Journal articles: 'Effi Briest'

1

Paulsen, Wolfgang, Theodor Fontane, Hugh Borrison, and Helen Chambers. "Effi Briest." German Quarterly 70, no. 3 (1997): 306. http://dx.doi.org/10.2307/408224.

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Howe, Patricia, and Stanley Radcliffe. "Fontane: 'Effi Briest'." Modern Language Review 84, no. 1 (January 1989): 246. http://dx.doi.org/10.2307/3732058.

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3

Riechel, D. C., and Christian Grawe. "Theodor Fontane: "Effi Briest"." German Quarterly 60, no. 2 (1987): 291. http://dx.doi.org/10.2307/407270.

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Klieneberger, H. R., and Christian Grawe. "Theodor Fontane: 'Effi Briest'." Modern Language Review 82, no. 4 (October 1987): 1030. http://dx.doi.org/10.2307/3729153.

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5

Pacholski, Jan. "Cécile – starsza siostra Effi Briest." Acta Universitatis Lodziensis. Folia Litteraria Polonica 49, no. 3 (April 9, 2019): 219–38. http://dx.doi.org/10.18778/1505-9057.49.12.

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Kling, Thomas, and Andrew Duncan. "Effi Briest; German-Language Polaroid." Chicago Review 48, no. 2/3 (2002): 165. http://dx.doi.org/10.2307/25304908.

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SUBIOTTO, FRANCES M. "THE GHOST IN EFFI BRIEST." Forum for Modern Language Studies XXI, no. 2 (1985): 137–50. http://dx.doi.org/10.1093/fmls/xxi.2.137.

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Kapoor, Sahib. "Exploring the Canon: Fontane’s Effi Briest." International Journal of English Literature and Social Sciences 6, no. 6 (2021): 110–13. http://dx.doi.org/10.22161/ijels.66.17.

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9

Radcliffe, Stanley. "EFFI BRIEST AND THE CRAMPAS LETTERS." German Life and Letters 39, no. 2 (January 1986): 148–60. http://dx.doi.org/10.1111/j.1468-0483.1986.tb00302.x.

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10

Wilkes, Johannes. "Effi Briest — die Dynamik einer Scheidung." System Familie 11, no. 4 (April 1998): 179–83. http://dx.doi.org/10.1007/s004910050038.

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11

Tyson, Peter K. "Distancing Techniques in Fassbinder’s Effi Briest." Neophilologus 94, no. 3 (November 25, 2009): 499–508. http://dx.doi.org/10.1007/s11061-009-9187-3.

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12

Vives Martínez, Mireia. "“[U]nd Effi, Gott, unsere arme Effi ist ein Naturkind”: Effi Briest (1894) y el ideal de feminidad del Romanticismo Temprano a partir del ejemplo de Lucinde (1799)." Revista de Filología Alemana 30 (November 15, 2022): 45–63. http://dx.doi.org/10.5209/rfal.78745.

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Este artículo propone un acercamiento a la protagonista de Effi Briest a partir del modelo de feminidad planteado en el Romanticismo Temprano. La caracterización de la heroína de Fontane al comienzo de la novela como Naturkind permite ponerla en relación con personajes románticos como Lucinde, figura que da nombre a la novela experimental de Friedrich Schlegel publicada en 1799. A fin de realizar esta lectura, se explora en primer lugar la visión de Schlegel sobre los sexos, el ideal de humanidad y el ideal de mujer en sus escritos teóricos, para posteriormente atender a la caracterización de su protagonista y las similitudes que Effi Briest guarda con esta. Los aspectos estudiados evidencian que Effi presenta semejanzas con el modelo de mujer romántico, planteado por Schlegel un siglo antes y que rompe con los moldes de su sociedad.

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13

曾, 江垚. "作者对读者的情感牵引——以小说主人公 Effi Briest 为例." 文化艺术创新 3, no. 3 (July 14, 2020): 66. http://dx.doi.org/10.26549/whyscx.v3i3.4334.

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正如作者 Theodor Fontane 本身提到的，在其小说《Effi Briest》中，对读者的有意识的情感牵引是一个尤其重要的主题。因此，本论文以小说主角 Effi Briest 为例，来探讨作者对读者的情感牵引。诚然，人们在阅读的过程中，对主角 Effi 会产生强烈的同情与共情，甚至期望她能有一个幸福的人生，尽管 Effi 本身是一个在婚姻中不忠的女人，这在当时来说是违背了社会准则和道德观念的。相反，Effi 的丈夫 Innstetten，一个具有那个时代所有优秀品质的政客，却很少被读者喜爱，他甚至被许多读者认为是应该对整个悲剧故事负责的人。本论文的中心问题即：对 Effi 的好感牵引是如何实现的？读者能够明显感受到，Effi 在这段不幸的婚姻中一直被巨大的孤独和无助感围绕，因此人们对她产生了强烈的同情，并且认为她是社会环境的被动受伤害者。她的脆弱和无辜不仅仅通过她的周围环境，也通过她自己的行为举止表现出来。论文以主角 Effi Briest 为例，探讨重要的对读者进行情感牵引的规则，并且分析 Fontane 在本小说中有意识的对读者的情感牵引是如何实现的。

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14

曾, 江垚. "作者对读者的情感牵引——以小说主人公Effi Briest为例." 教学方法创新与实践 3, no. 12 (November 6, 2020): 187. http://dx.doi.org/10.26549/jxffcxysj.v3i12.5506.

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正如作者 Theodor Fontane 本身提到的，在其小说《Effi Briest》中，对读者的有意识的情感牵引是一个尤其重要的主题。因此，本论文以小说主角 Effi Briest 为例，来探讨作者对读者的情感牵引。诚然，人们在阅读的过程中，对主角 Effi 会产生强烈的同情与共情，甚至期望她能有一个幸福的人生，尽管 Effi 本身是一个在婚姻中不忠的女人，这在当时来说是违背了社会准则和道德观念的。相反，Effi 的丈夫 Innstetten，一个具有那个时代所有优秀品质的政客，却很少被读者喜爱，他甚至被许多读者认为是应该对整个悲剧故事负责的人。本论文的中心问题即：对 Effi 的好感牵引是如何实现的？读者能明显感受到，Effi 在这段不幸的婚姻中一直被巨大的孤独和无助感围绕，因此人们对她产生了强烈的同情，并且认为她是社会环境的被动受伤害者。她的脆弱和无辜不仅仅通过她的周围环境，也通过她自己的行为举止表现出来。论文以主角 Effi Briest 为例，探讨重要的对读者进行情感牵引的规则，并且分析 Fontane 在本小说中有意识的对读者的情感牵引是如何实现的。

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15

Aslan Almond, Adile. "Reading Rainer Fassbinder’s adaptation Fontane Effi Briest." Cultura 13, no. 2 (January 1, 2016): 83–102. http://dx.doi.org/10.3726/b10729_83.

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16

KUHN, ANNA K. "Modes of Alienation in Fassbinder's Effi Briest." Seminar: A Journal of Germanic Studies 21, no. 4 (November 1985): 272–85. http://dx.doi.org/10.3138/sem.v21.4.272.

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17

Renard, Fredrik Wilhelm. "Effi Briest and the work on genre." Orbis Litterarum 75, no. 4 (May 22, 2020): 173–83. http://dx.doi.org/10.1111/oli.12260.

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18

Bonomo, Daniel. "O 'médio' e o monstro: Hibridismo mínimo em 'Effi Briest', de Theodor Fontane." Gragoatá 23, no. 47 (December 29, 2018): 971. http://dx.doi.org/10.22409/gragoata.2018n47a1145.

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Mediante uma leitura de Effi Briest, de Theodor Fontane, o ensaio discute a possibilidade do hibridismo romanesco num estado de evidência mínima. Pressupondo que a afirmação do romance no século XVIII e suas crises no XX expuseram um número considerável de formas narrativas heterogêneas, lê-se por oposição o modelo realista histórico, entre esses dois momentos, como uma espécie de assentamento normativo que admite, entretanto, o sentido de uma antinorma para um gênero ele próprio não normativo. Assim, argumenta-se que Effi Briest, no desenvolvimento pleno da literatura realista, expõe, tanto no plano formal como no conteudístico, um controle exemplar do irrompimento monstruoso associado ao hibridismo e à heterogeneidade, para adquirir uma dimensão crítica nesse território do médio que, em parte, circunscreve o romance oitocentista em tempos de epopeia burguesa.

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19

Bonomo, Daniel. "O 'médio' e o monstro: Hibridismo mínimo em 'Effi Briest', de Theodor Fontane." Gragoatá 23, no. 47 (December 29, 2018): 971–93. http://dx.doi.org/10.22409/gragoata.v23i47.33612.

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Mediante uma leitura de Effi Briest, de Theodor Fontane, o ensaio discute a possibilidade do hibridismo romanesco num estado de evidência mínima. Pressupondo que a afirmação do romance no século XVIII e suas crises no XX expuseram um número considerável de formas narrativas heterogêneas, lê-se por oposição o modelo realista histórico, entre esses dois momentos, como uma espécie de assentamento normativo que admite, entretanto, o sentido de uma antinorma para um gênero ele próprio não normativo. Assim, argumenta-se que Effi Briest, no desenvolvimento pleno da literatura realista, expõe, tanto no plano formal como no conteudístico, um controle exemplar do irrompimento monstruoso associado ao hibridismo e à heterogeneidade, para adquirir uma dimensão crítica nesse território do médio que, em parte, circunscreve o romance oitocentista em tempos de epopeia burguesa. ---DOI: http://dx.doi.org/10.22409/gragoata.2018n47a1145

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20

Chardin, Philippe. "Effi Briest ou l'adultère sans ses « légions lyriques »." Revue de littérature comparée 332, no. 4 (2009): 425. http://dx.doi.org/10.3917/rlc.332.0425.

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21

Baron, Marcia. "Was Effi Briest a Victim of Kantian Morality?" Philosophy and Literature 12, no. 1 (1988): 95–113. http://dx.doi.org/10.1353/phl.1988.0033.

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22

Greenberg, Valerie D. "The Resistance of Effi Briest: An (Un)told Tale." PMLA 103, no. 5 (October 1988): 770. http://dx.doi.org/10.2307/462516.

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23

Brunner, Maria E. "Effi Briest von Theodor Fontane als Schule des Sehens." Zeitschrift für Literaturwissenschaft und Linguistik 29, no. 3 (September 1999): 143–53. http://dx.doi.org/10.1007/bf03379192.

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24

Zimmermann, Gisela. "The Civil Servant as Educator: "Effi Briest" and "Anna Karenina"." Modern Language Review 90, no. 4 (October 1995): 817. http://dx.doi.org/10.2307/3733059.

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25

Pfeiffer, Peter C. "Fontanes Effi Briest: Zur Gestaltung epistemologischer Probleme des Burgerlichen Realismus." German Quarterly 63, no. 1 (1990): 75. http://dx.doi.org/10.2307/406612.

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26

Chambers, Helen. "Mythologische Subtexte in Theodor Fontanes ‘Effi Briest’ by Holger Ehrhardt." Modern Language Review 105, no. 1 (2010): 277–78. http://dx.doi.org/10.1353/mlr.2010.0238.

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27

Plater, Edward M. V. "Sets, Props and the 'Havanaise' in Fassbinder's Fontane Effi Briest." German Life and Letters 52, no. 1 (January 1999): 28–42. http://dx.doi.org/10.1111/1468-0483.00117.

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28

López Ruiz, Patricia Teresa. ""La Regenta" y "Effi Briest", un espejo de voluntades ajenas." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada, no. 34 (July 17, 2020): 416–34. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.2020344253.

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El propósito con que se concibe este trabajo es con la intención de contrastar una novela española y otra europea, contemporáneas entre sí, y cuyo tema central fue el adulterio. Ambos novelistas presentaron a sus protagonistas con un carácter muy similar, así como unas ciudades aburridas y asfixiantes que circundaban su existencia. Por medio de diferentes estructuras, personajes, descripciones, símbolos y recursos narrativos irán a dar a dos finales, en que, aunque Effi muera y la Regenta no, subyace una misma idea: la influencia del medio sobre el carácter y la salud de sus habitantes, el desaliento y la caída de dos seres por la opresión que ejercieron las envidias y voluntades ajenas.

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29

Hajduk, Stefan. ""Effi Briest" in Poona. Zur Relektüre eines Klassikers aus ‘indischem’ Blickwinkel." Zeitschrift für Germanistik 16, no. 3 (January 1, 2006): 513–24. http://dx.doi.org/10.3726/92114_513.

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30

Howe, Patricia. "Speaking Names and Empty Domains. Effi Briest and the ‘Awful Being’." Sprachkunst. Beiträge zur Literaturwissenschaft 1 (2019): 31–46. http://dx.doi.org/10.1553/spk49_2s31.

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31

Holbeche, Brian. "INNSTETTEN'S ‘GESCHICHTE MIT ENTSAGUNG’ AND ITS SIGNIFICANCE IN FONTANE'S EFFI BRIEST." German Life and Letters 41, no. 1 (October 1987): 21–32. http://dx.doi.org/10.1111/j.1468-0483.1987.tb00916.x.

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32

Tucker, Brian. "Performing Boredom in Effi Briest: On the Effects of Narrative Speed." German Quarterly 80, no. 2 (May 19, 2008): 185–200. http://dx.doi.org/10.1111/j.1756-1183.2007.tb00070.x.

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33

MÜlder-Bach, Inka. "»›Verjährung ist […] etwas Prosaisches‹« Effi Briest und das Gespenst der Geschichte." Deutsche Vierteljahrsschrift für Literaturwissenschaft und Geistesgeschichte 83, no. 4 (December 2009): 619–42. http://dx.doi.org/10.1007/bf03375685.

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34

Rossell, Anna. "La construcción del vacío femenino en "Effi Briest" y "La Regenta"." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada, no. 7-8 (June 27, 2021): 363–68. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.19977-85638.

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Sin que medien influencias literarias dc uno sobre otro, Leopoldo Alas y Theodor Fontane conciben de modo singularmente parecido el drama de la vida de las protagonistas femeninas que eligen como prototipo de la mujer de la sociedad nobiliaria de su tiempo en sus novelas Effi Briest (1894) y La Regenta (1884-85) respectivamente. Tanto uno como otro coinciden en presentar a sus heroínas como seres frustrados en su desarrollo moral que han interiorizado desde la niñez una convención social que las llevará a la tumba. Ambos autores muestran en sendas novelas la elaborada construcción social de lo que yo llamo "vacío femenino" en el sentido de que sus protagonistas serán llevadas a la incapacidad de desarrollarse como sujetos, por lo que serán el brazo ejecutor de sí mismas desde el momento en que empiezan a inleriorizar la convención. Ambas morirán asumiendo "su" culpa. Su historia puede volver a repetirse como si de una fatalidad se tratara. Los autores hacen en su narración un recorrido por los síntomas de la "enfermedad" a la que son abocadas las protagonistas: interiorización de la convención -múltiples crisis- resultado de muerle en la convicción de la propia culpa.

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35

Елисеева, Александра Владимировна. "THE PHENOMENON OF DISRUPTED COMMUNICATION IN THE NOVEL “EFFI BRIEST” BY THEODOR FONTANE AND IN THE FILM ADAPTATION BY RAINER WERNER FASSBINDER: SPEECH AND GESTURE." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 6, no. 3 (September 1, 2021): 49–72. http://dx.doi.org/10.18522/2415-8852-2021-3-49-72.

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The subject of this article’s comparative intermedial analysis is the phenomenon of disrupted communication in the novel by the German writer Theodor Fontane “Effi Briest” (1895) and in the film adaptation of this work by Rainer Werner Fassbinder “Fontane Effi Briest” (1974). The article consists of five parts: 1) introduction; 2) analysis of dialogues in Fontane’s novel; 3) description of the means of creating the effect of disrupted communication in Fassbinder’s film; 4) comparative analysis of some fragments of two works by the method of close reading; 5) conclusions. Methodologically, the research is based on the achievements of the theory of communication, carpalistics, comparative and intermedial approaches to the study of film adaptations. The main point of the article is that the effect of disrupted communication, which is observed in numerous dialogues of Fontane’s novel, is also created by visual means in Fassbinder’s film, among which a significant place is occupied by a gesture. The gesture of turning away deserves special attention: the characters of the film turn away from each other, turn their backs to the interlocutor and the viewer, turn to their reflection. The unconventionality and intensity of such gestures accentuate the problematic nature of communication between the characters. This structure, peripheral in Fontane’s work, becomes central in the film of Fassbinder, grasping the viewers’ attention. In this regard, the article adds to a traditional discussion about the hierarchical relationship between a literary text and its film adaptation.

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36

Gruber, Eberhard. "Une reprise impossible? Effi Briest et la question de ses réécritures filmiques." Cinémas 4, no. 1 (December 16, 2010): 59–71. http://dx.doi.org/10.7202/1000111ar.

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Les quatre réécritures filmiques du roman de Fontane, Effi Briest, se trouvent confrontées aux éléments fondateurs des significations fontaniennes que sont : métaphore, temps, reprise. Chaque film les « traite » à sa manière. Ceux de Luderer (1970) et de Jugert (1955) éludent vite la question. Celui de Gründgens (1938) offre l’intérêt de se construire sur une théâtralité que le cinéma s’emploie à exhausser. Seul, le film de Fassbinder (1972) fait porter facture et interrogation filmiques sur la métaphore et le jeu face au réel. Assumant le statut littéraire du récit, le cinéma met dès lors en oeuvre un ensemble de processus spécifiques : fondu au blanc, reprise iconique, jeu de miroirs « glaçant » les personnages, effet de dissociation obtenu par la lecture off du texte ou par son inscription à l’écran. Le film, par suite, toujours déjà réécriture, entre oeuvre et reprise, élabore une polysémie architecturale que fonde tout un art de « rythmer les passages ».

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37

Breyer, Till. "Lichtbilder der Ideologie: Von Marx zu Fontane." Internationales Archiv für Sozialgeschichte der deutschen Literatur 47, no. 1 (June 1, 2022): 131–55. http://dx.doi.org/10.1515/iasl-2022-0008.

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Abstract The article investigates the role metaphors of optical media and projection have played within the conceptual and literary history of ideology. Starting with the figure of the camera obscura in Marx, Fontane, and other contemporaries, it is shown that the ambiguous concept of Lichtbild (slide, photography) gains significance in social thought and literature as a metaphor for false perception. Subsequently, the analysis of Theodor Fontane’s novel Effi Briest (1895) shows how optical media are turned into figures of narration that generate a critical perspective on bourgeois ideology and its affect structure.

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38

Göring, H. D. "Auf den Spuren Theodor Fontanes in Sachsen-Anhalt." Aktuelle Dermatologie 46, no. 11 (September 4, 2020): 494–501. http://dx.doi.org/10.1055/a-1196-2722.

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ZusammenfassungTheodor Fontane hat die Region des heutigen Bundeslandes Sachsen-Anhalt in den Jahren 1840, 1848, 1868 und zwischen 1877 und 1884 mehrmals besucht. Zunächst war er kurzzeitig in einer Apotheke in Burg bei Magdeburg als Apothekergehilfe tätig, spätere Aufenthalte, v. a. im Harz, dienten der Erholung und schriftstellerischer Arbeit. Fontane wurde durch seine Aufenthalte in der Region zu einigen seiner Romane inspiriert. Historische Personen und Orte in Sachsen-Anhalt wurden zu Schauplätzen und realen Vorbildern für die Protagonisten seiner Romane „Vor dem Sturm“, „Cecile“, „Ellerklipp“, „Grete Minde“ und „Effi Briest“.

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39

Haberkamm, Klaus. ""Links und rechts umlauert": Zu einem symbolischen Schema in Fontanes "Effi Briest"." MLN 101, no. 3 (April 1986): 553. http://dx.doi.org/10.2307/2905607.

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40

BRUNNER, MARIA E. "Sehen und Erkennen in Effi Briest: Ist Wahrnehmung "ein zu weites Feld"?" Seminar: A Journal of Germanic Studies 36, no. 4 (November 2000): 418–35. http://dx.doi.org/10.3138/sem.v36.4.418.

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41

Neumann, Gerhard. "“Eigentlich war es doch ein Musterpaar”. Die trübe Passion der Effi Briest." Cahiers d’études germaniques 45, no. 2 (2003): 209–28. http://dx.doi.org/10.3406/cetge.2003.1930.

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42

Rodiek, Christoph. "Probleme der vergleichenden Rangbestimmung literarischer Werke (Effi Briest, La Regenta, O primo Basilio)." Neohelicon 15, no. 1 (March 1988): 275–300. http://dx.doi.org/10.1007/bf02089753.

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43

Schneider, Jeffrey. "Masculinity, Male Friendship, and the Paranoid Logic of Honor in Theodor Fontane's Effi Briest." German Quarterly 75, no. 3 (2002): 265. http://dx.doi.org/10.2307/3072709.

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44

Geppert, Hans Vilmar. "“A Cluster of Signs” Semiotic Micrologies in Nineteenth-Century Realism:Madame Bovary, Middlemarch, Effi Briest." Germanic Review: Literature, Culture, Theory 73, no. 3 (January 1998): 239–50. http://dx.doi.org/10.1080/00168899809597373.

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45

Wu, Xiaoqiao. "„Alles war gut berechnet“. Zum versteckten poetologischen Selbstkommentar in Theodor Fontanes Roman Effi Briest." Neophilologus 100, no. 1 (October 19, 2015): 105–19. http://dx.doi.org/10.1007/s11061-015-9459-z.

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46

Gentilin, Olivetta. "KI in der Schule: Digitale Lehrkonzepte und Anwendungsbeispiele für den Fremdsprachenunterricht." Information - Wissenschaft & Praxis 71, no. 1 (January 3, 2020): 5–16. http://dx.doi.org/10.1515/iwp-2019-2056.

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ZusammenfassungIn diesem Beitrag geht es um eine Methode zum Verständnis literarischer Texte mit Hilfe von maschinell erstellten Analysemodellen. Der Beitrag beschreibt die Methode und reflektiert darüber. Ausgehend von den Ausführungen Morettis wird zunächst die Frage nach alternativen Lesetechniken beantwortet. Mit dem Begriff Distant Reading beschreibt Franco Moretti eine neue Form des Textwissens, wobei das Abstandnehmen vom Text durch den Einsatz digitaler Mittel die Entdeckung von Formen und Modellen ermöglicht und somit zu konkreten Ergebnissen für den Interpreten führt. Im zweiten Teil werden konkrete Beispiele aus der Unterrichtspraxis gezeigt. Schülerinnen und Schüler analysieren das erste Kapitel des Romans Effi Briest und erarbeiten die Fragestellung mithilfe von Voyant Tools. Es handelt sich dabei nicht um digitale Werkzeuge, die rein mechanische Eingaben verlangen, sondern um Instrumente, die Text- und Spracherschließungen unterstützen und durch Häufigkeitsdiagramme Muster erkennen lassen.

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Debra N. Prager. "“Alles so orientalisch”: The Elaboration of Desire in Theodor Fontane's Effi Briest (1896)." Women in German Yearbook 29 (2013): 118. http://dx.doi.org/10.5250/womgeryearbook.29.2013.0118.

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Howe, Patricia. "William Dean Howells's "Indian Summer" and Theodor Fontane's "Effi Briest": Forms and Phases of the Realist Novel." Modern Language Review 102, no. 1 (2007): 125–38. http://dx.doi.org/10.1353/mlr.2007.0374.

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Kaiser, Nancy A., and Elsbeth Hamann. "Theodor Fontanes "Effi Briest" aus erzahltheoretischer Sicht unter besonderer Berucksichtigung der Interdependenzen zwischen Autor, Erzahlwerk und Leser." German Quarterly 60, no. 1 (1987): 133. http://dx.doi.org/10.2307/407182.

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Thesz, Nicole. "Marie Nathusius' Elisabeth and Fontane's Effi Briest: Mental Illness and Marital Discord in the “Century of Nerves”." German Quarterly 83, no. 1 (January 29, 2010): 19–37. http://dx.doi.org/10.1111/j.1756-1183.2010.00068.x.

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Journal articles on the topic 'Effi Briest'

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