Nach einem Rekurs über den Utopiebegriff wurden sowohl im diarischen Werk als auch in der veröffentlichten Prosa Brigitte Reimanns utopische Konzeptionen aufgespürt. Gesucht wurde das Utopische sowohl in den Beschreibungen einer konkreten Gesellschaftsutopie, als auch in den literarischen „Verfeinerungen“ einer kruden Ideologie, wie im kritischen Hinterfragen des „Noch-Nicht-Bewussten“ (Ernst Bloch). Als ästhetische Utopien wurden auch Wunschbilder des Alltags, Träume, Märchen und Mythen gedeutet. Ausführliche Untersuchungen beschäftigten sich mit der Gestaltung der weiblichen Figuren und ihrer Entwicklung von der ideologisch (auch männlich) indoktrinierten Protagonistin zur „freien“ Ich–Gestalterin. Nachgewiesen wurde sowohl im diarischen Werk, als auch in der veröffentlichten Prosa eine Wandlung des Utopieverständnisses von der Gesellschaftsutopie zur subjektiven „Augenblicksutopie“, die im Deutungshorizont der Literatur der Romantik auch als DDR-spezifische Innerlichkeit verstanden werden könnte, welche mit ihrem Rückzug ins Individuelle die ritualisierte DDR-Öffentlichkeit desavouierte. / After a study of the term of Utopia, Utopian concepts were discovered both in the diary texts and in the published prose of Brigitte Reimann′s oeuvre. The Utopian was searched in the descriptions of concrete social Utopia as well as in the literary <EM>Verfeinerungen</EM> of crude ideology and in the critical research of the <EM>Noch-Nicht-Bewusste</EM> (Ernst Bloch). Wishful thinking, dreams, fairy-tales and myths were interpreted as an aesthetic Utopia. Detailed researches were engaged in a study of representation of feminine characters and their development from the ideological indoctrinated protagonist to the “free” <EM>Ich-Gestalterin</EM>. The change in understanding of Utopia from the social Utopia to the <EM>Augenblicksutopie</EM> could be proved both in the diary texts and in the published prose of Brigitte Reimann. In the <EM>Deutungshorizont</EM> of Romantic literature it may be understood as a specific <EM>DDR-Innerlichkeit</EM>, which with its retreat into individualism showed up the ritual public.

This study explores the use of war metaphors, more specifically metaphors centred on the verb, in modern French newspaper prose from three principal angles.  The first part of the analysis shows that the verbs of war used are metaphorical rather than concrete. However, the vast majority of the metaphors stem from only five verbs, namely attaquer, affronter, combattre, défendre and lutter.  The second part of the analysis focuses on these five verbs and their metaphorical uses. It is shown that it is the semantic role of patient that separates a metaphorical use from a concrete use. A classification of the patients according to semantic fields reveals that each of the five verbs shows a distinct preference for a certain type of patient and the verbs also differ in whether their patients have negative or positive connotations. This creates an image of five verbs, each of which is conventionalised in a certain linguistic context.  The final chapter of the analysis investigates war metaphors from a textual perspective, analysing their usage according to three parameters: position, function and target domains. The position that is the most susceptible to war metaphors is the initial position. The textual functions of metaphors are divided into one semantic and three pragmatic functions. The semantic function structures the theme of an article in terms of war, construing an antagonism by means of elaborating or extending a conventional metaphor. The pragmatic functions considered are argumentative, descriptive and expressive. In the articles studied, war metaphors have mostly a descriptive or argumentative function. Finally, the target domains and their interconnections with the source domain WAR are considered, showing that the war metaphors are linked to power or the lack thereof. The metaphor often describes the person in power, but the case can be reversed with the metaphor describing the powerless resisting or fighting the person in power.

Cette thèse consacrée à Die Ausgewanderten de W.G. Sebald (1992) procède à une étude microscopique et détaillée de l'écriture dans sa singularité, une radiographie du texte et de sa matérialité hétérogène. L'étude montre la structure binaire sous-jacente de l'ouvrage, la complexité des stratégies stylistiques et narratives, la manière dont le signifiant se soumet à l'impératif catégorique du signifié mais aussi la prééminence de signes tangentiels et obliques ; elle s'intéresse également à la singularité de l'enchaînement des discours rapportés et met en lumière le geste mélancolique du narrateur sébaldien. Il apparaît que l'intertextualité revêt une spécificité particulière puisque la polyphonie sébaldienne est orientée différemment de celle envisagée par M. Bakhtine. La deuxième partie s'attache à étudier la critique de la civilisation (Kulturkritik) dans une œuvre fortement marquée par la constellation idéologique de l'École de Francfort et plus précisément par " La Dialectique de la Raison " de Horkheimer et d'Adorno. La prose allemande muséale de l'auteur, qui rappelle celle d'Adalbert Stifter mais aussi, par ses emboîtements narratifs, emprunte la virtuosité bernhardienne, est incrustée de " moments " de bonheur ou de beauté qui mettent en évidence et soulignent l'inouï du monde concentrationnaire. Les thématiques de l'exil et du pays natal sont au centre des intérêts de la troisième partie. L'étude s'attache à montrer que l'ouvrage réécrit en quelque sorte une littérature de l'exil que l'auteur, professeur de littérature de langue allemande, a eu l'occasion de fréquenter mais aussi d'analyser. C'est un " chœur d'exilés " qui se fait entendre dans Die Ausgewanderten et qui manifeste la tragédie de l'homme moderne.

Il lavoro consiste nell'analisi dei tratti peculiari della lingua delle Meditazioni dell'imperatore Marco Aurelio Antonino in relazione alla prosa imperiale coeva all'autore; nel contempo la ricerca mira a riconoscere una possibile influenza della lingua latina nella stesura del trattato. / The work is about the language of Marcus Aurelius's Meditations compared to the imperial contemporary prose and tries to find influences of Latin language in the composition of the treatise.

No description available.

The immense scope of Sir Thomas Malory¡¦s Le Morte Darthur has long kept daunting his readers. In terms of space, Malory includes both historical locations and imaginary and unnamed natural locales in his work. These places have different functions and therefore transmit different dimensions of spatial imagination. This dissertation examines three kinds of space¡Xwater as space, urban space and mystical space, and the aesthetic relations to these spaces in Le Morte Darthur. These named spaces and the selected locations in each category will be analyzed in the framework of microspace and macrospace, a structure proposed by Dick Harrison in conceptualizing medieval spatial experiences. Chapter one explores water as space. Some geographical sites, such as harbors, lakes, wells and rivers, and an imaginary space of Lancelot¡¦s tears as a qualitative concept are discussed in relation to the aquatic regenerative power. Particular interests are in how Malory accentuates differences which water exhibits in these sites and how water functions as a link to the past and to the future via language and spatial verticality. The second chapter moves to urban space, localized in specific places. This chapter aims to explicate how some medieval cities in Le Morte Darthur are consecrated or deconsecrated as a result of the city¡¦s association with distinct social and moral/immoral activities. The final chapter discusses mystical space. The places of sojourn of the Grail knights during their quest are marked by spatial verticality and horizontality, in proportion to each knight¡¦s moral worthiness. These locales form a preparatory path towards the space where the Grail vision and a divine message are ultimately revealed. An analogy between the interior space of the Grail and the extracosmic void space is drawn in order to convey the essence of the Grail in spatial terms. The progression from chapter one to three reflects a tendency from the physical to the mystical world of the human existence imagined in Malory¡¦s work. Moral dimension plays an important role in that it enables the transformation from microspace to macrospace in some instances. The term ¡§aesthetic spaces¡¨ will include both microspace and macrospace, in which Malory employs real and imaginary sites to fulfill his aesthetic ideal. ¡§Aesthetic spaces,¡¨ when taken in a broader sense, will also apply to ¡§poetic space¡¨ when language results in the transference of space which characters experience. Three categories of texts will be employed in the discussion: literary, historical and theoretical texts. The first group includes Le Morte Darthur, some major medieval English romances and chronicles and the Old French prose Vulgate and Post-Vulgate Cycles; the second, fourteenth- and fifteenth-century philosophical, religious and historical documents; and the last, theories of medieval spatial thinking from Harrison and Mircea Eliade. Through comparisons of a number of passages in Le Morte Darthur and these two French versions, this writer attempts to show that Malory, as the first writer to incorporate the Grail narrative into Arthurian romance in England prior to the late fifteenth century, succeeds in presenting microspatial and macrospatial thinking in Le Morte Darthur.

Eugenio Montale (1896-1981) ha esercitato la professione di critico letterario per tutta la vita. A partire dal 1920 e poi sino alla morte, Montale ha collaborato con numerosi periodici e con le più importanti riviste letterarie del suo tempo. Nel 1948 viene poi assunto al "Corriere della sera", a Milano: qui diventa giornalista per mestiere e si dedica alla divulgazione della letteratura italiana ed europea, con una particolare attenzione a quelle inglese e francese. La presente ricerca analizza le sue prose critiche, individuandone le linee principali: autori e libri recensiti, temi e questioni culturali che Montale analizza nel corso della sua attività. Alcune figure di scrittori, critici e filosofi (Sergio Solmi, Emilio Cecchi, Benedetto Croce, Roberto Bazlen) rappresentano i confini ideali di un'idea di poesia, che Montale mostra nelle sue prose: dialogando con questi personaggi, egli riflette infatti sui principali problemi della cultura e della letteratura contemporanee. Lo stile critico di Montale si colloca perciò tra il giornalismo e la saggistica. Nell'ultima parte della ricerca si è cercato di individuare alcune importanti intersezioni tra prosa critica, prosa narrativa e poesia, che convivono nell'attività montaliana. / Eugenio Montale (1896-1981) has been a literary critic as long as he lived. Since 1920 till death, Montale worked together with many newspapers and with the most important literary reviews of his period. In 1948 was assumed at «Corriere della sera», in Milan: here he became a journalist as a job and dedicated himself to disclosure Italian and European literature, with a particular attention for English and French ones. This essay analyzes his critical proses, identifying their main themes: authors and books reviewed, themes and cultural issues which Montale wrote about as long as he wrote. Some figures of writers, critics and philosophers (Sergio Solmi, Emilio Cecchi, Benedetto Croce, Roberto Bazlen) represent the ideal boundaries for an idea of poetry, which Montale points in his proses: communicating with these figures, he reflects upon the main issues of contemporary culture and literature. Montale’s critical style can infact be placed between journalism and literary criticism. In the last part of this essays it has been tried to find out some important junctions between literary essays, narrative proses and poetry, living all together in Montale’s activity.

El presente volumen es el resultado de las investigaciones transdisciplinarias realizadas entre 1997 y 2004 dentro del proyecto dirigido por Prof. Dr. Alfonso de Toro y auspiciado por la Deutsche Forschungsgemeinschaft con el tema "Pluralidad de los discursos. Comunicación intercultural e interdisciplinaria en la postmodernidad y postcolonialidad. Lati¬noamérica y la diversidad de los discursos" bajo aspectos teórico-culturales, epistemológicos, políticos, sociológicos, filosóficos, estéticos e históricos. El volumen reúne trabajos de historiadores, teóricos de la cultura y literatura latinoamericana de Alemania, Bélgica, España, EE.UU., Argentina, Brasil y México.

Zugl.: Frankfurt (Main), Univ., Diss., 2005

Univ., Diss.--Warwick. / Quellen- und Literaturverz. S. [203] - 222.