This thesis examines the images of Germany and Sweden in several travelogues during a period of approximately thirty years (1800–1828). The objective is to analyse German and Swedish travelogues and their descriptions of the respective neighbouring country to view how the relationship between the two countries was perceived. The first part of the analysis examines six Swedish travelogues about Germany, written by authors belonging to the Swedish Romanticism. The second part examines six German travelogues about Sweden. The study seeks answers to the following question: how is Germany and Sweden described in the travelogues from the first three decades of the 19th century and how do the German and Swedish national self-images and the images of others appear in the travelogues?  The thesis is to be regarded as a literary study in the field of comparative imagology. Analysing travelogues to which only a few scholars have payed attention, this study expands understanding of national (literary) discourses concerning the neighbouring country. The study of the Swedish travelogues reveals that the Swedish travellers depicted a deep personal relationship to Germany, a sort of ‘elective affinity’, which largely had been developed through the reception of German literature and culture. In Germany, the Swedish travellers were merely on the verge of a foreign space. In the analysis of the German travelogues the thesis shows that a noticeably development concerning the ideas of Sweden was taking place. At the turn of the 19th century, Sweden was often described as barbarian, poor and uncultured. With an increased interest of the German Romantics in Norse mythology and culture, the descriptions of Sweden moved to be positive, visionary and even idealized. The form of a new romanticized notion of Sweden is to be observed during this period.

This diploma thesis explores the lyrical poetry of Eduard Mörike (1804-1875), a German poet. The topic of the thesis is theencountering of nature and love in his works. This poet, less known in the Czech context, wrote various kinds of poems, which deserve attention. The thesis is divided in two parts, theoretical and interpretative. In the first part, the thesis focuses on giving an overall context (I deal with a historical context, literary epochs, during which Eduard Mörike wrote, his personality and general introduction in lyrical poetry). The second part of my thesis aims to interpret selected poems, which are divided bytheir themes: romantic love, the morning, wayfaring, the forest and the so-called "Dinggedichte," or poems focusing on understanding and appreciation of a single item. In each poem, a mood or feeling that characterizes the poem is described, who is the speaker within the poem, and which topics of love and nature can be observed. From the perspective of form, I analyze the rhyme scheme. The analysis of each thematic group also contains a comparation of the poems. The interpretational part aims to connect and evaluate the interweaving of love and nature in the poetic works of Eduard Mörike and touch upon the deeper meaning of the poems. Its aim is also to make the selected works...

We human beings are facing a dilemma, as we live in a time and place where we inevitably have to become more stationary in our way of living, as well as make more careful and calculated decisions about what type of products we consume and how. As we are increasingly confined to our homes, our homes are having to act host to all of the activities that we used to leave our home for, such as work, exercise, leisure and more. The need for interior modification is larger than ever, yet the need is conflicted by the threat that product consumption is paying to our climate. This project has explored the technology of augmented reality as an alternative method for interior adaptation, personalisation and creation in existing environments, through a concept called DIGITERIORS. By introducing flexible and digital layers to our static and analog interiors, the concept enables a new interactive dimension of interiors that can be atmospherically optimised and customised for a specific activity, need or mood, innumerable times without having to consume interior products or material. On a larger scale, this project speculates on sustainable and alternative ways of influencing our interiors in the future, using technologies that are already developed, but not yet fully utilised.

Die vorliegende Dissertation stellt eine Interpretation von Thomas Paines THE AGE OF REASON (1794) und Ralph Waldo Emersons NATURE (1836) als politiktheoretische Traktate vor, die normative Demokratiekonstrukte entwickeln. Diese Demokratiekonstrukte werden anhand ihrer Parameter vergleichend und historisierend gelesen. Die Annahme ist hierbei, dass sich die normativen Demokratieentwürfe beider Autoren mithilfe der Denkfigur des rhizomatischen Panoptizismus explizieren lassen. Die Dissertation leitet diese Denkfigur anhand von Texten des französischen Poststrukturalismus und auf Grundlage des soziologischen Ansatzes der Surveillance Studies her und erläutert seine Relevanz für das Verständnis und die Verhandlung von Demokratie in den Epochen der frühen Republik und des Antebellum in den USA. Ebenso findet eine Analyse der diskursiven Vermittlung dieser Denkfigur durch das religiöse Vokabular von Deismus, Unitarismus und Transzendentalismus in beiden Traktaten statt. Ein ausführliches close reading legt schließlich dar, wie einzelne Parameter eines rhizomatischen Panoptizismus in den Texten entwickelt, repräsentiert und diskutiert werden. / The present dissertation introduces an interpretation of Thomas Paine’s THE AGE OF REASON (1794) and Ralph Waldo Emerson’s NATURE (1836) as politico-theoretical tracts that develop normative constructions of democracy. At the core of the analysis lies a comparative and historicist reading of the parameters of these constructions. The thesis informing the analysis posits that both normative constructions of democracy can be made explicit with the aid of the concept of a rhizomatic panopticism. The dissertation develops this concept on the basis of French poststructuralist texts and with theoretical approaches from the sociological field of Surveillance Studies in mind, explaining its relevance for the understanding of democracy during the Early-Republic and Antebellum periods in the USA. Furthermore, the discursive mediation of the introduced concept through the religious vocabularies of Deism, Unitarianism, and Transcendentalism in both tracts receives attention. Finally, a close reading elucidates how the distinct parameters of a rhizomatic panopticism are developed, represented, and discussed in both texts.

Die Dissertation untersucht die Entwicklung des Gesamtkunstwerk-Konzeptes und seine Aktualität, Möglichkeit und Notwendigkeit in Bezug auf ein modernes filmisches Gesamtkunstwerk. Ausgegangen wird von der ästhetischen Theorie und Praxis der deutschen Frühromantik, in der das Konzept wurzelt. In einer umfassenden Betrachtung und Analyse der ästhetischen und gesellschaftspolitischen Dimension des Konzeptes in den Schriften und dem Werk Richard Wagners sollen wesentliche Strukturmerkmale erkundet und soll ein Maßstab für ein ‚positives‘ zeit-genössisches Gesamtkunstwerk gebildet werden, das sich von seinem ideologischen Missbrauch befreit. Erforscht wird, inwiefern der Farb- und Tonspielfilm ein geeignetes Kunstmedium für die Anwendung des Konzeptes darstellt und wie sich die Frage seiner gesellschaftspolitischen Dimension in der globalen Epoche übersetzen lässt. / The dissertation explores the evolution of the concept of the Total Work of Art (ʹGesamtkunstwerkʹ) as well as its actuality, feasibility and necessity in the form of a modern cinematic Gesamtkunstwerk. Starting point is the aesthetic theory and praxis of the Early German Romanticism, in which the concept is rooted. An extensive consideration and analysis of the concept in both its aesthetic and socio-political dimension as developed in the writings and works of Richard Wagner aims to define its essential structural features and to set the standard for a ʹpositiveʹ contemporary Gesamtkunstwerk beyond its ideological abuse. Key is the examination of how and to what extend the sound and colour feature film constitutes a legit artistic medium for the application of the concept as well as how its sociopolitical facet translates within the global era.

This dissertation explores the intimate relationship between irony and romantic subjectivity, by drawing on feminist psychoanalytical theory, via an examination of the shiftings of irony, and humor, in the works of the Swedish romanticist P. D. A. Atterbom (1790–1855). It looks at the critical role played by irony in the formation of Romantic subjectivity, and explores irony’s potential to undermine dualistically gendered notions of subject-object relations. For Atterbom, irony is an aesthetic concept closely related to drama, informed not only by German Romantic-ironic theorists such as Friedrich Schlegel and Jean Paul, but also by the works of Shakespeare, Ludwig Tieck, and E. T. A. Hoffmann. The thesis follows the shiftings of Romantic irony in Atterbom’s major literary texts: the cycle of poems Blommorna [The Flowers] (1811), where the Ovidian transformations are used metafictively to play with the relation between poet, poem, and reader; and the literary satire Rimmarbandet [The Rhyme Band] (1810), which, inspired by Tieck’s Der Gestiefelte Kater (1797), uses the metafictive theatre-in-the-theatre motif, as well as carnivalesque and grotesque motifs to expose contrived theatricality and homosocial misogyny in the prevailing culture. The dynamic between the satirist’s subject and the attacked object is a polarized power struggle, where revolt is followed by submission. In this respect, Romantic satire is here conservative. In the fairy tale play Lycksalighetens ö [Island of Felicity] (1824–27), tragedy’s irony is a dialectic between the ideal and the real that strives to create both inner and outer renewal. The play reaches out metafictively to the reader and turns her/him into the poet of a new version of the fairy tale. The reading/writing process inscribed in the work thus becomes a form of renewal and liberation from grief, and old, patriarchal gender roles. Finally, the humorous, unfinished idyll Fågel Blå [Blue Bird] (1814, 1818, 1858) is a work in many pieces, a fragment, a sketch and a non finito that together stages a restorative creative process, where the reader is asked to take part in joining together the scattered parts of Blue Bird itself. To conclude, irony is a feature of Romanticism, which makes the Romantic, literary subject relational and dialogical, open to its Other, and herein lies a form of ethics and an escape from a conventional, patriarchal notion of the self. I discuss this with Julia Kristeva’s theories on how subjectivity changes when it becomes poetic and Jessica Benjamin’s Winnicott-influenced theory of how play can offer a way out from patriarchy’s strict gender roles. The shiftings of irony in Atterbom’s work show a development from the satirical subject, where an aggressive form of self-assertion conceals a lack of individuality – via tragedy’s painstaking efforts to integrate repressed aspects of the self – to the idyll’s more harmonious subject, who has the capacity to laugh at him/herself and see both the grotesque in the holy, and the holy in the grotesque.

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Die Studie strebt an, die Lücke innerhalb der literaturwissenschaftlichen Forschung, die hinsichtlich der Relevanz des Phänomens der körperlichen Ohnmacht für die deutsche Literatur des späten 18. und frühen 19. Jahrhunderts festzustellen ist, im Rahmen eines Typologieentwurfs zumindest in Teilen zu füllen. Dazu werden alle Ohnmachtsszenen innerhalb der Gesamtwerke Heinrich von Kleists, Friedrich Schillers, Johann Wolfgang von Goethes, J.M.R. Lenz‘, E.T.A. Hoffmanns, Sophie la Roches und Sophie Mereaus untersucht, kategorisiert und untereinander verglichen. Der erste Teil der Untersuchung beschäftigt sich ausschließlich mit den Werken Heinrich von Kleists, während sich der zweite Teil der Frage nach der Übertragbarkeit des kleistschen Ohnmachtsverständnisses auf die Gesamtwerke der anderen Autoren widmet. Die Thematisierung der Ohnmacht um 1800 bildet hier einen übergeordneten Bezugspunkt, wobei der Kontext ‚Körperzeichen’ neben den philosophisch-medizinischen Aspekten sowie der Analyse des Zusammenhangs zwischen den geschlechterspezifischen Differenzierungen und dem zeitgenössischen Tugend- und Weiblichkeitsideal besondere Beachtung findet. Zudem steht die Beantwortung der Frage nach einer möglichen genre- sowie epochenspezifischen Gesamtverteilung der Ohnmachten im Fokus.

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Der Beitrag widerspiegelt an Hand von Stadtratsbeschlüssen der Stadt Radeberg die Nachkriegsereignisse an der Lotzdorfer Schule ab 1945. Bereits Frühjahr 1946 begannen durch die Sowjetische Militäradministration (SMAD) die Vorbereitungen, in der Sowjetischen Besatzungszone ein demokratisches Schulsystem einzuführen und durchzusetzen. Ab 1. September 1946 trat das „Gesetz zur Demokratisierung der deutschen Schule als Einheitsschule“ in Kraft. Die Umbenennung der Schulen folgte und die Lotzdorfer Schule wurde in „Ludwig-Richter-Schule“ umbenannt, um die neue Zeit, den Neubeginn zu dokumentieren, der mit der Abschaffung alter Strukturen einherging. Dennoch ist die Namensgebung in dieser Zeit mit einem Maler der Romantik ungewöhnlich, passte dieser Name doch so gar nicht zu der Schulreform und Entnazifizierungswelle. Üblich waren eher Namensgebungen von Kommunisten.