e o escopo temático de tal projeto revisionista; à terceira parte, por fim, além de tecer uma avaliação geral sobre o que foi feito nas duas partes que a antecedem, coube conjecturar as possibilidades de se encontrar em tal trabalho uma agenda filosófica e política própria. / The present work consists on an inquiry concerning the recent re-evaluation in the works of members of the so-called Vienna Circle, which became the first and main representative of the philosophical movement known as Logical Positivism. Our research comprises three parts: the first one is devoted to a historical-conceptual reconstruction of the period between the uprising of the first Neopositivist ideas and the years immediately following the North-American reception of the intellectual immigration from Vienna; the second part of the work concerns the nature of such contemporary reappraisal researches on the positivists legacy, through a description of the method and scope of such re-evaluation project; finally, the third part comprises a general review of the previous parts, and was worked out in order to conceive conjectures about the possibility of finding out in this re-evaluation project a philosophical and political agenda of its own.

A pesquisa que ora se apresenta consiste em uma investigação sobre o recente trabalho de reavaliação das obras de membros do chamado Círculo de Viena, que foi o primeiro e principal grupo representativo da perspectiva filosófica conhecida como positivismo lógico. Nossa pesquisa compreende três partes: a primeira parte voltada para a reconstrução histórico-conceitual do período entre o alvorecer das idéias neopositivistas e os primeiros momentos posteriores à recepção norte-americana da imigração intelectual vienense; na segunda parte do trabalho, por sua vez, lançaremos luz propriamente à natureza de tal perspectiva contemporânea, a partir de uma descrição sobre o método e o escopo temático de tal projeto revisionista; à terceira parte, por fim, além de tecer uma avaliação geral sobre o que foi feito nas duas partes que a antecedem, coube conjecturar as possibilidades de se encontrar em tal trabalho uma agenda filosófica e política própria. / The present work consists on an inquiry concerning the recent re-evaluation in the works of members of the so-called Vienna Circle, which became the first and main representative of the philosophical movement known as Logical Positivism. Our research comprises three parts: the first one is devoted to a historical-conceptual reconstruction of the period between the uprising of the first Neopositivist ideas and the years immediately following the North-American reception of the intellectual immigration from Vienna; the second part of the work concerns the nature of such contemporary reappraisal researches on the positivists legacy, through a description of the method and scope of such re-evaluation project; finally, the third part comprises a general review of the previous parts, and was worked out in order to conceive conjectures about the possibility of finding out in this re-evaluation project a philosophical and political agenda of its own.