Thesis (Ph. D.)--University of Toronto, 2005. / Includes bibliographical references.

Diss.--Technische Hochschule Aachen, 1995. / Bibliogr. p. 185-195, et bibliogr. des publ. de F. Baumgarten p. 133-183.

Nach einem Rekurs über den Utopiebegriff wurden sowohl im diarischen Werk als auch in der veröffentlichten Prosa Brigitte Reimanns utopische Konzeptionen aufgespürt. Gesucht wurde das Utopische sowohl in den Beschreibungen einer konkreten Gesellschaftsutopie, als auch in den literarischen „Verfeinerungen“ einer kruden Ideologie, wie im kritischen Hinterfragen des „Noch-Nicht-Bewussten“ (Ernst Bloch). Als ästhetische Utopien wurden auch Wunschbilder des Alltags, Träume, Märchen und Mythen gedeutet. Ausführliche Untersuchungen beschäftigten sich mit der Gestaltung der weiblichen Figuren und ihrer Entwicklung von der ideologisch (auch männlich) indoktrinierten Protagonistin zur „freien“ Ich–Gestalterin. Nachgewiesen wurde sowohl im diarischen Werk, als auch in der veröffentlichten Prosa eine Wandlung des Utopieverständnisses von der Gesellschaftsutopie zur subjektiven „Augenblicksutopie“, die im Deutungshorizont der Literatur der Romantik auch als DDR-spezifische Innerlichkeit verstanden werden könnte, welche mit ihrem Rückzug ins Individuelle die ritualisierte DDR-Öffentlichkeit desavouierte. / After a study of the term of Utopia, Utopian concepts were discovered both in the diary texts and in the published prose of Brigitte Reimann′s oeuvre. The Utopian was searched in the descriptions of concrete social Utopia as well as in the literary <EM>Verfeinerungen</EM> of crude ideology and in the critical research of the <EM>Noch-Nicht-Bewusste</EM> (Ernst Bloch). Wishful thinking, dreams, fairy-tales and myths were interpreted as an aesthetic Utopia. Detailed researches were engaged in a study of representation of feminine characters and their development from the ideological indoctrinated protagonist to the “free” <EM>Ich-Gestalterin</EM>. The change in understanding of Utopia from the social Utopia to the <EM>Augenblicksutopie</EM> could be proved both in the diary texts and in the published prose of Brigitte Reimann. In the <EM>Deutungshorizont</EM> of Romantic literature it may be understood as a specific <EM>DDR-Innerlichkeit</EM>, which with its retreat into individualism showed up the ritual public.

Zugl.: Zürich, Univ., Diss., 2006

No description available.

No description available.

Univ., Diss.--Zugl.: Zürich. / Erscheint vorauss. Oktober 2008.

Zugl.: Potsdam, Universiẗat, Magisterarbeit.

This thesis analyses the depiction and its function of politically active women in novels by six female authors from the margins of the democratic revolution of 1848 and the first German women’s movement. The thesis asks (i) what their political stance was in relation to democratic developments and women’s rights, (ii) how they rendered their political convictions into literary form, (iii) which literary images they used, criticised, or invented in order to depict politically active women in their novels in a positive light, and (iv) which narrative strategies they employed to ‘smuggle’ politically and socially radical ideas into what were sometimes only ostensibly conventional plots. The thesis combines intertextual analysis with poetic analyses of individual texts in order to highlight deviant elements in narrative strategy, imagery, or text-internal appraisals by the narrator or author. In order to contextualise the chosen texts as well as my analyses, it draws on the historical environment (social and legal developments, revolutions, technological progress) for the definition of what can be considered radical and political in the period 1845-1919. Additionally, the thesis is firmly grounded in feminist theory, which provides the instruments for highlighting the concepts and circumstances in which the six authors’ works are situated. The essays and novels analysed were written before feminist theory was established; however, their proto-feminist observations, demands, and discursive tactics contributed much to the formation and institutionalisation of feminist thought and, ultimately, theory. In their efforts to construct a positive role model for the political woman, the six authors chosen are united in their notion that such a role model should evolve from bourgeois values of family and work ethics, but the examples manifested in their novels show a great variety of degrees of radicalism.