Zugl.: Düsseldorf, Univ., Diss., 2005

Texte remanié de: Dissertation--Klagenfurt--Universität, 2001. Titre de soutenance : Börse-Show-Event : der Ingeborg-Bachmann-Preis als Modenfall des Literaturbetriebs. / Bibliogr. p. [523]-542.

Diplomarbeit - Universität, Wien, 2002. / Includes bibliographical references (p. 121-[126]).

Diplomarbeit - Universität, Wien, 2002. / Includes bibliographical references (p. 121-[126]).

Doctor of Philosophy (PhD) / Despite the consistency and regularity of Bachmann’s critique of journalists and journalistic content, there has been to date no dedicated study of her portrayal of the journalistic media in individual works or her work as a whole. This dissertation addresses this gap in Bachmann studies by undertaking a detailed and comprehensive analysis of Bachmann’s literary portrayal of the journalistic media from the time she first came into the literary spotlight in the early 1950s until her 1972 Simultan collection, the last work to be published in her lifetime. The primary focus of this dissertation is a close textual analysis of literary works in which Bachmann makes significant references to journalists and journalism, examining these references closely in the context of existing scholarly analyses. In a systematic analysis of each literary genre that Bachmann tackled—poetry, radio plays, short prose and novels—this study demonstrates that Bachmann’s critique of journalists and journalism recurs with notable frequency and consistency throughout her work from 1952 onwards. The detailed analyses show that Bachmann’s critique of the “fourth estate” ranges from the mildly critical to the vitriolic, and constantly returns to a core set of concerns about the misrepresentations perpetrated by the journalistic media. The negativity of Bachmann’s critique is, however, almost always offset (and even undercut) by evidence that the journalistic media are not always successful in their (according to Bachmann’s portrayal) deceitful and destructive practices. This results in the oxymoron encapsulated in a literal interpretation of Ich’s declaration in Malina that the press is “ein unglaublicher Betrug”: while Bachmann does her utmost to depict the press as “Betrug”, she simultaneously reveals to us that it is also “unglaublich” in the sense of “unglaubhaft”. What also emerges from this study is that Bachmann’s literary critique of the journalistic media as both deceptive and inherently destructive is often counterbalanced by a more positive and contrary element that points towards where and how we might find the truth that the journalistic media do not and cannot convey.

Doctor of Philosophy (PhD) / Despite the consistency and regularity of Bachmann’s critique of journalists and journalistic content, there has been to date no dedicated study of her portrayal of the journalistic media in individual works or her work as a whole. This dissertation addresses this gap in Bachmann studies by undertaking a detailed and comprehensive analysis of Bachmann’s literary portrayal of the journalistic media from the time she first came into the literary spotlight in the early 1950s until her 1972 Simultan collection, the last work to be published in her lifetime. The primary focus of this dissertation is a close textual analysis of literary works in which Bachmann makes significant references to journalists and journalism, examining these references closely in the context of existing scholarly analyses. In a systematic analysis of each literary genre that Bachmann tackled—poetry, radio plays, short prose and novels—this study demonstrates that Bachmann’s critique of journalists and journalism recurs with notable frequency and consistency throughout her work from 1952 onwards. The detailed analyses show that Bachmann’s critique of the “fourth estate” ranges from the mildly critical to the vitriolic, and constantly returns to a core set of concerns about the misrepresentations perpetrated by the journalistic media. The negativity of Bachmann’s critique is, however, almost always offset (and even undercut) by evidence that the journalistic media are not always successful in their (according to Bachmann’s portrayal) deceitful and destructive practices. This results in the oxymoron encapsulated in a literal interpretation of Ich’s declaration in Malina that the press is “ein unglaublicher Betrug”: while Bachmann does her utmost to depict the press as “Betrug”, she simultaneously reveals to us that it is also “unglaublich” in the sense of “unglaubhaft”. What also emerges from this study is that Bachmann’s literary critique of the journalistic media as both deceptive and inherently destructive is often counterbalanced by a more positive and contrary element that points towards where and how we might find the truth that the journalistic media do not and cannot convey.

This diploma thesis deal with the theme: woman as victim in a collection of stories Simultan from the Austrian author Ingeborg Bachmann. The motif of a victim occurs the later work of Ingeborg Bachman, in consequence of it this thesis applies not only with work Simultan, but also with works from Todesarten cycle. The term of victim and connected terms of perpetrator and liberator are described in the second chapter. There is also the analysis of the term ,,simultan?, the whole collection of stories were called after it. Another chapters analyzes the stories ,,Simultan?, ,,Probleme Probleme?, ,,Ihr glücklichen Augen? and ,,Das Gebell?. There are described the perspective of narration and the theme of victim in comparison with other works of Todesarten cycle.

Diss.--Theaterwissenschaft--Erlangen-Nürnberg--Friedrich-Alexander-Universität, 1996. / Bibliogr. p. 285-310.

Diese Arbeit untersucht die autobiographischen Aspekte und das Thema des Erinnerns in Ingeborg Bachmanns Roman Malina. Der Roman wird mit Hilfe von Texten von u.a. Philippe Lejeune und Paul de Man als eine unkonventionelle Autobiographie diskutiert, die durch die Form ihres Erzählens diese Gattung in Frage stellt. Das Erinnern, das zentral für das autobiographische Schreiben ist und die Frage wie das Erinnern im Roman dargestellt wird, werden ebenfalls untersucht. Die Figuren Ich und Malina werden zum Schluss als Repräsentanten für zwei verschiedene Erinnerungsformen diskutiert. / This essay examines the autobiographical aspects of Ingeborg Bachmanns novel Malina. The novel is discussed as unconventional autobiography, which through its narrative form calls the foundations of this genre into question. Memory, which is inevitably connected to autobiographical writing, is also examined and discussed as a major theme in the novel. The two main characters Ich and Malina are discussed as representatives for two different modes of remembrance.

Zugl.: Karlsruhe, Univ., Diss.