Der Roman Die Wand von Marlen Haushofer erschien in der Erstfassungim Jahre 1963 und beschreibt wie die Ich-Erzählerin gezwungen wird in absoluterIsolation zu leben. Diese Arbeit analysiert mit Hilfe der Identitätstheorie vonHilarion Petzold inwieweit eine Identitätskrise bei der Protagonistin durch dasErlebte vorliegt und kommt zum Schluss, dass die Protagonistin zwar einenIdentitätswechsel vornimmt, aber grundsätzlich im Einklang mit sich selbst lebt. DieArbeit erläutert verschiedene Strategien der Ich-Erzählerin, die sie verwendet, umdie soziale Isolation ohne Identitätskrise zu überstehen.

In dieser Examensarbeit wird untersucht, ob Marlen Haushofers Die Wand (1963) als eine feministische Utopie interpretierbar ist. Mithilfe von Definitionen von Dystopie, Utopie und einer Definition von feministischer Utopie werden drei gegensätzliche Merkmalpaare (Hoffnung vs. Pessimismus, Natur vs. Technikwissenschaft und Freiheit vs. Unterdrückung) herausgelesen, die dann in der Analyse von Die Wand angewendet werden, um die Hypothese, dass Die Wand nicht dystopisch, sondern eine (feministische) Utopie ist, zu bestätigen. Am Schluss folgt eine kurze Zusammenfassung der Resultate. / This dissertation will investigate whether Marlen Haushofer's The Wall (1963) can be interpreted as a feminist utopia. With reference to definitions of dystopia, utopia and specifically also of a feminist utopia, three pairs of contradictory terms were selected, which in turn were applied to the analysis of The Wall in order to confirm the 'claim' that The Wall is in fact not dystopian but rather a (feminist) utopia.

xii, 310 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / Nostalgia is the longing for a lost, and often substantially reimagined, time or place. Commonly regarded as a conservative impulse available for exploitation by hegemonic forces, nostalgia can also be a source of social questioning and creative inspiration. This dissertation examines the ways in which nostalgic longing imports images and ideas from memory into present discourse and infuses works of art with complication, contradiction, and ambiguity. In the early 1960s, emboldened by Nikita Khrushchev's cultural Thaw, many Soviet filmmakers engaged both personal and social memory to craft challenging reflections of and responses to their times. These filmmakers reengaged the sundered spirit of the 1920s avant-garde and reimagined the nation's artistic and spiritual heritage; they captured the passing moments of contemporary history in a way that animated the permanent, productive, and sometimes stormy dialogue between the present and the persistent past. Mikhail Kalatozov's I Am Cuba (1964), Andrei Tarkovsky's Andrei Rublev (1966, released 1971), and Marlen Khutsiev's Ilich's Gate (1961, released with changes in 1965 as I Am Twenty ) were planned in the anxious years surrounding Khrushchev's fall, and the films mark a high point of Thaw-era cinematic audacity. Each film is epic in scope; each deploys temporal longing to generate narrative ambiguity and dialogue between historical epochs. The films are haunted by ghosts; they challenge the hegemony of the "now" by insisting on the phantom presence of a thousand "thens"; they refurbish old dreams and question contemporary assumptions. The Thaw permitted the intrusion of private memory into public history, and the past became a zone for exploration rather than justification. Easy answers became harder to come by, but the profusion of questions and suggestions created a brief silver age for Soviet cinema. For us, these films offer an extraordinary glimpse into creative life during one of the great, unsung social transitions of the 20th century and reveal the crucial contribution of individual memory in the artistic quest for formal diversity, spiritual inspiration, and ethical living. / Committee in Charge: Dr. H. Leslie Steeves, Chair; Dr. Biswarup Sen; Dr. Julianne Newton; Dr. Jenifer Presto

In dem Aufsatz werden Geschlecht und Geschlechtsidentität in dem Roman Die Wand von Marlen Haushofer untersucht. Anhand der Theorien und Begriffen Simone de Beauvoirs und Judith Butlers wird die Veränderung bei der Ich-Erzählerin des Werkes analysiert, die sich von typischer Frau in geschlechtloses Ich verwandelt.