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1	Le fantasme de l'origine : le récit comme invention d'une généalogie mythique dans Le tambour de Günter Grass L'Hérault, Virginie January 2006 (has links) (PDF) Le Tambour de Günter Grass peut être lu comme la mise en fiction du roman familial du personnage et narrateur, Oscar Matzerath, qui rédige ses mémoires dans la maison de santé où il est interné. L'objet de ce mémoire est précisément l'analyse de l'écriture d'Oscar comme invention d'une généalogie mythique et fantasme des origines. Ce narrateur indique dès le début de ses mémoires que « nul ne devrait décrire sa vie » sans d'abord « commémorer une bonne moitié de ses grands-parents ». Ce besoin de reconstituer l'origine et de l'interroger se déploie dans le récit à travers, notamment, le fantasme du retour au sein maternel (dont le tambour et l'écriture constituent en quelque sorte les moyens) qui se traduit par la reconstitution d'une généalogie sur les modes mythique et théologique. Ce mémoire s'intéresse donc d'abord aux mécanismes qui régissent l'écriture « oscarienne » dans sa cohésion interne, c'est-à-dire en fonction des fantasmes du personnage et des réseaux symboliques et signifiants qui le construisent dans le texte et qui constituent son style propre. La question de l'origine convoque celles de la filiation et du mythe, autant d'éléments à mettre en réseau pour éclairer la construction généalogique fantasmée par le narrateur. Sur ce plan, l'approche psychanalytique ouvre une perspective de recherche appropriée pour repérer les mécanismes du fantasme dans l'écriture d'Oscar, c'est pourquoi nous opterons pour une lecture orientée en ce sens. Il s'agit de voir comment, sur les plans de l'énonciation, de la mémoire et du mythe, le roman construit une filiation matrilinéaire au service d'une toute-puissance narrative qui permet d'échapper au temps et à la mort. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Günter Grass, Le Tambour, Fantasme de l'origine, Généalogie matrilinéaire, Mythe. Grass Günter 1927- Grass Günter 1927- Die Blechtrommel Fantasme Origine Généalogie Filiation matrilinéaire
2	Sexualität und Sexualideologie des Ich-Erzählers in Günter Grass' Roman Die Blechtrommel Pflanz, Elisabeth. January 1976 (has links) Thesis--Würzburg. / Vita. Includes bibliographical references (p. 159-163).
3	Musik in der Prosa von Günter Grass : Intermediale Bezüge —Transmediale Perspektiven / The Role of Music in Günter Grass’s Fiction : Intermedial References —Transmedial Perspectives Schirrmacher, Beate January 2012 (has links) The thesis explores the role of music in Günter Grass’s novels. In pointing out the vital role of intermediality for Grass’s narrative strategies, the thesis opens up for a new, intermedial perspective on his work. It shows how references to music are used to realise Grass’s poetological concept “paspresenture” – the simultaneous presence of past, present and future – as well as his constant strive towards concreteness. The study draws on theories of intermediality, with a special focus on the role of transmedial media characteristics. It develops a transmedial methodology for analysing intermedial references, stressing how the notion of “musicality” within the text is created by media characteristics shared by both music and literature. Intermedial references are conceived as highlighting structures that are inherent in literature. The textual analyses of The Tin Drum (1959), Too Far Afield (1995) and Crabwalk (2002) are divided into three steps. First, explicit musical references in the narratives are interpreted as indexes pointing towards transmedial structures relevant to this specific context. Second, the examination demonstrates the prominent role of transmedial characteristics such as repetitivity, contrast, simultaneity and performativity within the texts. Third and last, the function of musical reference is discussed: in all three narratives, the focus on transmedial structures supplies a more consistent interpretation of passages which otherwise prove difficult to decipher. In Grass’s fiction, issues appear not to be discussed but performatively reenacted and thus remind more of musical than literary development. What is more, music – as handled by Grass – does not appear absolute or transcendent; rather, its manipulative potential is always prominent. However, the way musical references are used to realise Grass’s poetological aims stresses the bodily presence of musical performance, thus making music appear as the performative realisation of time. Günter Grass Intermediality Transmediality Music Intermedial references German literature Die Blechtrommel The Tin Drum Ein weites Feld Too Far Afield Im Krebsgang Crabwalk Vergegenkunft Paspresenture
4	Musik in der Prosa von Günter Grass : Intermediale Bezüge —Transmediale Perspektiven / The Role of Music in Günter Grass’s Fiction : Intermedial References —Transmedial Perspectives Schirrmacher, Beate January 2012 (has links) The thesis explores the role of music in Günter Grass’s novels. In pointing out the vital role of intermediality for Grass’s narrative strategies, the thesis opens up for a new, intermedial perspective on his work. It shows how references to music are used to realise Grass’s poetological concept “paspresenture” – the simultaneous presence of past, present and future – as well as his constant strive towards concreteness. The study draws on theories of intermediality, with a special focus on the role of transmedial media characteristics. It develops a transmedial methodology for analysing intermedial references, stressing how the notion of “musicality” within the text is created by media characteristics shared by both music and literature. Intermedial references are conceived as highlighting structures that are inherent in literature. The textual analyses of The Tin Drum (1959), Too Far Afield (1995) and Crabwalk (2002) are divided into three steps. First, explicit musical references in the narratives are interpreted as indexes pointing towards transmedial structures relevant to this specific context. Second, the examination demonstrates the prominent role of transmedial characteristics such as repetitivity, contrast, simultaneity and performativity within the texts. Third and last, the function of musical reference is discussed: in all three narratives, the focus on transmedial structures supplies a more consistent interpretation of passages which otherwise prove difficult to decipher. In Grass’s fiction, issues appear not to be discussed but performatively reenacted and thus remind more of musical than literary development. What is more, music – as handled by Grass – does not appear absolute or transcendent; rather, its manipulative potential is always prominent. However, the way musical references are used to realise Grass’s poetological aims stresses the bodily presence of musical performance, thus making music appear as the performative realisation of time. Günter Grass Intermediality Transmediality Music Intermedial references German literature Die Blechtrommel The Tin Drum Ein weites Feld Too Far Afield Im Krebsgang Crabwalk Vergegenkunft Paspresenture
5	Jenseits von Oder und Lethe : Flucht, Vertreibung und Heimatverlust in Erzähltexten nach 1945 (Günter Grass - Siegfried Lenz - Christa Wolf) / Schaal, Björn. January 1900 (has links) (PDF) Univ., Diss.--Wuppertal, 2005. / Literaturverz. S. 280 - 294.
6	Freaks and Masculinity: Sideshow Performers in German and American Cinema McCollum, Alexandra Noelle 19 December 2013 (has links) No description available. American Literature Film Studies Gender Germanic Literature Literature Das Cabinet des Dr Caligari Freaks Nightmare Alley Die Blechtrommel Masculinity Studies Sideshow Performance Tod Browning C A Robbins William Lindsay Gresham Guenter Grass The Tin Drum
7	Uhalisia na uhalisiamazingaombwe: mshabaha kati ya Dunia yao na The tin drum Waliaula, Ken Walibora 03 December 2012 (has links) (PDF) Je, kuna uhusiano gani kati ya Euphrase Kezilahabi wa Tanzania na Gabriel García Marquez wa Kolombia, au kati ya Kyallo Wadi Wamitila wa Kenya na Juan Rulfo wa Meksiko ama kati ya Günter Grass wa Ujerumani na Said Ahmed Mohamed wa Zanzibar? Waandishi hawa waliotengwa kitaifa na kilugha wanaunganishwa na uamuzi wao wa kuandika riwaya kwenye mtindo usiokuwa wa kawaida, mtindo wa uhalisiamazingaombwe. Kwa kulinganisha na kulinganua riwaya ya Mohamed na ile ya Grass ninakazia nadhari dayolojia ya kina iliyochipuka kati ya fasihi ya Kiswahili na fasihi ya ulimwenguni pote. Ni maoni yangu kwamba riwaya mbili hizi, zinakikabili kizungumkuti cha kuwepo kwa mwanadamu kwa kuutupilia mbali mfumo wa uwakilishi wenye uhalisia kama tunavyoujua. Badala yake riwaya hizi zimezingatia mtindo wa ujumi wa kisasabaadaye (postmodern aesthetics). Kazi hizi za sanaa zinatumia sifa bainifu za uhalisia mazingaombwe kama nyenzo za kuakisi na kuakisi kwa kubirua hali halisi ya udhaifu, kuyumbayumba na ukosefu wa uthabiti na udumifu katika maisha Afrika na Ulaya. Swahili Literatur Magischer Realismus Realismus Dunia Yao Die Blechtrommel Said Ahmed Mohamed Günter Grass Deutschsprachige Literatur Swahili literature magic realism realism Dunia Yao The tin drum Said Ahmed Mohamed Günter Grass German literature ddc:496 Swahili Außereuropäische Literatur Magischer Realismus <Literatur>
8	Uhalisia na uhalisiamazingaombwe: mshabaha kati ya Dunia yao na The tin drum Waliaula, Ken Walibora 03 December 2012 (has links) Je, kuna uhusiano gani kati ya Euphrase Kezilahabi wa Tanzania na Gabriel García Marquez wa Kolombia, au kati ya Kyallo Wadi Wamitila wa Kenya na Juan Rulfo wa Meksiko ama kati ya Günter Grass wa Ujerumani na Said Ahmed Mohamed wa Zanzibar? Waandishi hawa waliotengwa kitaifa na kilugha wanaunganishwa na uamuzi wao wa kuandika riwaya kwenye mtindo usiokuwa wa kawaida, mtindo wa uhalisiamazingaombwe. Kwa kulinganisha na kulinganua riwaya ya Mohamed na ile ya Grass ninakazia nadhari dayolojia ya kina iliyochipuka kati ya fasihi ya Kiswahili na fasihi ya ulimwenguni pote. Ni maoni yangu kwamba riwaya mbili hizi, zinakikabili kizungumkuti cha kuwepo kwa mwanadamu kwa kuutupilia mbali mfumo wa uwakilishi wenye uhalisia kama tunavyoujua. Badala yake riwaya hizi zimezingatia mtindo wa ujumi wa kisasabaadaye (postmodern aesthetics). Kazi hizi za sanaa zinatumia sifa bainifu za uhalisia mazingaombwe kama nyenzo za kuakisi na kuakisi kwa kubirua hali halisi ya udhaifu, kuyumbayumba na ukosefu wa uthabiti na udumifu katika maisha Afrika na Ulaya. info:eu-repo/classification/ddc/496 ddc:496
9	Combating the Banality of Evil: Portrayals of the Literary Female Villain in GÃ¼nter Grass's Danziger Trilogie and Novella, Im Krebsgang. Baumgarten, Joseph Ephraim 10 August 2005 (has links) (PDF) In Günter Grass's Danzig Trilogy and novella, Im Krebsgang, an antagonistic female type makes a repeated appearance. She appears in the guise of Susi Kater and Luzie Rennwand in Die Blechtrommel, and as Tulla Pokriefke in the other works, Katz und Maus, Hundejahre, and Im Krebsgang. This antagonistic female type is not like other women in these works. A review of Le Deuxième Sexe by feminist Simone de Beauvoir reveals several crucial components contributing to woman's position in society. Most essentially, a woman's natural attributes and (dis)abilities and the conventions of society have enforced her historical submission to man. This thesis analyzes how the antagonistic female type, or villain, compares and contrasts with other female figures in these works by Grass, according to a paradigm derived from Beauvoir's description of woman. From this analysis, a better understanding of the female villain's nature emerges. Indeed, such a comparison demonstrates that certain female figures in the works of Grass transcend their historically oppressed or subdued status by refusing to submit to those natural handicaps and societal restrictions identified by Beauvoir, and thus become a threat to man's status or security as an antagonistic female type, or villain. However, the villain figure is not always inherently evil, but possesses the capacity to change. The villain and victim can reconcile their differences and may even form a friendly relationship. This evolving villain-victim duality becomes most clear in Grass's work, Im Krebsgang, and suggests the possibility of assuaging contemporary conflicts as educators sympathize with the experiences of both extremist groups and victimized parties and help them come to terms with their differences. Günter Grass Danzig Trilogy Danziger Trilogie Krebsgang Blechtrommel Katz und Maus Hundejahre Crabwalking Cat and Mouse Dog Years Tin Drum örtlich betäubt Tulla Pokriefke Ursula Pokriefke Susi Kater Luzie Rennwand Vero Lewand Niobe Schwarze Köchin Oskar Matzerath Simone de Beauvoir The Second Sex woman as Other female villain female antagonist femmes fatales la femme fatale Gewöhnung habituation Rede von der Gewöhnung Ben and Dieter Vergangenheitsbewältigung German Language and Literature Slavic Languages and Societies
10	Günter Grass und die bildende Kunst / Eine interdisziplinäre Untersuchung der Schaffensjahre 1947 bis 1977 / Günter Grass and the Visual Arts / An Interdisciplinary Study of the Creative Period between 1947 and 1977 Krason, Viktoria 22 June 2017 (has links) No description available. 400 800 Intermedialität Wort-Bild-Beziehungen Bildlichkeit Buchgestaltung Buchkunst Illustration Grafik Doppelbegabung Nachkriegszeit Klassische Moderne Expressionismus Kubismus Surrealismus Abstraktion Gegenständlichkeit Tiere "Die Blechtrommel" "Hundejahre" "Danziger Trilogie" "Der Butt" intermediality word-and-image word and image relationships imagery book design book art illustration graphic arts double talent post-war period classic modern art Expressionism Cubism Surrealism abstraction figuration animals "The Tin Drum" "Dog Years" "Danzig Trilogy" "From a Diary of a Snail" "The Flounder" Philologien (PPN621711713)

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