Zugl.: Stuttgart, Univ., Diss., 2005

Kassel, Universiẗat, Diss., 2006. / Erscheinungsjahr an der Haupttitelstelle: 2005.

Thesis (M.A.)--University of Wisconsin--Madison, 1981. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 191-196).

Honors thesis (English)--Oberlin College, 2008. / "April 2008" Includes bibliographical references (leaves 39-41)

Diss.--Romanistisches Institut des Fachbereichs Sprach- und Literaturwissenschaften--Universität Regensburg, 1988.

No description available.

Esta dissertação busca refletir sobre a vinculação estabelecida por Walter Benjamin entre as obras de Franz Kafka e Bertolt Brecht, concentrando-se principalmente no tema da arte enquanto mercadoria. A primeira busca definir o tema de pesquisa: a arte enquanto mercadoria, tomando como ponto de partida os estudos de Walter Benjamin. A segunda parte concentrou-se no trabalho de Brecht, mais especificamente na Ópera de três vinténs e o Processo de três vinténs, nos quais a arte, enquanto entretenimento torna-se mais evidentemente uma mercadoria. Na parte três foi focado o trabalho de Kafka com o tema escolhido, sendo analisados os romances O desaparecido ou Amerika e O processo e as narrativas Na Galeria, Primeira Dor e Um artista da fome. A quarta parte abarcou a discussão entre Benjamin e Brecht acerca da obra de Kafka. Já na última parte, tratou-se da atualidade do tema pesquisado por meio da breve explicitação das obras de três autores posteriores: Heiner Müller, Peter Weiss e Straub-Heuillet. / This masters degree dissertation aims to reflect about the connections established by Walter Benjamin between Franz Kafkas and Bertolt Brechts works, focusing especially on the subject of art as commodity.

The history of Bertolt Brecht's play Leben des Galilei extends through the writing of its three versions during 1938 to 1955 -- a period of two decades that also encompassed the entirety of the Second World War. The period also covers the atom bomb from its development to America's use of the bomb in Hiroshima and Nagasaki, as well as the beginning of the Cold War, which included the sustained threat that nuclear weapons might be used any day. This thesis traces, and offers interpretations of, changes in Brecht's Leben des Galilei from its inception in 1938-1939 -- when the protagonist, a scientist, is portrayed in a positive light -- through the play's American version in 1947, where it bitterly accuses science and scientists of having betrayed society and humanity, and finally to its last version in 1955, where the protagonist struggles to prevent the normalization--the familiarization--of the threat of nuclear warfare. Next to the writing of the Leben des Galilei, the thesis also focuses on the main critical readings of the play. A large fraction of the critical readings, but not all of them, interpret the play either as a judgment of science or as an invitation to pass judgment on science. The thesis compares Leben des Galilei with three different groups of other texts. The first comparison is with two other plays that also address the problem of science in the age of nuclear weapons, and the second comparison is with other work of Brecht himself. The first comparison leads to the observation that the muted note of optimism in the final version of Leben des Galilei is exceptional, and the second comparison to the apparently unrelated observation that it was uncharacteristic of Brecht to make explicit a certain literary allusion in Leben des Galilei. The two observations converge to a possible common explanation from a comparison with a still third group of texts, a cycle of Native American myths which appear in the oral traditions of various Native American tribes spread throughout the New World. Finally, the thesis addresses the question of why a modern-day literary text, addressing the essentially modern problem of nuclear warfare, and addressing that problem using the essentially modern techniques of Brechtian theatre, might have structures parallel to the structures of primitive mythology.

L'objectif de cette recherche est de comprendre La Décision de Bertolt Brecht par le biais de la lecture littéraire, telle que présentée dans les écrits de Bertrand Gervais. L'aporie, avec ses deux composantes que sont la contradiction et la dialectique, est identifiée comme une figure de lecture nécessaire à cette approche. La démarche aporétique d'Aristote et la dialectométhodologie de Stéphane Lupasco forment deux modalités permettant l'analyse contextuelle et l'interprétation textuelle de La Décision. Cette unique pièce de la Grande pédagogie est analysée grâce à trois couples antithétiques, soit collectif/individu, accord/désaccord et communisme/non-communisme, ce dernier couple portant aussi sur une version antérieure de la pièce. Cette recherche démontre la place ambiguë de La Décision au sein de l'œuvre brechtienne. Par ailleurs, l'étude des rapports texte/paratexte met en évidence l'influence contraire des choix éditoriaux allemands et français sur la réception du texte. Enfin, le discours esthétique et politique à la base de La Décision est déconstruit par la figure de l'aporie. En conclusion, la lecture littéraire ouvre sur une appropriation nouvelle. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : La Décision, Bertolt Brecht, Lecture littéraire, Aporie, Dialectométhodologie, Stéphane Lupasco, Bertrand Gervais.

No description available.