Auswahl der wissenschaftlichen Literatur zum Thema „Eugenik i litteraturen“

Eugene birsinger, originaire d'un petit village du sud de l'alsace, paysan de son etat, souffre en silence du fait que l'alsace soit redevenue une province allemande au terme de la guerre de 1870. La premiere guerre mondiale fera exploser son aversion envers les allemands et l'ecriture lui permettra une forme de liberation. Il commence une chronique tenue au jour le jour et decrit la guerre telle qu'il la ressent dans son petit village devenu une zone neutre, du fait de sa frontiere avec la suisse. Sa perspective n'est pas celle des heros, mais plutot des gens du peuple, et il presentera la guerre a partir des difficultes et bouleversements de la vie quotidienne. Par la satire et l'ironie, il raille son "ennemi", le surveille de pres pour mieux s'en moqsuer. Sa langue porte l'empreinte du terroir et est marquee d'une forte religiosite. Mais eugene birsinger se distingue egalement par ses talents d'illustrateur et embellit chaque page de son manuscrit par un dessin ornemental ou une caricature. Sa chronique se termine avec la signature de la paix en juin 1919
Eugene birsinger, the son of a peasant family from a little village in the south of alsace, suffers in silence because his province is again under german rule after the war of 1870. The first world war will cause his distaste of germans to erupt and writing will be for him a release. He starts keeping a diary describing his daily impressions of the war as seen from his little village situated in a neutral zone near the swiss frontier. His outlook is not that of a hero but rather that of the common man and he will describe the war from the aspect of the difficulties and upheavals affecting the daily life of the people. Through satire and irony he scoffs at his "enemy" and keeps a close eye on him so as all the better to mock him. His language has a trace of his local dialect and is marked by his strong religious beliefs. But eugene birsinger distinguishes himself also by his talent as an illustrator and enhances each page of his manuscript by an ornamental drawing or a caricature. His chronicle finishes with the signature of the peace treaty of june 1919

Le theatre de derision (1974) aborde trois auteurs, beckett, ionesco et adamov, puis evoque l'heritage refuse par ces dramaturges dans la tradition du theatre d'avant-garde. Vient ensuite l'etude des themes et des personnages, a laquelle succede celle des elements structurels et des formes d'ecriture theatrale. Les structures rhetoriques et les structures de la communication caracterisant le theatre de derision sont alors definies. Le dernier chapitre situe le trio avant-gardiste dans le theatre actuel. Le second ouvrage, echographie de "fin de partie" (1985), comporte quatre partie. La premiere est consacree aux questions de theorie et de methode, la seconde examine successivement les liens entre le manuscrit et le texte final; l'esthetique et la metaphysique de l'echo et le duo-duel beckett-nietzsche. La troisieme aborde l'archetype bourreau-victime, l'enchassement personnages-themes-symboles, puis les rapports entre le langage et la symbolique du moi. La quatrieme partie examine la coexistence du comique et du ludique, puis le recours a une textualite faisant intervenir l'intratextuel et l'intertextuel. La conclusion evalue la thematique, definit la schizocreation et cerne les esthetiques de l'oeuvre. Les quinze articles, entretiens et traductions publies entre 1970 et 1986 portent sur les auteurs precedemment cites, mais aussi sur cocteau et jakobson, ainsi que sur la notion anthropologique de culture et les rapports entre la litterature et la connaissance
The theatre of derision (1974)deals with three authors: beckett, ionesco and adamov. After defining the present state of critical studies it considers both the heritage rejected by these playwrights and the characteristics of the avant-garde tradition. The next chapters are devoted to themes, characters, structural patterns, style and dialogue. The conclusion sums up the rhetorical and structural techniques upon which the theatre of derision rests. Echo symbolism and strategy in beckett's endgame (1986) is divided into four parts. The first one is devoted to theoretical questions, the second one to a variety of problems: the similarities and dissimilarities between the manuscript and the final text, the esthetics and philosophy of the echo principle, and the dialectical relationship between beckett and nietzsche. The third part focusses on the master-slave dialectics, the coalescence of characters, themes and symbols, and the connection between language and ego symbolism. The fourth part considers the role of humor and play, and the author's recourse to intratextual and intertextual techniques. The conclusion is an assessment of the creative role of schizowriting and of the author's themes and aesthetics. Several of the fifteen articles, interviews and translations i published between 1970 and 1986 deal with the preceding writers, as well as cocteau and jakobson. Others focus on the concept of culture and the relationship between literature and knowledge

AbstractThis essay discusses the concepts of eugenics and social caste in Brave New Worldin relation to Aldous Huxley, from a biographical perspective. The essay analyzes how events and personal relationships of Aldous Huxley have influenced the depiction of the concepts social caste and eugenics in his novel Brave New World. Using sources which recount the travels and the personal encounters that Aldous Huxley made throughout his life, this essay makes comparisons and draws conclusions as to how these eventsand relationshipshave affected the depiction of social caste and eugenics in Brave New World

This thesis investigates the portrayal of gastronomy in F. Scott Fitzgerald's Tender is the Night. The discussion is based on the ideas “we are what we eat” and “we are where we eat” and the premise that Fitzgerald creates a significant association to gastronomy by way of the critical field of Food Studies, which divide the arguments into three different subcategories: Firstly, it presents the principals of Food Studies and stylistics, which focus on literary stylistic devices such as aesthetics and figurative language. Particularly, the analysis examinesthat a close reading of the novel is futile without further considerations of contextuality. Hence, it deals with the text in terms of textuality and contextuality. Secondly, the novel dealswith food as a reflection of ethical behaviour and social class, where it examines that appearance is as significant as money. Further, it investigates the cultural influences in terms of adaption of food preferences in different environmental settings. Thirdly, it explores the association between the concept of psychopathology, mood and the absence of gourmandise in parallel to alcoholism, emotional bankruptcy, escapism and nostalgia. Finally, this thesis seeks to examine that Fitzgerald is “authoring gastronomy” in similar fashion as food critics.

The purpose of this essay is to conduct a character analysis on Eugene Achike from Chimamana Ngozi Adichie’s novel Purple Hibiscus, to see whether or not the character is used by Adichie as a portrayal of colonial Nigeria and its values. I have done this by looking at the themes of violence and hypocrisy in relation to Eugene’s language usage, religious attitude, and behaviour towards others, and comparing these aspects of his personality with the attitudes shown by colonialists in colonial Nigeria. The more important issues that prove Eugene’s character is a portrayal of colonial Nigeria are: his utter disregard for his heritage and background, including the physical disregard of his father; his absolute control over his family members, both physically and mentally, which leads to violent outbursts if he is disobeyed; the fact that he is shown in the novel to be a direct product of the missionaries and colonial structure that was present in Nigeria when he grew up. These things, together with the subtle connections in Adichie’s writing that connect her novel to Things Fall Apart, firmly place Purple Hibiscus in the postcolonial category. Thus, I concluded that Eugene’s character is a portrayal of Colonial Nigeria.
Syftet med denna upsats är att genomföra en karaktärsanalys på karaktären Eugene Achike i Chimamanda Ngozi Adichis roman Purple Hibiscus, för att se ifall karaktären används av Adichie som en skildring av koloniala Nigeria och dess värderingar. Jag har gjort detta genom att undersöka två teman – våld och hyckleri – i samband med Eugenes användning av språk, religös attityd, och beteende mot andra, för att då jämföra dessa aspekter av hans personlighet med attityderna kolonisatörer hade i koloniala Nigeria. De viktigaste sakerna som bevisar att Eugenes karaktär är en skildring av koloniala Nigeria är: hans fullständiga ignoreing av sin bakgrund, inklusive den fysiska ignorering av hans pappa; hans absoluta kontroll över sin familj, både fysiskt och mentalt, vilket leder till våldsamma utbrott om han inte blir åtlydd; det faktum att han beskrivs som en produkt av missionärerna och koloniala samhället vid flera tillfällen i boken. Detta tillsammans med romanens subtila kopplingar till Achebes Things Fall Apart, placerar tveklöst Purple Hibiscus i den postkoloniala kategorin. Därmed drar jag slutsatsen att Eugene’s karaktär är en skildring av koloniala Nigeria.