Texte remanié: Inaug-Diss.--Philosophische Fakultät--Münster im Westf.--Westfälische Wilhelms-Universität.

Thesis (Ph. D.)--Ohio State University, 2004. / Title from first page of PDF file. Document formatted into pages; contains xii, 151 p.; also includes graphics. Includes bibliographical references (p. 147-151). Available online via OhioLINK's ETD Center

Made available in DSpace on 2014-07-18T02:01:34Z (GMT). No. of bitstreams: 1 000459289-Texto+Completo-0.pdf: 904643 bytes, checksum: 494bba68668b2082672ac959477f8cff (MD5) Previous issue date: 2014 / The text of the Phenomenology of inclusiveness characterizes itself as a new work in the area of phenomenology. Seeking phenomenological sources in Husserl, Merleau-Ponty, and Waldenfels, the text attempts to develop inclusiveness in order to contemplate the inclusive/exclusive paradox and, moreover, to show its efficacy in measuring the inclusive scope of any ethical theory ever developed. From Husserl, we find the basis for a phenomenology of inclusiveness, which was put forth in his Krisis. In order to solve the constitutive paradoxes, Husserl nurtures the idea of an inclusive basis. Such inclusiveness is characterized by a latent reflective attitude, an attitude of inclusion in the lifeworld, an attitude of not closing our thesis, and, finally, an attitude that avoids the reductionism of the subjective and objective poles. With the radicality of thought from Merleau-Ponty, the text presents support for a complicity of meaning. Now, the subject sees his/herself as complicit in his/her relationship with the liveworld thus withdrawing the heavy burden that previously was placed solely on the subject as the ultimate endower of all meaning. The constitutive process entails a radical attitude that enables an incarnate inclusiveness, conveying the inclusive scope to the horizontality of life. However, as Waldenfels investigated the progress of ethical theory, he added an ethical-practical character to the constitutive dimension. Waldenfels emphasized an inevitable response before any thesis, due to our being in the world, as an event that just happens, regardless of our will or objectivications. Such responsiveness promotes the threshold of the senses as a responsive ethical possibility. In response itself, we find a responsive content that is not objectified, guiding us to the thresholds, considering them as possibilities and not as threats. For Waldenfels, what was previously excluded from the established order appears at the threshold, providing inclusive opportunities. After these considerations, the text reveals an inclusiveness which is open, latent, included in the lifeworld, non-reductionist, complicit in the constitutive process, and has an ethically responsive character. Although the studied authors do not work directly with the theme of inclusiveness, we examine sufficient sources to propose a method of phenomenology that demonstrates inclusivity, i. e., that is phenomenologically inclusive. Although the method is neither a measure nor a foundation, nevertheless it provides a base that serves as the measure and foundation of all morality ever built. Thus, we can measure the inclusive scope of all ethics and see how far the inclusivity extends, but yet not present inclusivity as the determinative basis. The foundation of the base is phenomenological, i. e., predicted within the latency and horizontality of the lifeworld. / O texto Fenomenologia da inclusividade se caracteriza por ser um novo trabalho na área da fenomenologia. Buscando fontes fenomenológicas em Husserl, Merleau-Ponty e Waldenfels, o texto procura desenvolver uma inclusividade capaz de contemplar o paradoxo inclusivo/exclusivo e, indo além, mostrando-se eficaz para medir o escopo inclusivo de qualquer tese ética já elaborada. A partir de Husserl, encontramos as bases para uma fenomenologia da inclusividade, que fora trabalhada em sua obra Krisis. Buscando resolver os paradoxos constitutivos, Husserl nutre a ideia de um fundamento inclusivo. Tal inclusividade se caracteriza por uma atitude reflexiva latente, uma atitude de inclusão no mundo-da-vida, uma atitude de não fechamento de nossas teses e, por fim, uma atitude que evite o reducionismo dos polos subjetivo e objetivo. Com a radicalidade do pensamento de Merleau-Ponty, o texto encontra subsídios para uma cumplicidade de sentido. Agora, o sujeito se vê cúmplice de toda significação em sua relação com o mundo-da-vida. Retira-se o pesado fardo que antes era concedido tão somente ao sujeito como doador último de todo o significado.O processo constitutivo enseja uma atitude radical que habilita uma inclusividade encarnada, avultando o escopo inclusivo à horizontalidade da vida. Todavia, investigando os avanços da teoria ética de Waldenfels, acresce-se, à dimensão constitutiva, um caráter ético-prático. Waldenfels enfatiza uma inevitável resposta dada antes de qualquer tese decorrente de nosso estar no mundo como um evento que simplesmente acontece, independente de nossa vontade ou objetificações. Tal responsividade promove a fronteirização dos sentidos como possibilidade ético-responsiva. Na própria resposta encontramos um teor responsivo não objetivado, guiando-nos às fronteiras, considerando-as como possibilidade e não como ameaças. Para Waldenfels, o que antes era excluído da ordem estabelecida aparece junto ao limiar, facultando possibilidades inclusivas. Feitas estas considerações, o texto revela uma inclusividade aberta, latente, incluída no mundo-da-vida, não reducionista, cúmplice nos processos constitutivos e possuindo um caráter ético-responsivo. Embora os autores estudados não trabalhem diretamente com o tema da inclusividade, obtêm-se fontes suficientes para elaborarmos uma fenomenologia com uma proposta inclusiva. O método proposto é fenomenológico inclusivo. Entretanto, apresenta-se como uma medida, como um fundamento que não é nem uma medida nem um fundamento. Mas, mesmo assim, serve como medida e fundamento de toda a eticidade já construída. Dessa forma, podemos medir o escopo inclusivo de toda eticidade, ver até onde se estende sua inclusividade, mas sem se apresentar como um fundamento determinativo. O fundamento ao qual nos pautamos é fenomenológico, ou seja, previsto dentro da latência e horizontalidade do mundo-da-vida.

This paper attempts to examine the development of the Anti-Heimatliteratur as a typical austrian literary genre. For this reason, the specific sociopolitical situation in the country of this time is discussed, a description is given and how these circumstances contributed to the rise of this specific literature form. Thomas Bernhard is presented as a well-known representative of the Anti-Heimatliteratur. The great austrian theater scandal at the premiere of Bernhard's drama Heldenplatz in 1988 is described as a significant, illustrative example of the Anti-Heimatliteratur. / Die vorliegende Examensarbeit untersucht die Entstehung der Anti- Heimatliteratur als typisch österreichische Literaturgattung. Zu diesem Zweck wird die spezifische, damals vorherrschende, gesellschaftspolitische Situation im Land erörtert und dargestellt, wie diese zur Ausbildung dieser speziellen Literaturform beitrug. Thomas Bernhard wird als bekannter Vertreter der Anti- Heimatliteratur vorgestellt. Der große österreichische Theaterskandal bei der Premiere von Bernhards Drama Heldenplatz im Jahre 1988 wird als signifikantes, erläuterndes Beispiel der Anti-Heimatliteratur beschrieben.

Not rarely the main characters in Thomas Bernhard's literature fail with their intentions to write scientific works. Instead they go through a fruitless writer's cramp for decades, until they perish. With this background this essay will analyse the motive of failure in Bernhard's novel The Lime Works from 1970. The main character Konradaims to write the ultimate treatise on the subject of hearing, though he comes to nothing.It will be shown that Konrad's failure has many reasons and that the motive of failure can be related to many aspects in Bernhard's texts. The analysis identifies Konrad's dead-end situation.Thisessay intends to convey an insight into Bernhard's literature but also to reflect about the nature of failure in general.

The correspondence between Charles Dickens and Bernhard Tauchnitz (1816–1895), founder of the Tauchnitz Verlag in Leipzig, spans almost thirty years, between 1843 and 1870 – Dickens was one of the key authors in the Tauchnitz Edition, a series of books in English for Continental sale initiated in 1841. So far, only 29 of Dickens’s letters to Tauchnitz were known (and printed in the authoritative Pilgrim Edition), and none of the manuscripts could be consulted. In 1991, Gunter Böhnke discovered 34 of the original letters in Leipzig, of which 14 are unknown and seven others only in short extracts. This article briefly sketches the background of the relationship between Dickens and Tauchnitz, and reprints for the first time these 21 letters as transcribed from photocopies of the originals. In the footnotes, the other 22 known letters to Tauchnitz are also listed. As a whole, they illustrate Dickens’s interest in the publication of his works abroad (including payment for this, obviously), as well as his high regard for Tauchnitz. Among the personal information that can be glimpsed from the letters, the most interesting is probably Dickens’s son Charley’s two-year stay in Leipzig in 1853–4.

Rezensionen zu Johann Mattheson, Texte aus dem Nachlass. Hg. von Wolfgang Hirschmann und Bernhard Jahn unter Mitarbeit von Hansjörg Drauschke, Karsten Mackensen, Jürgen Neubacher, Thomas Rahn, Dirk Rose und Dominik Stoltz. Olms, Hildesheim – Zürich – New York 2014. 706 S., € 98,–. Wolfgang Hirschmann/Bernhard Jahn (Hgg.), Johann Mattheson als Vermittler und Initiator. Wissenstransfer und die Etablierung neuer Diskurse in der ersten Hälfte des 18. Jahrhunderts. Olms, Hildesheim – Zürich – New York 2010. 514 S., € 68,–.

Das Thema Mensch und Maschine und die Beschäftigung damit ist in der Menschheitsgeschichte seit jeher von großer Bedeutung gewesen. Die verschiedenen Maschinen beeinflussen nicht nur die Gesellschaft, sondern sie sind auch als ein Kommentar ihrer Zeit zu verstehen. In diesem Kontext beschäftigt sich diese Schrift mit dem Musiktheater 'Das Theater der Wiederholungen' (2000–2002, UA: Graz 2003) für großes Ensemble, Chor und sechs Vokal-Solisten des österreichischen Komponisten Bernhard Lang. Das 'Theater der Wiederholungen' ist ein Kommentar und ein kritischer Spiegel für das Verhältnis zwischen Mensch und Maschine, an deren Schnittstelle die Wiederkehr der Gewalt erscheint. Während die Geschichte sich wiederholt, lässt die „Zweisamkeit“ von Mensch und Maschine über eine neue Zukunft ihrer Schnittstelle nachdenken. / The subject of man and machine and the way we deal with it is dealt with in of human history has always been of great importance. The various machines not only influence society, but are also to be understood as a commentary on their time. In this context, this book deals with the music theater 'Das Theater der Wiederholungen' (2000-2002, premiere: Graz 2003) for large ensemble, choir and six vocal soloists by the Austrian composer Bernhard Lang. 'Das Theater der Wiederholungen' ('Theater of Repetitions') is a commentary and a critical mirror for the relationship between man and machine, at whose interface the return of violence appears. While history repeats itself, the 'togetherness' of man and machine makes us think about a new future of their interface.

<p>As a representative of the Viennese classical music tradition, Wolfgang Amadeus Mozart (1756-1791) embodies not only an artistic inspiration but also an aesthetic, social, and national expression for musicians, writers, and scholars from diverse fields over the past two and a half centuries. The legend of this genius, together with his timeless music, remains a popular subject in the fields of contemporary textuality, including drama.</p><p>Thomas Bernhard (1931-1989) and Elfriede Jelinek (1946-), two controversial and highly acclaimed writers in the German-speaking world, have much in common. Both, similar to Mozart, have a love-hate relationship with their home country, both offer poeticized provocations of the media and postwar political discussions, and both are critical of Austria’s involvement with National Socialism that positions their literary work as anti-<i>Heimat </i>literature, strengthening their reputation as “Nestbeschmutzer/in” as well as <i>enfants terribles</i>. But most importantly, both had a comprehensive musical education and demonstrate their aesthetic<b> </b>approaches by referring not only to musical form but also to musical personae in their literary creations.<b></b></p><p>In their postmodernist dramas <i>Der Ignorant und der Wahnsinnige</i> (1972) and <i>Raststätte oder Sie machens alle</i>(1994), Bernhard and Jelinek deliberately refer to Mozart and his respective representative operas buffa <i>Cosi fan tutte </i>(1790) and Singspiel <i>Die Zauberflöte</i> (1971). As intertext, Mozart’s opera tends neither toward a certain musicality nor a musical discourse; instead, the playwrights engage the idea of “the presence of the past” to encode the Enlightenment mode of gender discourse within a (post)modern context. The postmodernist approach to intertextuality subsequently leads us to question how writers return to language and use linguistic and rhetorical devices to (de)construct the gender related issues. </p><p>The current research, located in the social, political and historical context of Austrian postmodernism, aims to examine how both playwrights subversively reconfigure the enlightened binary models of gender differences, embedded in Mozart’s operas, in new cultural contexts. It focuses on the gendered alterity that is determined by external sources (i.e., within certain spatio-temporal contexts) as well as framed by interior facts (e.g., language). For a multidimensional analysis, I employ discourse theory and critical linguistics, combining a psychoanalytical reading and a deconstructive reading, to identify Bernhard’s and Jelinek’s specific agendas under the meta-historical category of the Enlightenment while disclosing their postmodernist poetology.</p>

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