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This study identifies structural themes for analysis in relation to the mythopoeic contours of Alfred Doblin's "historical" novel Wallenstein. While its extensive historical and quasi-historical material conforms to empirical facticity, its fictional structure (or mythic aspect) reveals a modern gnostic myth of enlightenment and salvation countered by forces of darkness and chaos. The introductory chapter outlines bio-graphical conditions including Doblin's extensive research and planning before the writing of the novel. Partially on the basis of factual evidence, partly because of the coherent and intricate design of the novel, the "automatic" or spontaneous fallacy is rejected. Recent critical literature pertinent to Wallenstein and mythic elements in Doblin's works are examined. Finally, Doblin's own aesthetic theory of the genre and his reaction to the initial critical reception of Wallenstein are discussed in the context of the alchemical-esoteric images which are present to a limited degree even in Doblin's non-fictional writings. Chapter II presents a summary of the number symbolism imbedded in the novel's chapter and book divisions and gives a synopsis of the origins and traditions of numerology, astrology, Pythagoreanism, and gnosis as they pertain to the interpretation of the novel. The names of the polar figures of Ferdinand II and Wallenstein have gematric numeric roots which correspond to the numerical roots of the book divisions (1-5-5-5-5-1). The Valentinian gnostic myth of cosmogony integrates imagery and symbolism of the oriental salvation and mystery religions and offers a syncretistic doctrine both of dualism in the existential world and of the promise of man's mystic reunification with God. Fictional elements of knowledge, ignorance, love, and the metamorphosis of the main figure Ferdinand become the focus of the analytical third and fourth chapters. Figurative language, mythical and mythological material and religious allusions give the keys to the interpretation of Doblin's epic structure which has its center in the exemplary case of the fictional Emperor Ferdinand. The discussion presents a system of symbols and metaphors which are directly linked to alchemical and gnostic principles and arcana. In modern psychological terminology borrowed from Herbert Silberer and Carl Gustav Jung, Ferdinand's mythical metamorphosis functions as an example of introversion and re-birth of the personality. The newly transformed Emperor possesses freedom, resultant vitality, and understanding of self and world through his gnostic revelation. Chapter V shows the poetic structure of the chthonic counterpart to Ferdinand, i.e. Wallenstein. On the literal level, Wallenstein is portrayed as a ruthless and genial organizer of force. While this facet conforms to historical reality, Doblin mythifies the figure through frequent metaphors and imaginary-apocalyptic scenes. Commensurate with the Ferdinand-symbolism, Wallenstein's exposition is demonstrably informed with number symbolism.

A systematic discussion of Arthur Schnitzler's prose works discloses a hitherto neglected feature of his style. In his portrayal of contemporary figures one recognizes not only a humorously critical or skeptically elegiac attitude, but a new variant which is caricature. It becomes evident that the author chose a fictional mode which deviates from mimetic contours and which is the perfect medium to portray the wavering world of the fin-de-siecle and its human types. An analysis of the exaggerating narrative technique of caricature reveals the author's aggressive nature which until now has remained unnoticed. It underlines an aspect of his aversion to the artificiality and to the false doctrines of a doomed society, that of attempting, in his search for truth, to surpass a realistic narration by means of caricaturistic representation. It is his intent to provide new insights into human nature by overstating the conflicts between humaneness and evil which are most firmly pronounced in his narcissistic and sensitive characters. Caricature as an ambiguous narrative technique touches upon such related phenomena as satire and the grotesque. This relationship is discussed in the first chapter in order to define its distinct characteristics: satire is largely polemic in nature, and the grotesque is frequently an expression of abysmal and marionette-like qualities in people. Caricature, however, while sharing certain aspects of satire and the grotesque, is nonetheless a stylistic phenomenon in its own right. By exposing and magnifying man's moral ugliness as well as his presumptuousness it strips him of his power over others. The rejected human being appears ridiculous to the viewer who compares perceived reality and its distortion. This produces a sense of superiority in him which elicits laughter. By adding the subjective influence of the comic, however, a threatening exaggeration of the type can have appeasing force while only the sublime phenomena of humor can bring about exaltation and freedom of the ego. The second chapter discusses those fictional characters which can be recognized as belonging to distinct social types. They are officers, burghers, adventurers, artists, Jews, and antisemites. The important aspect is the pattern which they exhibit in their behavior and which defines them as social types. The stylistic means of caricature illuminates a new perspective by directing the reader's view towards a chaotic inner world through the exaggerated distortion of man's external deficiencies. The intent is to frighten, to teach, and to amuse. The conclusion reiterates how the literary technique of caricature helped Schnitzler present a convincing picture of Viennese society at the turn of the last century which still engages us today. While the different social types have been carefully arranged in order to be unmasked before the psychologist's scrutinizing eye, the reader obtains a penetrating and truthful insight into the chaos of the individual mind. Thus the caricaturistic mode of expression can be considered a positive means to institute a more compassionate coexistence among people.

The subject of this study is the image of woman in late 19th century German fiction. Upon examining a multitude of works produced within this time frame, it was found that the "naturalist" novel, in particular, provided a wealth of material on the literary interpretation of woman's place in society. And despite the fact that this genre has not, for the most part, been attributed the distinction of artistic quality, an unbiased analysis reveals that it offers perhaps the most comprehensive, illuminating, and realistic view of the life led by the Wilhelmine woman. The patterns of characterization and themes which emerged thus lent themselves to the formulation of a typology of female characters. It is a typology which reflects the temper of the times: the political, economic, social, and cultural upheaval wrought by the industrial revolution, and the subsequent concern of a group of writers and social reformers for the deterioration of the human condition. Part I of this study documents these efforts, while Part II presents the typology, the literary manifestation of social currents. The first of the female types to evolve from the study is designated the "mother-martyr-saint." This long-suffering wife and mother is posited as the "Grunderzeit" ideal. Her saintly behavior and sacrifices for the family insure the continuation of the established order. Hermann Sudermann's Frau Sorge and Wilhelm Hegeler's Mutter Bertha illustrate this type. The "fugitive into a world of illusion" constitutes the second type. This heroine engages in covert or subconscious rebellion against the "mother-martyr-saint" role. She becomes a distortion of Type 1 and thus represents a fissure in the heroic fascade erected by the "Grunder" society. Heinz Tovote's Mutter!, Gabrielle Reuter's Aus guter Familie, and Hermann Conradi's Adam Mensch represent the variations of Type 2. Type 3, the femme fatale, portrays the woman who is openly ill at ease with her role in society and who is determined to become the master of her fate. But her self-assertion, which is realized through her sexuality, exacts a price: the femme fatale destroys those who come under her influence. Magdalena Dornis, by Felix Hollander, best exemplifies this type of heroine. The woman who has either voluntarily or involuntarily rejected all societal norms is represented in Type 4, the "social outcast." Unlike the other types, this character no longer attempts to realize her potential within the given order. The variants of the "social outcast" are examined and defined in terms of the artist figure in Helena Bohlau's Halbtier, the unwed-mother in Gabrielle Reuter's Das Tranenhaus, and the prostitute in Else Jerusalem's Der Heilige Skarabaus.