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Zeitschriftenartikel zum Thema "German fiction 20th century History and criticism"
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Rudova, Oksana S. „Nikolai Gogol's text in the works of Vladimir Nabokov: the history of foundation of the issue in criticism and literary studies“. Vestnik of Kostroma State University, Nr. 2 (2019): 148–53. http://dx.doi.org/10.34216/1998-0817-2019-25-2-148-153.
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The author of the article tried to trace the formation of the idea about the connection of the works of Vladimir Nabokov with Nikolai Gogol's tradition based on the material of the Russian émigréecritics’ works of and literary critics of the 20th—21st centuries. This process is considered as a progressive one, largely specified by the development of researching idea. The émigréecriticism saw the reason for the similarity these writers’ works in their similar aesthetics based on the relationship of the perception of the world and the human. In turn, literary studies of the late 20th century presented a new way of comparison, where Nabokov's prose is considered to be a complicated fiction on the whole, in which there is not only Nikolai Gogol's subtext, but also allusions to the other writers’ works, called "polygenetics". The author of the article offers a generalisation of methodological nature, indicating different types of literary links.
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Lamm, Mariya A. „The development of Belarusian literature in a multicultural context“. Slavic Almanac, Nr. 1-2 (2020): 501–7. http://dx.doi.org/10.31168/2073-5731.2020.1-2.6.04.
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Sinkova L. D. Between text and discourse: Russian literature of the XX-XXI century: history, comparative studies and criticism (lit. - crit. articles, conversations). - Minsk: Parkus plus, 2013. - 296 P. The main characteristics of the Belarusian literature development in the contest of 20th-21th century are demonstrated throughout the review. The key patterns of the poetics progression in Belarusian literature are revealed, alongside with the most noticeable algorithms of the national aesthetics establishment and the specifics of mythopoetic perception. Meaningful characteristics of Belarusian literature during Soviet period are examined particularly, especially the literature about Second World War. The national aspects of literary comprehension of the experience of German-fascist occupation in Belarusian literature during Soviet period are revealed. The important characteristic of the modern Belarusian literature after the Chernobyl disaster that has started in 1986, is emphasized upon.
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Adamik, Verena. „Making worlds from literature: W.E.B. Du Bois’s The Quest of the Silver Fleece and Dark Princess“. Thesis Eleven 162, Nr. 1 (Februar 2021): 105–20. http://dx.doi.org/10.1177/0725513621993308.
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While W.E.B. Du Bois’s first novel, The Quest of the Silver Fleece (1911), is set squarely in the USA, his second work of fiction, Dark Princess: A Romance (1928), abandons this national framework, depicting the treatment of African Americans in the USA as embedded into an international system of economic exploitation based on racial categories. Ultimately, the political visions offered in the novels differ starkly, but both employ a Western literary canon – so-called ‘classics’ from Greek, German, English, French, and US American literature. With this, Du Bois attempts to create a new space for African Americans in the world (literature) of the 20th century. Weary of the traditions of this ‘world literature’, the novels complicate and begin to decenter the canon that they draw on. This reading traces what I interpret as subtle signs of frustration over the limits set by the literature that underlies Dark Princess, while its predecessor had been more optimistic in its appropriation of Eurocentric fiction for its propagandist aims.
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Levit, Georgy S., und Uwe Hossfeld. „Biology and panpsychism: German evolutionists and a philosopher Theodor Ziehen (1862–1950)“. Vestnik of Saint Petersburg University. Philosophy and Conflict Studies 36, Nr. 2 (2020): 240–53. http://dx.doi.org/10.21638/spbu17.2020.203.
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Theodor Ziehen was a prominent German psychiatrist and psychologist and a marginal philosopher of the first half of the 20th century who developed an exotic subjective-idealistic theory based on quasi-empirical psychological arguments. Although Ziehen was seen by contemporaries (most prominently by Vladimir Lenin) as a representative of the same philosophical current (empirio-criticism) as Mach and Avenarius, he never achieved their prominence in the history of philosophy. At the same time, Ziehen’s philosophy became influential in German biology, first of all, due to his direct and very strong impact on Bernhard Rensch. Rensch, in his turn, was the most significant figure on the international scene of what is known as the Modern Evolutionary Synthesis in biology. Rensch was not the only biologist influenced by Ziehen’s ideas. Ziehen had some communication with the “German Darwin” Ernst Haeckel and played a prominent role in the concept of the founder of biological systematics Willi Hennig. How to explain Ziehen’s prominent place in the history of evolutionary biology, despite his obscurity in the history of philosophy? Our hypothesis is that Ziehen became a visible figure in evolutionary theory because of the monistic bias in German biology. Ziehen’s epistemology appeared to be compatible with evolutionary monism and was developed by a practicing psychiatrist therefore obtaining a character of a quasi-experimental doctrine.
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Haker, Hille. „Towards a Decolonial Narrative Ethics“. Humanities 8, Nr. 3 (03.07.2019): 120. http://dx.doi.org/10.3390/h8030120.
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This essay explores the contribution of two works of German literature to a decolonial narrative ethics. It analyzes the structures of colonialism, taking narratives as a medium of and for ethical reflection, and reinterprets the ethical concepts of recognition and responsibility. This essay examines two stories. Franz Kafka’s Report to an Academy (1917) addresses the biological racism of the German scientists around 1900, unmasking the racism that renders apes (or particular people) the pre-life of human beings (or particular human beings). It also demonstrates that the politics of recognition, based on conditional (mis-)recognition, must be replaced by an ethics of mutual recognition. Uwe Timm’s Morenga (1978) uses the cross-reference of history and fiction as an aesthetic principle, narrating the history of the German genocide of the Nama and Herero people at the beginning of the 20th century. Intercultural understanding, the novel shows, is impossible when it is based on the conditional, colonial (mis-)recognition that echoes Kafka’s unmasking; furthermore, the novel illuminates the interrelation of recognition and responsibility that requires not only an aesthetic ethics of reading based on attentiveness and response but also a political ethics that confronts the (German) readers as historically situated agents who must take responsibility for their past.
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Kovács, Gábor. „THE MYTH OF THE WICKED CITY IN THE CULTURAL CRITICISM OF O. SPENGLER / NUODĖMINGO MIESTO MITAS O. SPENGLERIO KULTŪROS KRITIKOJE“. CREATIVITY STUDIES 4, Nr. 1 (28.06.2011): 64–74. http://dx.doi.org/10.3846/20290187.2011.577175.
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O. Spengler was one of the leading protagonists of cultural criticism in the 20th century. His oeuvre had been rooted in the German intellectual climate of the pre-war period and war years. The German tradition based on an ambivalent relation to modernity, after the German defeat suffered at the end of the First World War, emerged as the movement of ‘conservative revolution’. This new kind of conservatism, on the one hand, enthusiastically greeted technological advancement, while, on the other hand, rejected social and political modernization. The opposition of the city and the country-side was a central theme of this way of thought. Spengler in his ‘morphology of world history’ gave an outstanding place to this opposition. Our paper offers a reconstruction, in this respect, of the theory of Spengler. Santrauka O. Spengleris buvo vienas iš svarbiausių XX a. kultūros kritikos atstovų. Jo kūryba buvo įšaknyta vokiečių ikikarinio laikotarpio ir karo metų intelektualinėje atmosferoje. Vokiškoji tradicija, pagrįsta ambivalentišku santykiu su modernybe, po skaudaus vokiečių pralaimėjimo Pirmajame pasauliniame kare, iškilo kaip ,,konservatyviosios revoliucijos“ judėjimas. Naujas konservatizmo tipas, viena vertus, entuziastingai sveikino technologinį progresą, kita vertus, atmetė socialinę ir politinę modernizaciją. Priešprieša tarp miesto ir kaimo buvo pagrindinė diskusijų tema. Šiose diskusijose Spengleris su savo „pasaulio istorijos morfologija” užėmė iškilią vietą. Šiame straipsnyje pristatoma Spenglerio teorijos rekonstrukcija.
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Kinkley, Jeffrey C. „The Monster That Is History: History, Violence, and Fictional Writing in Twentieth-Century China. By David Der-Wei Wang. [Berkeley, Los Angeles and London: University of California Press, 2004. 402 pp. ISBN 0-520-23140-6.]“. China Quarterly 182 (Juni 2005): 439–41. http://dx.doi.org/10.1017/s0305741005270261.
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This celebration of modern Chinese literature is a tour de force, David Wang's third major summation in English. He is even more prolific in Chinese. Wang's command of the creative and critical literatures is unrivalled.Monster's subject is “the multivalence of Chinese violence across the past century”: not 1960s “structural violence” or postcolonial “epistemic violence,” but hunger, suicide, anomie, betrayal (though not assassination or incarceration), and “the violence of representation”: misery that reflects or creates monstrosity in history. Monster thus comments on “history and memory,” like Ban Wang's and Yomi Braester's recent efforts, although for historical reasons modern Chinese literature studies are allergic to historical and sociological methodologies.Monster is comparative, mixing diverse – sometimes little read – post-May Fourth and Cold War-era works with pieces from the 19th and 20th fins de siècle. Each chapter is a free associative rhapsody (sometimes brilliant, sometimes tedious; often neo-Freudian), evoking, from a recurring minor detail as in new historicist criticism, a major binary trope or problematic for Wang to “collapse” or blur. His forte is making connections between works. The findings: (1) decapitation (loss of a “head,” or guiding consciousness?) in Chinese fiction betokens remembering or “re-membering” (of the severed), as in an unfinished Qing novel depicting beheaded Boxers, works by Lu Xun and Shen Congwen, and Wuhe's 2000 commemoration of a 1930 Taiwanese aboriginal uprising; (2) justice is poetic, but equals punishment, even crime, in late Qing castigatory novels, Bai Wei, and several Maoist writers; (3) in revolutionary literature, love and revolution blur, as do love affairs in life with those in fiction; (4) hunger, indistinct from anorexia, is excess; witness “starved” heroines of Lu Xun, Lu Ling, Eileen Chang and Chen Yingzhen; (5) remembering scars creates scars, as in socialist realism, Taiwan's anticommunist fiction, and post-Mao scar literature; (6) in fiction about evil (late Ming and late Qing novels; Jiang Gui), inhumanity is all too human and sex blurs with politics; (7) suicide can be a poet's immortality, from Wang Guowei to Gu Cheng; (8) cultural China's most creative new works invoke ghosts again, obscuring lines between the human, the “real,” and the spectral.
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Valčo, Michal, Daniel Slivka, Katarina Valčova, Nina I. Kryukova, Dinara G. Vasbieva und Elmira R. Khairullina. „Samuel Štefan Osusky’s Theological-Prophetic Criticism of War and Totalitarianism“. Bogoslovni vestnik 79, Nr. 3 (2019): 765–85. http://dx.doi.org/10.34291/bv2019/03/valco.
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: This article analyzes the thought legacy of Samuel Štefan Osuský (1888–1975), a famous Slovak philosopher and theologian, pertaining to his fight against totalitarianism and war. Having lived during arguably the most difficult period of (Czecho-)Slovak history, which included the two world wars, the emergence of independent Czechoslovakia in 1918, its fateful, forceful split by Nazi Germany in 1939, followed by its reestablishment after WWII in 1945, only to be afflicted again by a new kind of totalitarianism on the left, it is no surprise that Osuský aimed his philosophical and theological criticism especially at the two great human ideologies of the 20th century – Fascism (including its German, racial version, Nazism, which he preferred to call ›Hitlerism‹), and Communism (above all in its historical shape of Stalinist Bolshevism). After exploring the human predicament in ›boundary situations,‹ i.e. situations of ultimate anxiety, despair but also hope and trust, religious motives seemed to gain the upper hand, according to Osuský. As a ›rational theist,‹ he attempted to draw from theology, philosophy and science as complementary sources of wisdom combining them in his struggle to find satisfying insights for larger questions of meaning. Osusky’s ideas in his book War and Religion (1916) and article The Philosophy of Bolshevism, Fascism, and Hitlerism (1937) manifest the much-needed prophetic insight that has the potential to enlighten our own struggle against the creeping forces of totalitarianism, right and left that seek to engulf our societies today.
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Becker, Heike. „Writing Genocide“. Matatu 50, Nr. 2 (13.02.2020): 361–95. http://dx.doi.org/10.1163/18757421-05002002.
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Abstract In this article I read several recently published novels that attempt to write the early 20th century Namibian experience of colonial war and genocide. Mari Serebrov’s Mama Namibia, Lauri Kubuitsile’s The Scattering and Jaspar Utley’s The Lie of the Land set out to write the genocide and its aftermath. Serebrov and Kubuitsile do so expressly from the perspective of survivors; their main characters are young Herero women who live through war and genocide. This sets Mama Namibia and The Scattering apart from the earlier literature, which—despite an enormous divergence of political and aesthetic outlooks—tended to be written from the perspective of German male protagonists. The Lie of the Land, too, scores new territory in postcolonial literature. I read these recent works of fiction against an oral history-based biography, in which a Namibian author, Uazuvara Katjivena, narrates the story of his grandmother who survived the genocide.
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Nosonovsky, Michael, Dan Shapira und Daria Vasyutinsky-Shapira. „Not by Firkowicz’s Fault: Daniel Chwolson’s Comic Blunders in Research of Hebrew Epigraphy of the Crimea and Caucasus, and their Impact on Jewish Studies in Russia“. Acta Orientalia Academiae Scientiarum Hungaricae 73, Nr. 4 (17.12.2020): 633–68. http://dx.doi.org/10.1556/062.2020.00033.
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AbstractDaniel Chwolson (1819–1911) made a huge impact upon the research of Hebrew epigraphy from the Crimea and Caucasus. Despite that, his role in the more-than-a-century-long controversy regarding Crimean Hebrew tomb inscriptions has not been well studied. Chwolson, at first, adopted Abraham Firkowicz’s forgeries, and then quickly realized his mistake; however, he could not back up. Th e criticism by both Abraham Harkavy and German Hebraists questioned Chwolson’s scholarly qualifications and integrity. Consequently, the interference of political pressure into the academic argument resulted in the prevailing of the scholarly flawed opinion. We revisit the interpretation of these findings by Russian, Jewish, Karaite and Georgian historians in the 19th and 20th centuries. During the Soviet period, Jewish Studies in the USSR were in neglect and nobody seriously studied the whole complex of the inscriptions from the South of Russia / the Soviet Union. The remnants of the scholarly community were hypnotized by Chwolson’s authority, who was the teacher of their teachers’ teachers. At the same time, Western scholars did not have access to these materials and/or lacked the understanding of the broader context, and thus a number of erroneous Chwolson’s conclusion have entered academic literature for decades.
Dissertationen zum Thema "German fiction 20th century History and criticism"
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Duggan, Lucy. „Reading the city : Prague in Czech and Czech-German narrative fiction since 1989“. Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:3827cf9c-fa91-4fb5-aa7e-8942de885729.
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In the course of its history, Prague has been the site of many significant cultural confrontations and conversations. From the medieval chronicle of Cosmas to the work of contemporary writers, the city has taken shape in literature as a multivalent space where identities are constructed and questioned. The evolution of Prague's literary significance has taken place in an intercultural context: both Czech-speaking and German-speaking writers have engaged with the city and its past, and their texts have interacted with each other. The city has played a central part in many collective narratives in which myth, history and literature intertwine. Looking at contemporary prose fiction written in both Czech and German, this thesis explores continuities and contrasts in the literary roles played by Prague. It analyses two German-speaking emigrant authors, Libuše Moníková (1945-1998) and Jan Faktor (1951- ), viewing them alongside three Czech writers, Jáchym Topol (1962- ), Daniela Hodrová (1946- ), and Michal Ajvaz (1949- ). Through close readings of eight texts, the thesis approaches the imagined city from four angles. It discusses how contemporary authors portray the search for meaning in the city by imagining Prague as two contrasting realms (the 'real' city and the 'other' city), how the discontinuities of the city are reflected by the fragmentation of the authorial stance, how these authors assemble new Prague myths from the vestiges of older topoi, and how they confront the contradictory urges to uphold the boundaries of the city and to transgress them. In post-1989 Prague, authors explore the unstable spaces between continuity and discontinuity, constructing an authorial ethos in these areas of tension.
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Dueck, Cheryl E. „Rifts in time and in the self : two generations of GDR women writers and the development of the female subject (Christa Wolf, Brigitte Reimann, Helga Künigsdorf, Helga Schubert)“. Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=35875.
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This dissertation examines the development of the female literary subject in the work of two generations of women writers of the GDR, represented by Christa Wolf (1929), Brigitte Reimann (1931--1973), Helga Konigsdorf (1936) and Helga Schubert (1941). The objectives are twofold: first, to assess the influence of two opposing discursive frameworks of subjectivity, the socialist and the psychoanalytic, on the works of these writers, and second, to examine the effects of an ideological disjuncture of two generations on their literary production.The first generation to embark on a literary career in the GDR, with great aspirations for the socialist project, is represented by Wolf and Reimann. A shift in political parameters meant that the following generation of writers, including Konigsdorf and Schubert, was faced with a pre-determined ideological structure, unsatisfactory to them. Accordingly, a diachronic investigation of the literary subject is pursued, and reveals the shift between these generations. As a result, rifts in time, in the subject, and rifts between the subject and its time are exposed.
In the 1960s, Wolf and Reimann rejected the literary female subject's role as an agent in the implementation of socialism. Crises in GDR social structures and crises of the psyche are shown to overlap and to result in divided subjects. The non-contemporaneity of Marxism begins to surface in the 1970s, and the rift in time affects the female subjects of Wolf and Reimann, which increasingly fragment Konigsdorf's and Schubert's short prose of the late 1970s reveals a rejection of the unified Marxist subject and the move toward a notion of the self informed by Freudian psychoanalysis. In the 1980s, the effects of the socio-political environment prove fatal to the individual subject in the works by both generations, and parallels are drawn to the National Socialist past. These links instigate a fundamental reevaluation of standards in language, power and cycles of history at the crossroads of life and death. The post-Wende period witnesses a shift away from problems of subjectivity in the texts of Konigsdorf and Schubert, while Wolf initially experiments with the postmodern, and most recently, surprisingly re-consolidates the female subject.
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Aston, Richard Michael. „The role of the fool and the carnivalesque in post-1945 German prose fiction on the Third Reich“. Thesis, University of Oxford, 2005. http://ora.ox.ac.uk/objects/uuid:10b3780b-66bd-4467-849f-8648ec969c55.
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This thesis examines post-1945 German prose fiction dealing with the Third Reich in the light of Mikhail Bakhtin's Rabelais and his World. My review of the secondary literature in Chapter 1 shows how few Germanists have examined the role of the carnivalesque in such fiction or used Bakhtin's work systematically. Having set out the shortcomings of Bakhtin's theory and shown Carnival's ambivalent position in the Third Reich, Chapter 2 builds on this theoretical and historical foundation by giving an overview of the different ways in which authors deploy the Fool and the carnivalesque in post-1945 prose fiction. This overview provides a context for the rest of the thesis, in which I discuss in detail how four authors use the topoi of the Fool and the carnivalesque in different ways to confront the past and encourage social change. Thus, Chapter 3 analyses Hans Hellmut Kirst's 08/15 trilogy (1954-55) which describes Asch's carnivalesque subversion of the NCOs who abuse power within the Army, and his subsequent development into a positive figure of authority. Chapter 4 argues that, beneath its bleak surface, Günter Grass's Hundejahre (1963) deploys the carnivalesque to transmit a sense of mourning and rebirth after the Holocaust. Chapter 5 deals with Edgar Hilsenrath's Der Nazi and der Friseur (1977), whose Fool-protagonist provokes the reader to laugh at earlier attempts to make sense of the Holocaust in order to prioritize the act of anamnesis as an end in itself. Chapter 6 examines Gert Hermann's Veilchenfeld (1987) and Der Kinoerzähler (1990). Veilchenfeld is a carnivalesque signifier of Nature whose persecution at the hands of the people of Limbach parallels the town's ecological destruction, so that the novel can be read as a critique of the exploitation of Nature. In Der Kinoerzähler Hofmann uses Karl, a Fool-figure who narrates silent films, to encourage the development of critical faculties which combat the fatalism and authoritarianism that hamper social change. It becomes clear that the authors of the above works have anticipated the shortcomings of Carnival as a model of resistance and have thus redefined the Fool and the carnivalesque. So in my view, although the way the authors deploy these topoi maps only partially with Bakhtin's ideas about Carnival, these authors have understood the central concepts of the carnivalesque's ambivalence and its powers to subvert authority and use them productively to deal with the issues raised by the Third Reich.
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Plouffe, Bruce. „The post-war novella in German language literature : an analysis“. Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=74297.
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This study examines the interpretive possibilities in the shorter fiction of Post-War German literature. The corpus includes works by Rolf Hochhuth, Friedrich Durrenmatt and Martin Walser. The historical framework of the theory of the novella and short story provides a basis for a discussion of genre, extended to include the coordinates of metaphor and metonymy. With the exception of one text designated as a novel, these works demonstrate interlocking and restricted motif complexes, repetitive and parallel structure and the integration of most narrative components. They project a tenor of hermetic plurality from a vehicle of abbreviated and truncated referential discourse. They use myth and intertextuality to show general principles to be extrapolated from specific contexts. Metafiction complements the theme of the subject not at one with itself. A partial resolution to the incertitude of existence, rendered according to Freud and Lacan, is offered through the emerging role of women as a stabilizing factor.
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Aulls, Katharina. „Mutter-Tochter Beziehungen in deutschsprachigen Romanen im Jahrzehnt nach dem "Jahr der Frau"“. Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=74348.
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This dissertation examines mother-daughter relationships in six novels written by German speaking women authors in the decade after the "Year of the Woman." Three novels depict positive mother-daughter relations: Ausflug mit der Mutter (1976), by Gabriele Wohmann, Gestern war Heute (1979), by Ingeborg Drewitz, Die dreizehnte Fee (1983), by Katja Behrens. Three others portray a negative mother-daughter relationship: Die Eisheiligen (1979), by Helga Novak, Die Zuchtigung (1985), by Waltraud Anna Mitgutsch, and Die Klavierspielerin (1983), by Elfriede Jelinek. Common to all novels is a strong autobiographical tendency and the central importance of the mother in the development of the daughter's self-identity.The complexity and problems of mother-daughter relationships are analyzed as an outcome of female socialization within a patriarchal society. Chapter I deals with historical, economic and psychological oppression of women. The resulting internalization of the role of inferiority and dependency leads to the subsequent repression of their own daughters. Chapter II discusses new contributions in the fields of psychology and sociology to the understanding of female identity formation through relationships. Chapter III provides a two-pronged analysis of each novel by describing the individual mother-daughter relationship in comparison with the outcomes of Chapters I and II, and by addressing the narrator's process of putting the experience into a unique literary form and thus contributing to women's literature.
Themes that are unique in each novel are: the emotional stress of the adult daughter trying to redefine her relationship with her widowed mother (Ausflug mit der Mutter), the dichotomy of woman in her nurturing role as mother and in her quest for self-realization (Gestern war Heute), the difficulty of breaking the repetitive cycle of the female role of dependency (Die dreizehnte Fee). All of the following novels assess the damaged self-identity of the daughter caused by a destructive mother. While the daughters survive due to fierce resistance (Die Eisheiligen) or escape into the world of art (Die Zuchtigung) there is no hope for the daughter in Die Klavierspielerin due to her identification with the oppressor.
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Weber, Undine S. „Wolfgang Koeppens auseinandersetzung mit der tradition: aspekte der intertextualität in der so genannten nachkriegs‐trilogie“. Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1020833.
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Wolfgang Koeppen’s three post‐war novels have often been called a trilogy, purely based on their publication in rapid succession in the early 1950s. This study establishes a connection between the works by looking at their roots in Irish, Anglo‐American, French and German modernism, and shows up links between Wolfgang Koeppen, James Joyce, E.E. Cummings, Charles Baudelaire and Thomas Mann. This comparative analysis concludes, by integrating socio‐political factors of life in West Germany after World War II, that Koeppen transcends the modernist tradition – the fact that modernism has become tradition, i.e. it has become “classic”, in contradiction to being “modern”. Koeppen’s texts do not only allude to and build on classic texts and refer to stylistic and narrative modernist elements such as stream‐of‐consciousness and sketching a fragmented society in turmoil; the very act of recurring to myths and texts of the Western canon in order to depict the disaffected individual is an almost post‐modern one.
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Tonkin, Kati. „Marching into history : from the early novels of Joseph Roth to Radetzkymarsch and Die Kapuzinergruft“. University of Western Australia. European Languages and Studies Discipline Group, 2005. http://theses.library.uwa.edu.au/adt-WU2005.0085.
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This thesis takes as its starting point the consensus among scholars and interpreters of Joseph Roth’s work that his writing can be divided into two periods: an early “socialist” phase and a later “monarchist” phase. In opposition to this view, a reading of Roth’s novels is put forward in which his desire to make sense of post-Habsburg Central Europe provides the underlying logic, thus reconciling his early novels with Radetzkymarsch and Die Kapuzinergruft. The first chapter addresses the common contention that the transformation in Roth’s work is the result of a deep identity crisis. An alternative reading of the relevance of Roth’s identity to his work is offered: namely, that Roth’s conviction that identity is multivalent explains his rejection of both nationalism and other “solutions” to the problems of post-war Europe, a sentiment that finds expression in his early novels. The interpretation of these novels, which represent Roth’s early attempts to give literary form to contemporary reality, is the focus of the second chapter of the thesis. In the third chapter Radetzkymarsch is analyzed as a historical novel in the terms first proposed by Georg Lukács, as a novel which facilitates the understanding of the present through the portrayal of the past. Paradoxically, it is the historical form that most effectively captures and illuminates the complex reality of Roth’s contemporary times. The fourth and final chapter demonstrates that Die Kapuzinergruft is not simply an inferior sequel to Radetzkymarsch, a nostalgic evocation of an idealized lost Habsburg world and condemnation of the 1930s present, but rather continues the dialogue between past and present begun in Radetzkymarsch. In this novel, written before and in the immediate aftermath of the Anschluß of Austria to Nazi Germany, it is not Roth but his narrator who takes flight from reality, behaviour that Roth condemns as leading to the repetition of mistakes from the past and the failure to prevent the ultimate political catastrophe.
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Chan, Wing-chun Julia, und 陳永晉. „Towards an aesthetics of cliché: cultural recycling and contemporary fiction“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2009. http://hub.hku.hk/bib/B42182311.
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阮慧娟 und Wai-kuen Jeannie Yuen. „Crisis and negotiation: a study of modern chinese fiction in the eighties“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31212050.
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胡從經 und Cong-jing Hu. „A criticism of the studies of Chinese fiction during the period 1900 to 1950“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31234173.
Der volle Inhalt der QuelleBücher zum Thema "German fiction 20th century History and criticism"
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History revisited: Fact and fiction in Thorkild Hansen's documentary works. Columbia, SC: Camden House, 1997.
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Cheesman, Tom. Novels of Turkish German settlement: Cosmopolite fictions. Rochester, N.Y: Camden House, 2007.
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3
Emerging German-language novelists of the twenty-first century. Rochester, N.Y: Camden House, 2011.
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4
Brauneck, Manfred. Der deutsche Roman nach 1945. Bamberg: C.C. Buchner, 1993.
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5
Knowles, Sebastian D. G. (Sebastian David Guy), Hrsg. The German Joyce. Gainesville: University Press of Florida, 2012.
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6
Kauffeldt, Rolf. Erzähler des 20. Jahrhunderts: Eine literarhistorische und thematische Sammlung deutschsprachiger Erzählungen. Düsseldorf: Cornelsen, 1987.
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7
Taking sides: Stefan Heym's historical fiction. Oxford: P. Lang, 2001.
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8
Die Rezeption des italienischen Futurismus im Spiegel der deutschen expressionistischen Prosa. München: Meidenbauer, 2009.
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9
Germany as model and monster: Allusions in English fiction, 1830s-1930s. Montreal: McGill-Queen's University Press, 2002.
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10
Anselm, Hollo, Hrsg. More beer: A Kayankaya mystery. Harpenden, Herts: No Exit Press, 1996.
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