Thèse (M.A.)--Université Laval, 2003. / Bibliogr.: f. 47-48. Publié aussi en version électronique.

Teilw. zugl.: Heidelberg, Univ., Diss., 2002

Mannheim, Universiẗat, Diss., 2004.

Diss.--Freiburg i. B. / Without thesis statement. Bibliography: p. [x]-xiv.

Zugl.: Frankfurt (Main), Philos.-Theol. Hochsch. St. Georgen, Diss., 2008

The topic of this thesis is Play Strindberg (1969), a play by Friedrich Dürrenmatt, which is an adaptation of Strindberg's drama The Dance of Death (1901). The thesis first discusses the context of the play's origin and the reactions to its first showing. It then goes on to analyze nine Czech theatrical productions of Play Strindberg and also one made by the Czech television. The main part of the thesis presents a detailed criticism of two of the drama's translations (1969 and 1989) based on Katharina Reiß' translation analysis model. Both translations meet the requirements for a functional translation. Curriculum vitas of translators Bohumil Černík (*1924) and Jiří Stach (*1930) are also enclosed.

The topic of this thesis is Georg Büchner's fragmentary drama Woyzeck. At the beginning, the work presents the playwright's biography set in the historical context and his work. It continues with the circumstances of Woyzeck's origin, the plot summary, description of the language of the play and problems with edition and decoding the manuscripts. The next part talks about the different concepts of Woyzeck in Czech theatres and what the reactions of the audience and the critics were. The work also briefly deals with Alban Berg's opera Wozzeck, the libretto and the reaction of the Czech audience. The focus of this thesis are the translations into Czech, especially a detailed analysis and comparison of Rudolf Vápeník's and Ludvík Kundera's translations. The analysis is based on Katharina Reiß' translation analysis model. Only Kundera's translation was found to be a functional one, Vápeník's translation is - according to the author of the thesis - obsolete.

Diss. Philos.-Theol. Hochschule Sankt Georgen in Frankfurt am Main, 2008/2009.

Den Anfang macht Elisabeth Gernhardts (M. A.) geschichtswissenschaftlicher Beitrag, „Es gibt nur eine Moral, sie ist die gleiche für beide Geschlechter“. Das Wirken Katharina Schevens im Dienste des Abolutionismus (1902-1914). Mit Katharina Scheven widmet sich der Aufsatz einer bislang wenig beforschten Führungspersönlichkeit aus der Prostitutions- und Sittlichkeitsdebatte des Deutschen Kaiserreichs um 1900. Scheven verstand es, mit ihrer umfangreichen, öffentlichkeitswirksamen und politisch erfolgreichen Verbands-, Publikations- und Netzwerkarbeit im lokalen und regionalen Raum (Dresden beziehungsweise Sachsen) die allgemeine gesellschaftliche Bedeutung des abolutionistischen Anliegens aufzuzeigen und im nationalen, auch übernationalen, europäischen Emanzipationskontext zu verankern. ‚Grenzüberschreitend‘ ist Schevens Engagement dabei nicht nur in diesem räumlichen und diskursiven Zusammenhang und dem aufklärerischen Bemühen, zentrale Schnittstellen, beispielsweise zwischen sexueller Doppelmoral und genderfizierter Rechtsordnung, zu identifizieren und feministisch zu kritisieren. Die Verfasserin zeigt Scheven zugleich als Vermittlerin zwischen zeitgenössischen Extrempositionen und als ‚Schwellenfigur‘, mit Bereitschaft für Perspektivwechsel, pragmatischen Anpassungen, Korrekturen und programmatischen Widersprüchen, die der (zeittypischen) Gleichzeitigkeit des Ungleichzeitigen geschuldet sind, hier: progressivem Egalitätsfeminismus und tradierter weiblicher Moral-Suprematie.

This thesis explores the representation of Heimat in contemporary German novels and films by authors and directors born in the 1960s and 1970s within the context of globalisation. The following texts and films are examined: Hierankl (2003) and Winterreise (2006) by Hans Steinbichler, Wer früher stirbt, ist länger tot (2006) and Beste Gegend (2008) by Marcus H. Rosenmüller, Der Geschmack von Apfelkernen (2008) by Katharina Hagena, Klausen (2002) by Andreas Maier, and Usambara (2007) by Christof Hamann. I argue that the static notion of the concept of Heimat and concomitant concepts of identity are challenged by these authors and filmmakers as they pit them against the cultural, political, and social changes brought on by globalisation with its altered notions of identity. Within German political and public discourse, globalisation is often presented as a foreign concept threatening German institutions, customs, and even national identity itself. The dynamics between dwelling and travel/movement are at the centre of the films and novels under discussion. Each of the four chapters focuses on one of the major topics of current literary discourses of Heimat and globalisation: changing images and roles of women in general and mothers in particular; the house, which has often been fundamental in representations of Heimat, as the site at which patriarchal norms and values are being renegotiated; nature and environment as sites of threatened Heimat within the context of Heimat, tourism, and Umweltschutz; and Africa as other Heimat, threatened by, yet relatively untouched by globalisation. In their exploration of notions of Heimat, all of the texts and films discussed in this thesis self-consciously refer to the texts and films of the Heimat and the anti-Heimat genre respectively. But far from focusing on the tainted notion of Heimat within the German historical and political context, as did the generation of 1968 in their films and texts, the new generation of writers and filmmakers marks notions of Heimat much more positively and appropriates them for its own purposes. Nostalgia, irony, and ambivalence are the major characteristics of the new “Heimatroman” and “Heimatfilm.” / Thesis (Ph.D, German) -- Queen's University, 2009-09-23 18:40:27.127