[pt] Ao tomar como ponto de partida a instalação performativa Stifters Dinge (2007), do compositor e encenador alemão Heiner Goebbels, esta dissertação propõe experimentar e discutir, desde uma perspectiva ensaística, fragmentária e indisciplinar - isto é, resistente a uma adesão rígida a disciplinas e vertentes teórico-críticas bem demarcadas -, impasses de atos de leitura e de escrita no presente. Trata-se, por um lado, de buscar responder aos embaraços da interpretação e da representação mobilizados pela experiência inquietante de Stifters Dinge, também designada por Goebbels como um concerto para cinco pianos sem pianistas, uma peça sem atores e uma performance sem performers; e, por outro lado, de interrogar, pela escritura, movimentando-se por caminhos exploratórios e inconclusivos, modos de legibilidade e valoração no campo ampliado das artes hoje. No trânsito entre a estética e a política, as formas e os efeitos, a teoria crítica e a epistemologia, a dissertação realiza um exame minucioso de Stifters Dinge levando-se em consideração tanto o caráter performativo do gesto teórico-crítico como algumas tensões fundamentais na relação entre a linguagem e a constituição do saber. / [en] This dissertation takes as its starting point the German composer and director Heiner Goebbels s performative installation Stifters Dinge (2007), seeking to experiment and bring into discussion some impasses related to acts of reading and writing in the present. The research is carried out through an essayistic, fragmentary and indisciplinary perspective - that is, one that is resistant to rigid adherences to disciplines and well-demarcated theoretical critical approaches. On the one hand, the aim of this study is to try to react to the problems of interpretation and representation shaped by the disturbing experience of Stifters Dinge, which is also described by its director as a composition for five pianos with no pianists, a play with nobody acting, and a performance with no performers. On the other hand, it intends to interrogate forms of legibility and valuation in the expanded field of arts today, moving through exploratory and inconclusive paths in a writing supported by the barthesian notion of écriture. In the transit between aesthetics and politics, forms and effects, critical theory and epistemology, the dissertation performs a thorough examination of Stifters Dinge taking into consideration both the performative condition of the theoretical critical activity and some fundamental tensenesses on the relation between language and constitution of knowledge.

Eine Reihe literaturwissenschaftlicher Arbeiten seit Anfang der Neunzigerjahre bezeugt das lebhafte Interesse an der subjektiven Verfasstheit von Müllers Schreiben. Keine jedoch widmet sich erschöpfend Müllers als Autobiografie ausgewiesenem Text KRIEG OHNE SCHLACHT – LEBEN IN ZWEI DIKTATUREN. Zu Ehren kam der Text bislang nur als Zitatsteinbruch, Interpretationshilfe und umfangreiche poetologische Materialsammlung. Zumeist wird das Werk als gültiger Beleg der Intention müllerschen Schreibens herangezogen und erlangt damit einen unzulässigen Grad an Deutungshoheit. Dabei wird die poetische Dimension des Textes oft nur unzureichend reflektiert oder gänzlich missachtet. Die vorliegende textkritische Untersuchung soll dazu beitragen, die Forschungslücke in der einschlägigen Sekundärliteratur zu schließen und dazu anregen, das Potenzial Müllers enormen und vielgestaltigen Werkes jenseits seiner als Theaterarbeiten ausgewiesenen Texte wahrzunehmen und in Bewegung zu setzen. Nach einführenden Darstellungen zu Rezeptionssituation und Forschungsstand, der Diskussion spezifischer poetologischer Fragestellungen im Allgemeinen wie solcher der Autobiografieforschung im Besonderen, der Untersuchung der Genese und formaler Besonderheiten des Textes, analysiert die vorliegende Arbeit vor allem die strukturellen Wirkungsmechanismen, die Müllers disparate Selbstexplikation zum Auto-Drama werden lassen. Die Rückführung der Bedeutungsgeneration auf die strukturästhetischen Wirkungsmechanismen scheint insofern geeignet, als sie durch Textnähe und punktuelle Analyse der Textgenese Müllers Strategie der Selbst-Dekonstruktion sehr nahe kommt. Zumal Müller seine »Lebenserzählung« nach ähnlichen Strukturprinzipien aufbaut, wie seine anderen »poetischen« Texte auch. Aus der Beschreibung der disparaten Äußerungsformen des autobiografischen Ichs ergeben sich die textimmanenten Strategien der überaus komplexen Selbstinszenierung Müllers, sein »Theater der Schrift«. / Since the early 1990s a number of literary papers testify the vivid interest in the subjective composition of Müller’s writing. But none of these detailed devotes to Müller’s as autobiography assigned text WAR WITHOUT BATTLE – LIFE IN TWO DICTATORSHIPS. Until now the text has been only used as quarry of quotations, aid of interpretation and extensive poetological collection of material. Mainly the work is used as evidence of the intention of Müller’s writing and therefore receives an inadmissible degree of sovereignty of interpretation. The poetical dimension of the text is often inadequately reflected or even totally neglected and ignored. This text-critical examination will contribute to close this gap of research within the relevant secondary literature and encourage the recognition and discussion of the potential of Müller’s enormous and multifarious work beyond his as theatre work assigned texts. After the introduction of the situation of reception and the status of current research, the discussion of specific poetological questions in general such as autobiographical research, examination of genesis and formal specific features of texts, this paper will analyse the structural mechanisms of effect, which turn Müller’s disparate self-explication into an auto-drama. It seems suitable to return the meaning of generation on the structure-esthetical mechanisms of effect, as the proximity of text and selective analysis of the genesis of text is very close to Müller’s strategy of self-deconstruction. Particularly as Müller constructs his »Lebenserzählung« to similar structural principals as well as others of his »poetical« texts. The description of the disparate form of expression of the autobiographic I result in the text-immanent strategies of the enormous complex self-dramatisation of Müller; his »Theater der Schrift«.

A civil Uprising on 17 June 1953 in the German Democratic Republic created a dilemma for a number of writers there. On one hand, they were deeply committed to the principles of socialism, upon which their state was based and which they saw as being put in grave danger by events such as those they experienced on 17 June. On the other hand, they were fiercely critical of the practice of socialism as pursued by the governing party, whose Stalinist methods of governance they believed to be in large part responsible for the civil unrest. My thesis explores the nature of this dilemma in the case of four writers, Bertolt Brecht, Heiner Müller, Stefan Heym and Erich Loest, and their efforts to resolve it within a repressive state, whose regime vigorously suppressed all signs of criticism or dissent. These writers created major works of fiction, a cycle of poems, a drama and two novels, in which the Uprising of 17 June is the central theme. In addition, each has provided a substantial body of non-fictional texts, largely journalistic and autobiographical, in which the Uprising is extensively contextualised. In bringing together and interrelating the fictional and non-fictional work of each author into my analysis, I have been able to demonstrate that all four held and publicly expressed views that set them in opposition to the regime in the GDR.

Zugl.: Göttingen, Univ., Diss., 2005

Senecan Medea in Deutschsprachiger Raum between the 18th century and today Analyzing the persistence of a mythological figure like Medea, who has endured through time and space, is a complex affair. It becomes apparent how the evolution of the heroine over the centuries assumes new meanings and adapts to constantly changing sociocultural contexts. Medea, already present in archaic mythological material, transcends the boundaries of strictly mythological meaning, and initially achieves full canonization in Greek and then in Latin theater. Indeed, through the tragedy of Euripides in 431 BC, a clear and well-recognizable “biographical career” is attributed to her, which later continues with the Senecan tragedy. In this work, the heroine from Colchis increasingly takes on the traits of a perfidious sorceress, approaching the anti-stoic essence of the monster. When she then seems to almost fade into oblivion completely throughout late antiquity and the Middle Ages, Medea later reappears on the international stage of the Renaissance and the Baroque era. Only from the end of the 18th century did Medea become widespread across Europe and proliferate in the new media of the 20th and 21st centuries on all continents. Thus, Medea's power is nurtured by the creative force of writers, dramatists, and librettists. Particularly in the European context, the Medea adaptations in German-speaking areas have so far enjoyed a lesser degree of systematics: they have been excluded from a coherent overall picture that also considered the influence of the archetype. For this reason, I have decided to focus this research work on the rewritings in German: here, literature picks up the classical myth and creates new versions that make use of unique and unrepeatable circumstances. Since the Euripidean tragedy is considered the most viewed tragic archetype, the model used here will be the Senecan tragedy, whose influence on the European and non-European dramaturgical tradition has often been overlooked. The structure of this work includes a first methodological chapter that lays the theoretical foundations for an in-depth analysis of the selected works, which are examined in a diachronic course in the second chapter. This chapter explores the survival of the heroine from the Classical and Medieval period to the modern and contemporary era, with particular attention to the various historical-cultural changes. The aim of this first part is to capture the often elusive, but just as often simply unexamined dependencies, of some German works on each other and from the Latin model. The result of this operation is a chronological and reasoned list of 86 German rewritings from the 18th to the 21st century in the form of a table, which constitutes an appendix to the research work. The second part begins with the third chapter, which contains the analysis of six representative works of different readings: furor and magic in Medea in Corinth (1786) by Friedrich Maximilian Klinger; Love and melodrama in Medea in Corinto (1814) by Johann Simon Mayr; the ethnic and political question in Medea in Prag (1949) by Max Zweig; the postmodern fragmentation in Medeamaterial by Heiner Müller (1983); the gender struggle in Der Schlaf der Vernunft (1984) by Ula Stöckl; and the psychoanalytic interpretation in M., nach Euripides (1984) by George Tabori. The six works selected here are considered exemplary for certain thematic and stylistic aspects and are essential to examine the Medea story from a critical perspective. The final chapter turns its gaze to the 21st century, highlighting the ongoing relevance of Medea as a source of new artistic truths, with a focus on Mein und dein Herz (Medeia) (2007) by Nino Haratischwili. The work concludes with an examination of potential future research directions and developments of the theme. The importance of Medea as a cultural, overarching icon is emphasized, which continues to deserve attention in academic studies.

Keywords: GDR literature, historical drama, postdramatic theatre, history, memory, Heiner Müller, Walter Benjamin, Bertolt Brecht, Lehrstück Abstract: The aim of this thesis is to analyse the representation of the German history and its relation with the reality of the GDR in selected dramas by Heiner Müller (1929-1995): Germania Death in Berlin, Germania 3 Ghosts at Dead Man, Life of Gundling Frederick of Prussia Lessing's Dream Sleep Scream, The Battle, The Horatian and The Hamletmachine. The main focus of interest is also the approach of the playwright to selected literary and theatrical genres as historical drama, Lehrstück and postdramatic theatre. The philosophical background of the analysis is based mainly on Walter Benjamin's essay On the Concept of History and his description of the painting Angelus Novus by Paul Klee. Furthermore, the thesis examines the methods of dramatization in Heiner Müller's plays.

The critical component of this thesis, “Hitler Comedy”, is a dissertation on the intersection between comedy theory in general, and the specific practice of Hitler comedy. Focusing on Bertolt Brecht’s play The Resistible Rise of Arturo Ui (1941; directed by Heiner Müller in 1995), and Dani Levy’s film Mein Führer: the Truly Truest Truth About Adolf Hitler (2007), my argument critiques existing “instrumentalist” theories of comedy as didactic and morally reductive. Moving beyond prevailing conceptualisations of comedy as corrective and/or forgiving, my dissertation emphasises the centrality of pleasure, displeasure and disruption for audience members in the process of their experiencing Hitler comedies. / The creative component of this thesis is a script and a DVD recording of Hitlerhoff, a theatre and multimedia work that combines the characters of Adolf Hitler and David Hasselhoff into a single hybrid figure. Hitlerhoff is a spectacular black comedy that uses comedy to entertain and unsettle, and to disrupt audience members’ expectations. Hitlerhoff is a practical demonstration of the ability of “irresponsible” comedy to act as a potent catalyst for “responsible”, ethically engaged discussions.

Zugl.: Nijmegen, Radboud Univ., Diss., 2009

Orientador: Laymert Garcia dos Santos / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-17T16:09:21Z (GMT). No. of bitstreams: 1 Curtolo_MariaClaudiaNovaes_M.pdf: 879976 bytes, checksum: a3832360896b2715c464d8e8a4a8e5b9 (MD5) Previous issue date: 2010 / Resumo: Esta pesquisa trata de percepções do funcionamento da grande máquina social do militar e escritor alemão Ernst Jünger e do dramaturgo e poeta alemão Heiner Müller. Para tanto, propõe articulações entre os conceitos de mobilização total, cunhado por Jünger, e de estratégia de aceleração total econômica e tecnológica, lançado por Müller. Em um primeiro momento, o conceito de mobilização total é posto para girar por meio de temas tais como Primeira Guerra Mundial, técnica, trabalhador e dor, abarcando a passagem da era dos deuses à era dos titãs. Em um segundo momento, é o conceito de estratégia de aceleração total econômica e tecnológica que é posto para girar através da linha de força da história alemã, abrangendo o titanismo nazista por meio de temas como máquina militar alemã, Segunda Guerra Mundial e Auschwitz / Abstract: This research deals with perceptions of the functioning of the great social machine from the German military and writer Ernst Jünger and from the G rman playwright and poet Heiner Müller. For both, it proposes joints between the oncepts of total mobilization, coined by Jünger, and of economic and technological total acceleration strategy, launched by Müller. At first, the concept of total mobilization is rank to turn by means of subjects such as First World War, technique, worker and pain, covering the passage from the age of gods to the age of titans. In a second moment, is the concept of economic and technological total acceleration strategy that is rank to turn through the line of force of the German history, enclosing the Nazi titanism by means of subjects such as German military machine, Second World War and Auschwitz / Mestrado / Sociologia / Mestre em Sociologia

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.