Zugl.: Graz, Univ., Diss.

Zugl.: Frankfurt (Main), Philos.-Theol. Hochsch. St. Georgen, Diss., 2008 / Includes bibliographical references (p. 467-469) and indexes.

Heinrich Boll is West Germany's most controversial author of the post-war period, and Die verlorene Ehre der Katharina Blum is probably his most widely contested work. Readers and literary critics alike have generally misunderstood or only partially understood Boll's purpose in writing this Erzahlung . Many have discounted it as the author's personal revenge against press and police for their mutual attacks on his honor. Others have panned it for its "poor German" and its lack of realism. Such reviews tend to examine only selected formal and thematic aspects of Katharina Blum. In order to fully comprehend any of Boll's works, however, one must adopt a synthetic approach; i.e., one must scrutinize and synthesize all major factors which influenced the composition of the narrative. The author's own background and philosophy, the socio-political realities of the Federal Republic of Germany, and the influence of literary tradition are key elements in the interpretation of Katharina Blum.

Denna uppsats består av en översättning från svenska till ryska av ett utdrag ur Ulf Danielssons bok Mörkret vid tidens ände och en kommentar, där de översättningsstrategier som tillämpats samt deras teoretiska utgångspunkter analyseras. Den översättningsteoretiska ramen för uppsatsen utgörs av Katharina Reiss’ texttypteori, men även de översättningsteorier som fokuserar på hur översättaren kan undvika en stilistisk utarmning vid översättning av expressiva texter beaktas, nämligen Antoine Berman negativa analys och Jiří Levýs undersökning av översättningstendenser. Översättningsanalysen visade att de vanligast förekommande strategierna vid översättningen av källtextens informativa sakinnehåll var explicitering och syntaktiska modifikationer, medan fokus vid arbetet med bildspråket låg på att bevara källtextens känsloladdning och estetiska verkningskraft eller på att kompensera för eventuella förluster. Även den översättningsproblematik som skapades av källtextens intertextualitet tas upp, och de lösningar som möjliggör att bevara både de informativa och estetiska funktioner som de intertextuella inslagen har i texten diskuteras. / This study consists of the translation of an excerpt from Ulf Danielsson’s book Mörkret vid tidens ände (Darkness at the end of time, my own translation) from Swedish to Russian, as well as a commentary, which provides analysis of applied translation strategies and their theoretical background. The theoretical framework of this study is comprised of Katharina Reiss’ theory of text types, along with the translation theories conceptualising the ways to avoid stylistic impoverishment of the translated expressive texts, namely Antoine Berman’s negative analytics and Jiří Levýs study of common translation tendencies. The translation analysis shows that the translation strategies most commonly used while working with the informative content of the source text, were explicitation and syntactic modifications. In the process of working with figurative language, the focus was either on transferring the emotional connotations and aesthetic character of the source text or on compensation for eventual losses. Moreover, the issue of intertextuality is discussed and analysis is provided of those solutions that allowed preservation of both informative and aesthetic functions, fulfilled by intertextual elements in the source text.

In his 1974 novella The lost Honor of Katharina Blum Heinrich Böll argues for the constitutional guarantee of presumption of innocence. He states that this principle is violated when defamatory media headlines make unwarranted accusations against a private citizen destroying their reputation as part of a targeted smear campaign. The novella characterizes such intentional campaigns as both criminalizing and dehumanizing. Böll argues that the government should influence the press to conform to the limits implied in the institution of freedom of press. He shows the helplessness of a private citizen under attack from a smear campaign when the government takes a laissez-faire attitude toward sensationalized media. This thesis, "Neither citizen nor human: Prisoner of the media and the state: systematically linked dehumanization and radicalization: Two Interpretations of Heinrich Böll's: The Lost Honor of Katharina Blum," evaluates the sympathetic role that media and government play in the radicalization of the private citizen. This thesis establishes a direct relation between smear campaigns and radical or extremist behavior. This thesis shows that the victim of the media acts out erratically in a state of panic and terror brought on by feelings of helplessness. This thesis supports Boell's position that this erratic behavior leads to suicide or violence against perceived oppressors or others. This thesis argues for the habitualization of violence as a precise definition of the radicalization of the individual to violence. This thesis utilizes Böll's fictionalized account of Katharina Blum. This thesis makes comparisons between targeted smear campaigns in the BRD in the period 1967-1974, roughly the period of the Brandt Administration, and the case of Katharina Blum. This thesis demonstrates the systematically linked oppression of oppositional voices by the West German government with media-driven smear campaigns. Böll's essays on topics including human rights and the potential benefits of political radicals help inform this study. Böll's novella demonstrates the vulnerability of all citizens to victimization of the press. Boell shows that violent radical behavior results from smear campaigns against private citizens. Boell argues that this radicalization is clearly rooted in a sales-driven media sympathetic to the state's abuses of power.

”Chock” är reaktionen på Francis Bacons måleri som såväl konstnären som kritiker och betraktare återkommer till. Hans uttalade ambition att orsaka en chock direkt i nervsystemet fick honom att medvetet gillra fällor som avses slå igen i exakt rätt ögonblick hos betraktaren innan denne hinner intellektualisera kring hans verk. Den här uppsatsen syftar till att undersöka hur han gillrade dessa fällor och varför de fungerar. Den fenomenologiska förklaringsmodellen av en upplevelse grundar sig i att kunskapen och erfarenheterna lagrar sig i betraktarens kropp snarare än i dess sinne och används här som beskrivande teori för att åskådliggöra hur Bacons verk upplevs i kroppen. Maurice Merleau-Ponty och Gilles Deleuze studier i fenomenologi inom konsten ligger till grund för hur detta resonemang förs. Francis Bacons arbetsmetoder, som delvis baseras på förvrängningar och bearbetningar av fotografier, har påvisats av Katharina Günther i hennes arbete med att katalogisera Bacons kvarlåtenskap och belyser i uppsatsen hans medvetna strategi att skapa anatomiska asymmetrier. Dessa påverkar i sin tur exponeringsprocesser i vår hjärna som resulterar i den chock som Bacon avsåg, vilket de två neurobiologerna Semir Zeki och Tomohiro Ishizu visar i sin studie som förklaras i uppsatsen.

This thesis investigates representations of happiness in recent German literature and film. The interpretations focus on how happiness is negotiated in the context of home and travel, of Heimat and Fremde, in order to understand happiness, not only insofar as it contributes to “the good life”, but also as an element that shapes public discourses. My readings of works of fiction take into account how notions of happiness have shifted since the turn of the millennium. One reason for this shift is the heightened interest in happiness research, one of the most thriving interdisciplinary research fields of the last decade, which includes disciplines such as psychology, neurosciences, political science, sociology and economics. The following texts and films are examined in this context: Sommerhaus, später (1998) and Nichts als Gespenster (2003) by Judith Hermann, Transfer Lounge (2003) by Gregor Hens, Die Habenichtse (2006) by Katharina Hacker, Head-On (German: Gegen die Wand, 2004) by Fatih Akın, When We Leave (German: Die Fremde, 2010) by Feo Aladağ, Der Blick hinab (2007) by Shirin Kumm, Unveiled (German: Fremde Haut, 2005) by Angelina Maccarone, Cherry Blossoms (German: Kirschblüten – Hanami, 2008) by Doris Dörrie and Zehn (2010) by Franka Potente. My theoretical framework is informed in part by Sara Ahmed’s 2010 influential study, The Promise of Happiness, which takes a critical view toward recent happiness research from a cultural studies perspective. My analysis is directed at the ways in which concepts of happiness are narrated, negotiated and challenged within the context of transnational stories, which are inscribed with the effects of “supermodernity” (Augé) in a globalized world. I show how these works subvert themes and motifs that are associated with happiness, such as home and Heimat and travel or migration into the West. Finally, my readings show how these works mediate and reflect public dialogues and traditional notions about what makes us happy or unhappy, and I demonstrate how new configurations of happiness arise from these narratives. / Thesis (Ph.D, German) -- Queen's University, 2013-05-30 17:42:26.632

This thesis sets on important music printer of late sixteenth century and beginning of seventeenth century, Jiří Nigrin z Nigropontu, especially on his production of music prints. First chapter analyzes present science findings about Nigrin's prints, music printing technique from its beginning to sixteenth century and production of music prints in Prague in second half of sixteenth century beyond Nigrin's printing house. Particularly, sets of initial letters, which appear in Nigrin's music prints, are analyzed. Catalog of music printing sets is also brought forward. It shows most significant attributes along with chronological arrangement. These findings are then applied for establishing which so far unknown music prints comes from Nigrin's printing office. It is possible to mark out the undated musical prints' date of creation according to time arrangement of sets of music characters. Nigrin's material for music printing is compared with abroad printing houses afterwards. It outlines probable origin of his printing equipment.

This diploma thesis deals with with issues occuring in translating trivial literature (formula fiction). Three novels by the Austrian novelist Johannes Mario Simmel are used as empirical material. The first part of the paper focuses on the term trivial literature as well as the person of J. M. Simmel and his work. In the second part, three novels by this author are the subject of translation analysis. The analysis uses criteria of quality assessment defined by the German translation scholar Katharina Reiß in her thesis Möglichkeiten und Grenzen der Übersetzungskritik (published in 1971). The analysis shows various aspects contributing to the result of this translation process. They are partly objective, given by context of time period in which they were created, and partly subjective, given by the person of the translator. Keywords Johannes Mario Simmel, translation criticism, trivial literature, Katharina Reiß, 3 novels (Liebe ist nur ein Wort, Ich gestehe alles, Gott schützt die Liebenden)

The central theme of the thesis is an in-depth translation criticism of the Austrian novel Die Liebhaberinnen by Elfriede Jelinek in the translation of Jitka Jílková. The criticism is based on the theoretical model of Katharina Reiss which is explored in her work Möglichkeiten und Grenzen der Übersetzungskritik. This model is expanded by the role of the editor and translationese style. At the end of the thesis Jitka Jílková is briefly presented, the translation analysis is summarised and evaluated with regard to an interview with the translator about her work.