This thesis considers how Kleist and Hoffmann’s fiction might be considered as responding to the perceived shortcomings of enlightenment. The two writers, despite the barriers of literary categorisations, have a striking affinity in their sense that notions of truth and knowledge are intertwined with social and political agendas, rather than forming part of some natural teleology. The thesis breaks new ground in viewing the texts within a more expansive discourse context as literary interventions within a broad, cross-society engagement with enlightenment, in its various streams and factions. The texts studied, I argue, represent thought experiments, not merely reflecting and re-articulating the influences of literary peers and historically significant events, but instead testing the real-world application of key enlightenment ideas. The driving force for this thesis is the need to locate their work more rigorously in relation to enlightenment thought of their time than has previously been attempted. This is not so much a question of retrieving past influences, as one of viewing their work as being in dialogue with contemporary thought. Moving away from attempts using Kleist’s letters to theorise the relation between Kleist and Kant, this investigation instead turns to aspects of Kant’s philosophy to illuminate the texts. Hoffmann’s relationship to enlightenment, too, is explored beyond the prism of Romanticism. Taking a more comparative approach than previous work on the two writers, I identify not only thematic commonalities, but also a parallel aesthetic, in which multiple narratives coexist and where ‘truth’ is manufactured by the dominance of one particular narrative. The notion of 'MÃ1⁄4ndigkeit', central to Kant’s famous definition of 'Aufklärung' offers a useful guiding concept for the investigation and captures the emancipatory promise of self-realisation and the positive trajectory of human progress at the heart of the miscellany of moral and political theories and philosophies collectively known as ‘enlightenment’. The latter refers not to the historical period, but rather to a process of intellectual emancipation and an assemblage of ideals and values. As an intellectual movement, enlightenment was not, as is often assumed, monolithic, but encompasses conflicting notions of reason, freedom, and how its goals were to be achieved. Not only are the certainty and consequences of this intellectual emancipation evaluated in the texts, but I have also identified a radical questioning of the paradigms of thought which condition our understanding of narratives. Both Kleist and Hoffmann’s texts are narratively complex, often with shifts in focalisation, jumps in time, occasionally, figures whose identity changes leave the reader uncertain whether they are dealing with more than one character, and depictions of events which resist clarification through conventional understandings of time, space and causality. This project seeks to reconcile these ‘blind spots’ with a broader critique of enlightenment, in which absolute knowledge is shown to be illusory and truth simply reflective of constellations of power. The spatiotemporal and causal frameworks foundational to rational understanding and used to make sense of the world are revealed to be inadequate.

Tem sido sugerido que combinar o treinamento de força (TF) com o treinamento com vibração (TV) pode ser mais vantajoso do que realizar o TF isolado. OBJETIVOS: Foi objetivo deste estudo avaliar os efeitos da combinação do TF com o TV (TF+V) sobre o desenvolvimento de hipertrofia e os desempenhos da força máxima dinâmica de membros inferiores (FMD) e do salto vertical (SV). Investigou-se também se os benefícios proporcionados pelo treinamento são acompanhados por alterações agudas e crônicas na excitabilidade das vias reflexas. METÓDOS: Foram realizados dois experimentos. No primeiro, foram avaliados os efeitos de uma sessão de treinamento sobre o desempenho do SV e excitabilidade das vias reflexas. Doze sujeitos do sexo masculino foram submetidos a quatro condições experimentais. Na condição TF, realizaram cinco séries de 10 repetições do exercício agachamento, com 90% da massa corporal. Nas condições TF+V30 e TF+V50, o TF foi realizado sobre a plataforma vibratória nas freqüências de 30 Hz (2-4 mm) e 50 Hz (4-6 mm), respectivamente. Na condição controle (C), os sujeitos permaneceram em repouso. Antes e depois de todas as condições experimentais, foram mensurados o desempenho do SV, e os reflexos de Hoffmann (H com amplitude de 20% da onda M máxima, H20%) e tendíneo máximo (Tmáx), no músculo sóleo. No segundo experimento, 29 sujeitos do sexo masculino foram divididos aleatoriamente nos grupos TF, TF+V30 e TF+V50. Os três grupos realizaram entre 3-5 séries de 6-12 RM do exercício agachamento, duas vezes por semana, durante dez semanas. Os grupos TF+V30 e TF+V50 fizeram o agachamento sobre a plataforma vibratória nas freqüências de 30 Hz (amplitude de 2-4 mm) e 50 Hz (amplitude de 4-6 mm), respectivamente. Antes e depois do período de treinamento, foram avaliados a área de secção transversa do quadríceps femoral (ASTQ), os desempenhos da FMD e do SV, os reflexos H e T máximos (Hmáx e Tmáx) e a onda M máxima (Mmáx), no músculo sóleo. RESULTADOS: No primeiro experimento, não foram verificadas alterações significantes na amplitude de H20% em nenhuma das condições (p>0,05). Houve diminuições significantes na amplitude das ondas Tmáx, nas condições TF (-7,4%) e TF+V50 (-11,1%), no primeiro minuto, em comparação ao período antes da intervenção (p<0,001). Foram verificadas diminuições significantes na altura do SV após a realização de todas as condições (C= -11,8%, TF= -6,6%, TF+V30= -7,7% e TF+V50= -7,4%) (p<0, 001). Não houve diferenças significantes entre grupos em nenhuma das variáveis (p>0,05). No segundo experimento, após as dez semanas de treinamento, foram verificados aumentos significantes na ASTQ (TF= 9,8%, TF+V30= 11,7%, TF+V50= 12,9%); na FMD (TF= 16,9%, TF+V30= 15,2%, TF+V50= 16,6%) e na altura do SV (TF= 6,0%, TF+V30= 7,2%, TF+V50= 6,0%) para os três grupos (p<0,05). Não houve diferença significante entre grupos em nenhuma das três variáveis. O período de treinamento não causou alterações significantes nas razões Hmáx/Mmáx (TF = +28%, TF+V30 = -16,3%, TF+V50 = -14%) e Tmáx/Mmáx (TF = -30,3%, TF+V30 = -38,2%, TF+V50 = -28,1%) (p>0,05). Contudo, foi verificado efeito principal de tempo significante para a razão Tmáx/Mmáx (-48,9%) (p<0,05). CONCLUSÕES: A realização de uma sessão de treinamento de força causa uma breve redução da atividade dos fusos musculares. Essa redução não é ampliada quando o TF é combinado com vibração. Realizar um período de TF sobre a plataforma de vibração não proporciona qualquer aumento adicional na ASTQ ou nos desempenhos da FMD e do SV, em relação ao que pode ser conseguido através do TF / It has been suggested that the combination of strength and vibration training may be advantageous when compared with strength training alone. OBJECTIVES: The aim of this study was to assess the effects of combined strength training and vibration (ST+V) on lower limb hypertrophy and on maximal dynamic strength (MDS) and vertical jump (VJ) performances. In addition, we investigate if the training-induced adaptations were in agreement to acute and chronic changes on spinal reflex excitability. METHODS: Two experiments were performed. In the first experiment, the effects of a single training session on VJ performance and spinal reflexes excitability were assessed. Twelve young male undertook four experimental conditions. On ST condition, subjects performed five sets with 10 repetitions on squat exercise with load of 90% body mass. On both ST+V30 and ST+V50 conditions, subjects performed the ST on a vibration platform at 30 Hz (2-4 mm) and 50 Hz (4-6 mm), respectively. In C condition, subjects were only assessed. Vertical jumping performance and Hoffman (at 20% of maximal M wave, H20%) and maximal tendon soleus reflexes (Tmáx) were measured before and after all experimental conditions. In the second experiment, twenty nine young male were randomized into three groups. All groups performed 3-5 sets with 6-12 RM on squat exercise, twice a week, for ten weeks. The ST+V30 and ST+V50 groups performed the squat exercise on the vibration platform at 30 Hz (2-4 mm) and 50 Hz (4-6 mm), respectively. Quadriceps cross sectional area (QCSA), MDS and VJ performances, maximal soleus H- and T- reflexes and maximal M wave (Mmáx) were assessed before and after the 10-week training period. RESULTS: in the first experiment, no significant changes were found in H20% amplitude in any experimental condition (p>0,05). Significant decrease on Tmáx amplitude was found after ST+V30 (-7.4%) and ST+V50 (-11.1%) conditions, after the first minute, compared to before intervention assessment. VJ decreased in all experimental conditions (C= -11.8%, ST= -6.6%, ST+V30= -7.7% and ST+V50= -7.4%) (p<0.001). There were no significant changes between groups in any variable measured (p>0.05). In the second experiment, significant increases were found in QCSA (ST= 9.8%, ST+V30= 11.7%, ST+V50= 12.9%); MDS (ST= 16.9%, ST+V30= 15.2%, ST+V50= 16.6%) and VJ height (ST= 6.0%, ST+V30= 7.2%, ST+V50= 6.0%) in all groups (p<0.05). There were no significant changes between groups in any variable measured (p>0.05). The training period did not induce significant changes in Hmáx/ Mmáx (ST = +28%, ST+V30 = -16,3%, ST+V50 = -14%) and Tmáx/ Mmáx ratios (ST = -30,3%, ST+V30 = -38,2%, ST+V50 = -28,1%) (p>0.05). However it was found a significant time effect for Tmáx/ Mmáx ratio (-48.9%) (p<0,05).CONCLUSION: A single strength training session induces a brief impairment on muscle spindle activity. This impairment is not greater if ST is combined with vibration. Performing ST on a vibration platform did not additionally increase QCSA, MDS and VJ performance compared with ST alone

Univ., Diss.--Rostock, 2005.

Zugl.: München, Univ., Diss., 2008

La thèse étudie les caractéristiques linguistiques, philosophiques et esthétiques du langage littéraire du fou à l'époque romantique. Elle porte sur Les Élixirs du Diable (Hoffmann, 1815), La Fée aux Miettes (Nodier, 1832), le Journal d'un fou (Gogol, 1835), La Sylphide (Odoïevski, 1837) et Aurélia (Nerval, 1855). D'autres récits sont convoqués plus ponctuellement, comme Les Veilles (Bonaventura, 1804) ou Louis Lambert (Balzac, 1832). Le fou est un être problématique : il est à la fois inférieur à l'homme sain et habité par une inspiration divine. Ce paradoxe trouve une actualité nouvelle dans la première moitié du XIXe siècle. D'une part, le développement de l'aliénisme tend à définir médicalement les pathologies mentales. D'autre part, la naissance de la littérature fantastique promeut la figure de l'artiste fou. Le fou, lorsqu'il prend la parole, interroge l'écriture autobiographique et redéfinit le moi, l'espace et le temps. Son discours présente des enjeux pragmatiques : le fou cherche à démontrer qu'il n'est pas fou, face à une société qui le condamne. Il cherche également à transmettre une vérité. Sa langue sert alors à décrire les forces mythiques qui traversent le monde et, peut-être, à le recréer. La notion de création est essentielle. L'âge romantique modifie la définition de la littérature, qui perd sa fonction représentative au profit d'une fonction purement langagière. Le discours du fou participe à la fondation de cette nouvelle esthétique : il l'instaure dans un geste critique qui interroge sa légitimité. Impossible et impensable, il incarne la « parole muette » (J. Rancière) que devient la littérature moderne. / The thesis studies the linguistics, philosophy and aesthetics of literary language of the madman in the Romantic era. It focuses on The Devil's Elixirs (Hoffmann, 1815), The Crumb Fairy (Nodier, 1832), The Diary of a Madman (Gogol, 1835), The Sylph (Odoevsky, 1837) and Aurelia (Nerval, 1855). Other narratives are more promptly summoned, as The Night Watches (Bonaventura, 1804) or Louis Lambert (Balzac, 1832). The madman is a problematic being: he is both unhealthy and inhabited by a divine inspiration. This paradox finds a new relevance in the first half of the nineteenth century. On the one hand, the development of Alienism tends to define mental pathologies from a medical point of view. On the other hand, the birth of the Fantastic promotes the figure of the mad artist. The Madman, when he speaks, questions autobiographical writing and redefines the Self, Space and Time. His speech has pragmatic issues: the madman seeks to demonstrate that he is not mad, in a society which condemns him. He also endeavours to convey a truth. His language is then used to describe the mythical forces that travel the world and, perhaps, to recreate it. The notion of creation is essential. The Romantic era modifies the definition of literature, which loses its representative function in favour of a purely linguistic function. The speech of the madman takes part in the founding of new aesthetics: it creates it in a critical gesture that questions its legitimacy. Impossible and unthinkable, it embodies the "silent speech" (J. Rancière) that becomes modern literature.

Uppsatsen analyserar E.T.A Hoffmanns konstsaga Nötknäpparen, översatt av Ingrid Windisch (1989), mot två andra upplagor av Nötknäpparen, dessa två i bilderboksformat. Den ena bilderboken är återberättad av Anthea Bell men svensk översatt av Gun-Britt Sundström (1987) och den senaste upplagan av Nötknäpparen är återberättad av Rachel Elliot men svenskt översatt av Annika Meijer (2016). Syftet med denna analys är att främst undersöka vilka adaptioner som gjorts ifrån originalberättelsen till de två bilderboksupplagorna. Fokus kommer vara på karaktärer och intrigen i samtliga böcker med stort fokus på vad som bland annat adapterats från den översatta originalberättelsens otäcka innehåll till bilderböckerna. Uppsatsen utgår ifrån en narratologisk och komparativ analys där även begrepp som konstsaga, bilderbok, karaktär, intrig samt adaption kommer ligga till grund för att besvara syfte och frågeställningar. Analysen visar att mycket är lika i de karakteristiska dragen men att det betonas olika mycket i varje bok. Intrigen i Hoffmanns berättelse och bilderboken från 1987 är till stor del densamma dock är bilderboken förkortad och innehåller illustrationer. Bilderboken från 2016 innehåller till viss del samma delar i intrigen men har exempelvis tagit bort delen om prinsessan Pirlipat och nöten Krakatuk. Bilderboken (2016) är mer anpassad efter yngre barn i åldern 3-6 år vilket märks både i karaktärer och i intrig. Det framkommer även i analysen att Hoffmanns berättelse har ett mer detaljerat skrämmande innehåll än övriga bilderböcker även om bilderboken (1987) är relativt mycket mer skrämmande än bilderboken (2016) både i text och illustrationer.

No description available.

No description available.

Paru à Francfort en 1845, le Struwwelpeter de Heinrich Hoffmann se présente comme le précurseur des albums illustrés pour la jeunesse, ayant pour principal objectif d'amuser l'enfant : le texte est conçu sous forme de comptines, et accompagné d'illustrations qui permettent à son destinataire de comprendre l'histoire même s'il n'est pas en âge de lire. L'œuvre, destinée au jeune lecteur (ou auditeur), n'est pas dépourvue d'enseignement moral ni de cruauté ; au contraire, les scénarios surprennent par leur violence, celle-ci étant justement fonction du comique. Ce que montre notre mémoire, c'est comment les manifestations de la corporéité, mise en mots comme en images, créent cette émergence du comique à travers le plaisir pulsionnel (sadisme, oralité, castration, etc.). Dans un premier chapitre, nous jetons un regard sur la manière dont la poésie enfantine d'Hoffmann déclenche le comique par sa mise en scène de la corporéité, par ses effets de répétition. Des jeux de langage tels que les rimes, les onomatopées, les assonances et les allitérations sont omniprésents dans le Struwwelpeter, et il est nécessaire d'observer leur fonctionnement pour voir à quel point la forme est prédominante, ou, pour le dire comme Bergson, à quel point « le corps pren[d] le pas sur l'âme ». De même, nous analysons les images en concordance avec le discours, pour montrer que les personnages illustrés, aux allures de marionnettes ou d'automates, désamorcent la violence des récits pour laisser place au rire. Le deuxième chapitre fait quant à lui ressortir le côté irrévérencieux du comique d'Hoffmann, en inversant le haut et le bas corporel (Bakhtine). Notre objet présente ce caractère grotesque du corps qui fascine l'enfant : images caricaturales, extrémités prolongées et exagérées, postures scatologiques et hygiène négligée, et nous voyons que c'est aussi le grobianisme, pendant germanique du grotesque, qui est mis à l'œuvre dans le Struwwelpeter. Enfin, le dernier chapitre s'attarde à la transgression des tabous, qui passe elle aussi par la question du corps : corps morcelé, battu, castré, enterré... et pourtant drôle. Nous voyons à partir des théories freudiennes que la sexualité, la mort et la violence occupent toutes trois des places de choix dans l'album, et qu'en représentant ces thèmes de façon aussi explicite, Hoffmann suscite le plaisir d'une transgression de l'interdit, d'autant qu'il daube dans son œuvre certains rites et cérémonials associés au deuil. Cette levée de nombreux tabous a soulevé des questions chez plusieurs critiques, mais elle n'en reste pas moins la raison première du succès rapide et durable du Struwwelpeter auprès des enfants d'Allemagne et d'ailleurs, bien qu'il reste encore méconnu au Québec. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Struwwelpeter, Crasse-tignasse, Pierre l'ébouriffé, littérature pour la jeunesse, album illustré, comique, sadisme, corporéité, culture germanique.

Thesis (Ph. D.)--University of Chicago, Department of Comparative Literature, August 2001. / Includes bibliographical references. Also available on the Internet.