Originally presented as the author's Thesis (doctoral)--Universität Freiburg, Breisgau. / Includes bibliographical references (p. 195-206).

Notre travail compare les mises en scène françaises des pièces de Thomas Bernhard aux mises en scène allemandes et autrichiennes, depuis 1970, premier succès théâtral de l’écrivain autrichien, jusqu’à aujourd’hui. La méthode choisie se situe au carrefour de la germanistique et des études théâtrales.Le metteur en scène Claus Peymann a créé la plupart des pièces de Thomas Bernhard. Ses mises en scène apparaissent très fidèles au texte. En France, les metteurs en scène sont plus libres. Thomas Bernhard écrit ses pièces pour des acteurs précis. Minetti est un hommage à l’acteur allemand Bernhard Minetti. La pièce, jouée par des acteurs français, apparait davantage comme un défi pour l’acteur et une réflexion sur l’art dramatique. L’auteur dramatique autrichien écrit également en fonction du contexte politique : ainsi, avec la pièce Place des Héros, créée à Vienne au Burgtheater en 1988, année du cinquantenaire de l’Anschluss. Cette pièce et sa réception en Autriche sert en quelque sorte de schéma de réception en France, pouvant conduire à un malentendu. Les attaques contre l’Autriche n’ont en effet plus le même sens si elles sont jouées en France.Thomas Bernhard est souvent considéré comme un auteur sombre. Son théâtre, où le comique est plus prononcé que dans les romans, permet de nuancer cette image. Mais cette dimension comique et grotesque n’est pas toujours vue par le public français. Il faut dire qu’une partie du comique bernhardien, verbal, est difficilement traduisible. C’est donc tardivement que ce comique est découvert par le public français, dans les années 1990 et 2000, quand le schéma de réception lié à Place des Héros a tendance à s’estomper. / Our work compares the French productions of Thomas Bernhard’s plays with the German and Austrian ones, from 1970, marking the first success of the Austrian playwright, to this day. The chosen method is at the crossroads of German Studies and Theater Studies.Stage director Claus Peymann has staged most of the first productions of Thomas Bernhard’s plays. His productions are very faithful to the text. In France, the stage directors have a more original interpretation of the text. Thomas Bernhard writes his plays for specific actors. Minetti is for a tribute to the German actor Bernhard Minetti. The play, performed by French actors, is to be understood as a challenge for actors and as a reflection about dramatic art. The Austrian playwright also writes in accordance with the political context. Heldenplatz was first played 1988 at the Burgtheater in Vienna, for the 50th anniversary of the annexation of Austria. The play and its reception in Austria serves as a model for the reception in France, which can lead to a misunderstanding. The attacks against Austria do not have the same meaning any more, when they are played in France. Thomas Bernhard is often considered as a gloomy author. Theatre, in which comedy plays a bigger part than in novels, puts this reputation into perspective. However, this comic and grotesque dimension is not always perceived by the French audience. The comic dimension of Thomas Bernhard’s work is difficult to translate. The French audience therefore discovers this comic dimension of Thomas Bernhard’s plays only much later, in the 1990’s and 2000’s, when the reception scheme of Heldenplatz tends to fade away.

This paper attempts to examine the development of the Anti-Heimatliteratur as a typical austrian literary genre. For this reason, the specific sociopolitical situation in the country of this time is discussed, a description is given and how these circumstances contributed to the rise of this specific literature form. Thomas Bernhard is presented as a well-known representative of the Anti-Heimatliteratur. The great austrian theater scandal at the premiere of Bernhard's drama Heldenplatz in 1988 is described as a significant, illustrative example of the Anti-Heimatliteratur. / Die vorliegende Examensarbeit untersucht die Entstehung der Anti- Heimatliteratur als typisch österreichische Literaturgattung. Zu diesem Zweck wird die spezifische, damals vorherrschende, gesellschaftspolitische Situation im Land erörtert und dargestellt, wie diese zur Ausbildung dieser speziellen Literaturform beitrug. Thomas Bernhard wird als bekannter Vertreter der Anti- Heimatliteratur vorgestellt. Der große österreichische Theaterskandal bei der Premiere von Bernhards Drama Heldenplatz im Jahre 1988 wird als signifikantes, erläuterndes Beispiel der Anti-Heimatliteratur beschrieben.

Not rarely the main characters in Thomas Bernhard's literature fail with their intentions to write scientific works. Instead they go through a fruitless writer's cramp for decades, until they perish. With this background this essay will analyse the motive of failure in Bernhard's novel The Lime Works from 1970. The main character Konradaims to write the ultimate treatise on the subject of hearing, though he comes to nothing.It will be shown that Konrad's failure has many reasons and that the motive of failure can be related to many aspects in Bernhard's texts. The analysis identifies Konrad's dead-end situation.Thisessay intends to convey an insight into Bernhard's literature but also to reflect about the nature of failure in general.

<p>As a representative of the Viennese classical music tradition, Wolfgang Amadeus Mozart (1756-1791) embodies not only an artistic inspiration but also an aesthetic, social, and national expression for musicians, writers, and scholars from diverse fields over the past two and a half centuries. The legend of this genius, together with his timeless music, remains a popular subject in the fields of contemporary textuality, including drama.</p><p>Thomas Bernhard (1931-1989) and Elfriede Jelinek (1946-), two controversial and highly acclaimed writers in the German-speaking world, have much in common. Both, similar to Mozart, have a love-hate relationship with their home country, both offer poeticized provocations of the media and postwar political discussions, and both are critical of Austria’s involvement with National Socialism that positions their literary work as anti-<i>Heimat </i>literature, strengthening their reputation as “Nestbeschmutzer/in” as well as <i>enfants terribles</i>. But most importantly, both had a comprehensive musical education and demonstrate their aesthetic<b> </b>approaches by referring not only to musical form but also to musical personae in their literary creations.<b></b></p><p>In their postmodernist dramas <i>Der Ignorant und der Wahnsinnige</i> (1972) and <i>Raststätte oder Sie machens alle</i>(1994), Bernhard and Jelinek deliberately refer to Mozart and his respective representative operas buffa <i>Cosi fan tutte </i>(1790) and Singspiel <i>Die Zauberflöte</i> (1971). As intertext, Mozart’s opera tends neither toward a certain musicality nor a musical discourse; instead, the playwrights engage the idea of “the presence of the past” to encode the Enlightenment mode of gender discourse within a (post)modern context. The postmodernist approach to intertextuality subsequently leads us to question how writers return to language and use linguistic and rhetorical devices to (de)construct the gender related issues. </p><p>The current research, located in the social, political and historical context of Austrian postmodernism, aims to examine how both playwrights subversively reconfigure the enlightened binary models of gender differences, embedded in Mozart’s operas, in new cultural contexts. It focuses on the gendered alterity that is determined by external sources (i.e., within certain spatio-temporal contexts) as well as framed by interior facts (e.g., language). For a multidimensional analysis, I employ discourse theory and critical linguistics, combining a psychoanalytical reading and a deconstructive reading, to identify Bernhard’s and Jelinek’s specific agendas under the meta-historical category of the Enlightenment while disclosing their postmodernist poetology.</p>

Die zuerst 2004 in einer 304 Seiten starken Kurzfassung veröffentlichte germanistische Doktorarbeit1 Andreas Maiers, der zu diesem Zeitpunkt bereits als Autor von Wäldchestag (2000) und Klausen (2002) in Erscheinung getreten war, wurde bekanntermaßen sowohl von der literaturwissenschaftlichen Community als auch vom Feuilleton kontrovers diskutiert. In der breit angelegten Studie stellte Maier die These auf, Thomas Bernhards vermeintlich philosophische Literatur kaschiere durch ihre Kommunikationsstruktur, durch „beabsichtigte[] Dunkelheit“ (DV, S. 13) im Ausdruck die in ihr vorherrschende semantische Leere. Mehr noch: Bernhard sowie seinOEuvre – zwischen beiden differenzierte Maier allenfalls sporadisch – zielten darauf ab, den Rezipienten durch eine realistische Erzählhaltung, die sich bei näherer Untersuchung als „pseudomimetisch“ (DV, S. 26) entpuppe, um jedweden Sinn zu betrügen, ihn somit schlichtweg zu täuschen. Um zu belegen, dass Bernhard nichts weiter als ein rhetorisch exzeptionell begabter Lügner sei, arbeitete Maier chronologisch, von Frost über die autobiografische Pentalogie bis hin zu Alte Meister, die den bernhardschen Texten eingeschriebenen Widersprüche heraus. Bei seiner die Möglichkeit uneigentlichen Sprechens weitgehend ausblendenden textimmanenten Analyse kam er zu dem Schluss, Bernhard gebe „Wahrheitswille“ (DV, S. 156), Authentizität und Tiefsinn vor, wo es ihm allein um den Effekt gehe.

Esta tese estuda a obra do escritor Thomas Bernhard, especialmente a partir de dois de seus romances, a saber Holzfällen. Eine Erregung (1984) e Auslöschung. Ein Zerfall. (1986). Pela mediação entre forma literária e forma social, pretende-se desvendar dinâmicas históricas inscritas na forma literária elaborada pelo escritor austríaco. Por um lado, o autor busca \"politizar a estética\" por meio de uma estética da provocação formal, com o que cita diretamente a sociedade e quebra as fronteiras bem delimitadas entre ficção e realidade. Por outro lado, dadas as condições históricas específicas da Áustria após a Segunda Guerra, e apoiando-se na formulação adorniana da arte como historiografia inconsciente de nosso tempo, Bernhard cria uma obra que procura ler a contrapelo (Benjamin) e atualizar esta rica tradição num momento propício, culminando em sua obra dos anos 80. / The present dissertation is a study of the work of Thomas Bernhard, based mainly in two of his novels, Holzfällen. Eine Erregung (1984), and Auslöschung. Ein Zerfall (1986). The intention is to uncover the historical dynamics inscribed in the literary form developed by the Austrian author through the mediation between literary and social form. On the one hand, Bernhard seeks to \"politicize the esthetics\", making use of an esthetics of formal provocation that makes direct references to real people of the Austrian society, effacing the sharp distinction between fiction and reality. On the other hand, in the specific context of the historical condition of Austria after the Second World War and based on Adorno\'s concept of art as the unconscious historiography of our time, Bernhard writings seek to renew this rich tradition in a way that is opposed to the traditionally accepted one (Benjamin) and to bring it up-to-date in a propicious context. The higher point of this achievement is the work he produced during the decade of 1980.

Esta tese estuda a obra do escritor Thomas Bernhard, especialmente a partir de dois de seus romances, a saber Holzfällen. Eine Erregung (1984) e Auslöschung. Ein Zerfall. (1986). Pela mediação entre forma literária e forma social, pretende-se desvendar dinâmicas históricas inscritas na forma literária elaborada pelo escritor austríaco. Por um lado, o autor busca \"politizar a estética\" por meio de uma estética da provocação formal, com o que cita diretamente a sociedade e quebra as fronteiras bem delimitadas entre ficção e realidade. Por outro lado, dadas as condições históricas específicas da Áustria após a Segunda Guerra, e apoiando-se na formulação adorniana da arte como historiografia inconsciente de nosso tempo, Bernhard cria uma obra que procura ler a contrapelo (Benjamin) e atualizar esta rica tradição num momento propício, culminando em sua obra dos anos 80. / The present dissertation is a study of the work of Thomas Bernhard, based mainly in two of his novels, Holzfällen. Eine Erregung (1984), and Auslöschung. Ein Zerfall (1986). The intention is to uncover the historical dynamics inscribed in the literary form developed by the Austrian author through the mediation between literary and social form. On the one hand, Bernhard seeks to \"politicize the esthetics\", making use of an esthetics of formal provocation that makes direct references to real people of the Austrian society, effacing the sharp distinction between fiction and reality. On the other hand, in the specific context of the historical condition of Austria after the Second World War and based on Adorno\'s concept of art as the unconscious historiography of our time, Bernhard writings seek to renew this rich tradition in a way that is opposed to the traditionally accepted one (Benjamin) and to bring it up-to-date in a propicious context. The higher point of this achievement is the work he produced during the decade of 1980.

in English The aim of this diploma thesis is to compare novels by Elfriede Jelinek, Ingeborg Bachmann, and Thomas Bernhard on the grounds of each authors' different understanding of language and its limits. The first part is concerned with what I found typical of the novels: Bachmann's Malina (1971) describes and represents the search for (non-violent) language, Jelinek's The Piano Teacher (1983) makes use of violent language as a weapon against violence, and Bernhard's novels problematize the question of truth and objectivity by means of first-person narrators and nested testimonies. The second part uses Roman Jakobson's theory of language as a combination of metaphor and metonymy and shows the ways in which novels can emphasize one or the other pole and what it tells about the language as a whole. Especially in the case of the texts by Bachmann and Jelinek, the important methodological models for his paper are feminist theories: theories of language and means of expression (Drucilla Cornell, John Berger), theories of cultural conditionality of the body (Simone de Beauvoir, Iris Marion Young) and feminist texts which connect body and language (Beatrice Hanssen). On the contrary, in the novels and for their analysis, the approaches that allow for gender essentialism (Luce Irigaray) prove to be...

The diploma thesis is concerned with reception of the Austrian novelist and playwright Thomas Bernhard in the Czech Republic after 1989. The piece of work mainly focuses on how the writer was presented to the Czech society. The thesis also responds to the statement of the Czech Germanist Milan Tvrdík who said, in 1995, that Thomas Bernhard still awaits discovery of his writings in the Czech Republic and, so far, is an author mostly for Germanists. Theoretical framework of the work is based on the reception theory of Constance school. The research is mainly focused on the Czech translations of the Bernhard's books which contain epilogues and editorial notes, then on the reviews of the Bernhard's plays introduced in the Czech theatres between 1989 and 2019. Considering the fact that some adaptations of Bernhard's plays in our country offered an interesting link between Czech and Slovakian acting scene, an insight of the Bernhard's reception in Slovakia is a part of the work. The analysis takes into consideration external factors, too. These factors are translators, editors, or individual publishing houses Prostor, Mladá Fronta, Divadelní ústav or Odeon, which have influenced the reception of Bernhard's work in the Czech Republic. The qualitative analysis infers a picture of the Austrian playwright...