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Dissertations / Theses on the topic 'Hermannsschlacht (Kleist, Heinrich von)'

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Published: 29 July 2024
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1

Lütteken, Anett. "Heinrich von Kleist - eine Dichterrenaissance /." Tübingen : M. Niemeyer, 2004. http://catalogue.bnf.fr/ark:/12148/cb389755331.

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2

Estarami, Ebrahim. "Selbsthelfer in Zeiten des Umbruchs : Goethes Götz von Berlichingen, Schillers Wilhelm Tell und Kleists Hermannsschlacht /." Berlin : Uni-Ed, 2005. http://deposit.ddb.de/cgi-bin/dokserv?id=2621637&prov=M&dokv̲ar=1&doke̲xt=htm.

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3

Sohoudé, Kuessi Marius. "Rechtsstaatlichkeit und Verantwortlichkeit bei Heinrich von Kleist." Frankfurt, M. Berlin Bern Bruxelles New York, NY Oxford Wien Lang, 2009. http://d-nb.info/999403702/04.

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4

Fjordevik, Anneli. "Heinrich von Kleists "Amphitryon, Lustspiel nach Molière" unter dem Aspekt der Intertextualität im Gesamtwerk /." Uppsala : Uppsala Universitet, 2004. http://catalogue.bnf.fr/ark:/12148/cb400511528.

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5

Scheifele, Sigrid. "Projektionen des Weiblichen : Lebensentwürfe in Kleists Penthesilea /." Würzburg : Königshausen & Neumann, 1992. http://catalogue.bnf.fr/ark:/12148/cb38966859k.

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6

Oberlin, Gerhard. "Modernität und Bewusstsein : die letzten Erzählungen Heinrich von Kleists /." Giessen : Psychosozial-Verl, 2007. http://d-nb.info/986530158/04.

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7

Weder, Katharine. "Kleists magnetische Poesie : Experimente des Mesmerismus /." Göttingen : Wallstein-Verl, 2008. http://deposit.d-nb.de/cgi-bin/dokserv?id=3032359&prov=M&dok_var=1&dok_ext=htm.

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8

Tournois, Jung Michèle. "La perversion dans l'écriture de Heinrich von Kleist." Montpellier 3, 1996. http://www.theses.fr/1996MON30045.

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L'objet de cette these etait de mettre en evidence les traits de perversion dans l'ecriture de heinrich von kleist. De la meme facon que la proximite de jacques lacan avec les ecrivains surrealistes lui a permis d'etayer sa theorie suivant laquelle l'inconscient est structure comme un langage, une etude de l'ecriture de kleist, a la lumiere des dernieres recherches psychanalytiques relatives a la perversion, etait de nature a fournir des exemples pratiques : nous avons pu etablir, dans la vie et dans l'ecriture de kleist, l'existence de nombreux traits cliniques relevant d'une structure perverse. Dans notre premiere partie, apres un bref exposes des appuis conceptuels freudiens en matiere de perversion et de leur prolongement chez lacan, nous avons examine les rapports du pervers a la loi pour voir comment l'ecriture peut etre un outil de comprehension de la realite de l'auteur. Ceci etant acquis, nous nous sommes attachee a un certain nombre de textes de kleist. Cette etude - autant au plan de l'intrigue (deuxieme partie) qu'a celui du style (troisieme partie) - a pris appui sur differentes methodes d'analyse des textes, car un phenomene aussi complexe que la creation litteraire exige necessairement plusieurs modes d'approche. Kleist s'est avere etre un virtuose pour se servir de la langue, la contrer, la retourner, la pervertir dans son style meme
In a similar way as lacan's proximity with surrealist writers helped him to support his theory according to which the unconscious is structured like a language, a study of kleist's writing, inspired by the latest psychoanalytic findings about perversion, provides practical examples : we have evidenced, in kleist's life and writing, the existence of numerous clinic features revealing a perverse structure. In a first part, after a short survey of freudian theories about perversion and their development by lacan, we have examined the relationship of the pervert with the law to show how writing can be used to understand the author's reality. This being achieved, we have focused on some kleist's texts this research about scenario (part 2) and style (part 3) is based on various methods of text analysis, since a phenomenon as complex as the literary creation requires necessarily several approaches. Kleist appears to be a genius in using language, in counter playing it, in turning it, and perverting it in its fundamental system
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9

Schmon, Simone. "Machtspruch und Gesetzesherrschaft : das Staatsverständnis in Heinrich von Kleists "Prinz Friedrich von Homburg" /." Köln [u.a.] : Böhlau, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=2958243&prov=M&dok_var=1&dok_ext=htm.

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10

Gribnitz, Barbara. "Schwarzes Mädchen, weißer Fremder : Studien zur Konstruktion von 'Rasse' und Geschlecht in Heinrich von Kleists Erzählung "Die Verlobung in St. Domingo" /." Würzburg : Königshausen & Neumann, 2002. http://www.gbv.de/dms/bs/toc/348870310.pdf.

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11

Peters, Sibylle. "Heinrich von Kleist und der Gebrauch der Zeit : von der Machart der Berliner Abendblätter /." Würzburg : Königshausen & Neumann, 2003. http://catalogue.bnf.fr/ark:/12148/cb40143681p.

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12

Deissner, David. "Moral und Motivation im Werk Heinrich von Kleists." Tübingen Niemeyer, 2007. http://d-nb.info/998906972/04.

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13

Fordham, Kim Ione. "Trials and tribunals in the works of Heinrich von Kleist." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ52821.pdf.

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14

Soboczynski, Adam. "Versuch über Kleist die Kunst des Geheimnisses um 1800." Berlin Matthes und Seitz, 2005. http://deposit.ddb.de/cgi-bin/dokserv?id=2747499&prov=M&dok_var=1&dok_ext=htm.

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15

Meyer-Fraatz, Andrea. "Slavische Moderne und Heinrich von Kleist : zur zeitbedingten Rezeption eines Unzeitgemässen Russland, Polen und Kroatien /." Wiesbaden : Harrassowitz, 2002. http://catalogue.bnf.fr/ark:/12148/cb390134537.

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16

Heimböckel, Dieter. "Emphatische Unaussprechlichkeit : Sprachkritik im Werk Heinrich von Kleists : ein Beitrag zur literarischen Sprachskepsistradition der Moderne /." Göttingen : Vandenhoeck & Ruprecht, 2003. http://catalogue.bnf.fr/ark:/12148/cb390281874.

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17

Hahn, Torsten. "Das schwarze Unternehmen : zur Funktion der Verschwörung bei Friedrich Schiller und Heinrich von Kleist /." Heidelberg : Winter, 2008. http://d-nb.info/989183661/04.

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18

WAJSBROT, DIT LESCOT DAVID. "Dramaturgies de la guerre, de heinrich von kleist a edward bond." Paris 3, 2000. http://www.theses.fr/2000PA030029.

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Georges bernanos (1888-1948, francais) et miguel de unamuno (1864-1936, espagnol), partageant le meme sentiment tragique de l'existence, ont confronte les illusions et les mensonges de leur siecle a la seule question du destin metaphysique de l'homme. La foi dans le dieu chretien leur est apparue comme la seule reponse a l'angoisse et a la tentation du desespoir. Deux grandes oeuvres (romans, pamphlets, articles de presse, essai philosophique, theatre, poesie) explorent tous les domaines de l'action humaine (philosophie, politique, individu, societe, religion) a la lumiere de cette exigence. Une distance essentielle differencie le croyant (bernanos), anime d'une foi surnaturelle, et <> (unamuno)/ qui doute de l'existence de dieu: cette distance distingue deux visions du monde et de deux << poetiques devant l'absolu >>, qui se rencontrent sans se rejoindre. Premiere partie : biographie intellectuelle (affrontement de la quete d'absolu aux realites historiques). Deuxieme partie: etude des univers romanesques (theatre du monde, rapport realite/fiction, thematique du reve, l'ecriture chretienne comme agonie, l'appel au lecteur). Troisieme partie : <> : ecriture polemique (pamphlet, satire, essai philosophique) ; dialectique des genres litteraires chez unamuno et bernanos (le poete et le croyant).
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19

Venezuela, Cássia Cristina Marques. "A personagem feminina como elemento de subversão em duas novelas de Kleist." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8144/tde-03112016-160822/.

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O presente trabalho, cujo enfoque central é a figura feminina nas novelas Die Marquise von O (1808) e Die heilige Cäcilie und die Gewahlt der Musik (1810) do escritor alemão Heinrich von Kleist, procura identificar de que maneira as personagens femininas configuram-se como elementos subversivos dentro das narrativas, principalmente no que se refere ao aspecto estrutural. Nossa principal hipótese de interpretação é a de que a personagem feminina, em ambas as novelas, configura um elemento de subversão em diferentes camadas da narrativa: elas configuram desde a subversão ao papel atribuído a mulher na época até a própria estrutura narrativa, uma vez que levam as novelas a suas respectivas peripécias.
This dissertation aims to analyse the feminine figures in the novellas Die Marquise von O (1808) and Heilige Cäcilie und die Gewalt der Musik (1810) from German author Heinrich von Kleist and seeks to identify in which ways the feminine characters represent subversive elements in the narratives, mainly to what concerns the structural aspect. Our main hypothesis of interpretation is that the feminine character, in both novellas, configures subversion in different narrative layers: they configure not only subversion to the role assigned to women at the time but also to the narrative structure itself, as they lead the novellas to their respective turning points.
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20

Friedrich, Steffen. "The death instincts in the life and works of Heinrich von Kleist." Thesis, University of Glasgow, 2019. http://theses.gla.ac.uk/39049/.

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The thesis is based on a psychological interpretation of the life and works of Heinrich von Kleist. The basis of the interpretation is the death instincts as formulated by Sigmund Freud in Jenseits des Lustprinzips (Beyond the Pleasure Principle) and is extended with the work of Melanie Klein, D.W. Winnicott and other authors who subscribe to the psychoanalytic school: use is made too, of C.G.Jung's analytical psychology. Part I discusses Freud's paper, which deals principally with the repetition compulsion, pathological aggression, sado-masochism and the biological basis of programmed cell death. The thesis then extends the concept of the death instincts to those psychological paradigms which inhibit authentic life such as psychosis, narcissism and unresolved oedipal issues. It examines the belief in the Romantic ethos of the corporeal afterlife which makes death both a fearless state which also provides the possibility of reuniting with one's love object. I argue that Kleist's confrontation with the subjectivity of Immanuel Kant's philosophy provides a fulcrum in Kleist's life which freed him from the idea of the perfectibility of his own life but also, for him destabilised language as an adequate means of achieving the symbiotic closeness he needed. Part II of the thesis discusses the congruence of Freud's theories with Kleist's stories, plays and letters. The sources of psychosis are examined which lead to cannabalism in Penthesilea and hate and repetition compulsion in Verlobung in St. Domingo: both result in death. This, too, is the fate of the eponymous hero of Michael Kohlhaas. He descends into pathological narcissism and his only recourse at the nadir of his life, to satisfy his sense of self and grandiosity, is to resurrect the revenant of his deceased wife to provide satisfactory supernatural assistance. By contrast, more positive themes are found in Prinz Friedrich von Homburg and Das Erdbeben in Chili. IN the former, a resolution of the oedipal issues leads to a satisfactory outcome for the Prinz and in the latter, the citizens of St Domingo are offered a Christ figure, the Divine Child, to counter endemic sadism. Kleist's last story, Der Findling, provides a nihilistic criticism of social and religious mores which reflect his own attitude to his times. The thesis concludes with a summary of its themes and a discussion of Kleist's meeting with Henriette Vogel, his partner in suicide into whom he projected his achievements and failures, which facilitated a longed for symbiotic closesness in hs passage to becoming todesreif (ripe for death).
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21

Silva, Carina Zanelato [UNESP]. "Sobre graça, dignidade e beleza em Friedrich Schiller e Heinrich von Kleist." Universidade Estadual Paulista (UNESP), 2015. http://hdl.handle.net/11449/126531.

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O presente estudo tem como objetivo discutir as teorias de Friedrich Schiller (1759-1805) e Heinrich von Kleist (1777-1811) sobre a graça, a dignidade, o belo e o sublime, comparando-as, a fim de mostrar as divergências e as confluências dessas concepções estéticas, que foram desenvolvidas nos períodos clássico (com Schiller) e romântico (com Kleist). Tendo como referencial principal para a análise dessas categorias os ensaios Sobre graça e dignidade (Über Anmut und Würde), de Schiller, e Sobre o teatro de marionetes (Über das Marionettentheater), de Kleist, procuramos mostrar na dissertação como as teorias estéticas dos dois autores refletem as tensões existentes entre Classicismo e Romantismo na Alemanha, e como essas tensões estabelecem diferenças entre a ideia de forma em Schiller e Kleist, tendo em vista que a harmonia clássica e a desarticulação dessa harmonia são temas frequentes. Schiller preza pela manutenção da harmonia e busca na arte o caminho para que o homem alcance o equilíbrio; Kleist, pela via da desconstrução do modelo clássico, joga com a forma, de maneira a desarticulá-la, transformando-a em palco para o advento do ritual dionisíaco; não mais a serenidade e harmonia de Apolo que imperam, mas sim o frenesi de Dionísio, que domina e se expande de maneira extraordinária. Dessa maneira, as categorias do belo, da graça e do sublime ganham em Schiller e Kleist dimensões díspares e afins, abrindo espaço para a comparação de suas obras. Aproveitando-nos dos apontamentos feitos por Friedrich Schiller sobre a tragédia como instância que proporciona ao homem o entretenimento e a liberdade através de meios morais, utilizamos as peças Die Jungfrau von Orleans (Friedrich Schiller, 1801) e Penthesilea (Heinrich von Kleist, 1808) como via de exemplificação prática de como estes autores usaram as concepções estéticas apontadas acima para a construção da ação de suas heroínas...
This study has the objective to discuss the theories of Friedrich Schiller (1759-1805) and Heinrich von Kleist (1777-1811) about grace, dignity, beauty and sublime, comparing them in order to show the differences and the confluences of these aesthetic concepts that were developed in the classical period (with Schiller) and romantic (with Kleist).Using as a basis for the analysis of these categories the essays On Grace and Dignity (Über Anmut und Würde), by Schiller and On the Marionette Theatre (Über das Marionettentheater), by Kleist, we are showing as the aesthetic theories of the two authors reflect the tensions between Classicism and Romanticism in Germany, and how these tensions establish differences between the idea of form in Schiller and Kleist, considering that classical harmony and the dismantling of this harmony are common themes. Schiller values the maintenance of harmony and search in the art a way for men to achieve balance; Kleist, through the deconstruction of the classical model, play with form, dismantling it, turning it into a stage for the advent of the Dionysian ritual; no more serenity and harmony of Apollo that reign, but the frenzy of Dionysus, which dominates and expands in an extraordinary way. Therefore, the categories of beauty, grace and sublime acquire in Schiller and Kleist different and similar dimensions, making possible the comparison of their works. Utilizing the notes made by Friedrich Schiller about the tragedy as an instance that provides entertainment to man and freedom through moral means, we are using the plays Die Jungfrau von Orleans (Friedrich Schiller, 1801) and Penthesilea (Heinrich von Kleist, 1808) as a form of practical exemplification of how these authors used the aesthetic conceptions mentioned above for the construction of the action of his heroines, characterizing them to attend these aesthetic assumptions
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22

Silva, Carina Zanelato. "Sobre graça, dignidade e beleza em Friedrich Schiller e Heinrich von Kleist /." Araraquara, 2015. http://hdl.handle.net/11449/126531.

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Orientador: Karin Volobuef
Banca: Fabiano Rodrigo da Silva Santos
Banca: Márcio Scheel
Resumo: O presente estudo tem como objetivo discutir as teorias de Friedrich Schiller (1759-1805) e Heinrich von Kleist (1777-1811) sobre a graça, a dignidade, o belo e o sublime, comparando-as, a fim de mostrar as divergências e as confluências dessas concepções estéticas, que foram desenvolvidas nos períodos clássico (com Schiller) e romântico (com Kleist). Tendo como referencial principal para a análise dessas categorias os ensaios Sobre graça e dignidade (Über Anmut und Würde), de Schiller, e Sobre o teatro de marionetes (Über das Marionettentheater), de Kleist, procuramos mostrar na dissertação como as teorias estéticas dos dois autores refletem as tensões existentes entre Classicismo e Romantismo na Alemanha, e como essas tensões estabelecem diferenças entre a ideia de forma em Schiller e Kleist, tendo em vista que a harmonia clássica e a desarticulação dessa harmonia são temas frequentes. Schiller preza pela manutenção da harmonia e busca na arte o caminho para que o homem alcance o equilíbrio; Kleist, pela via da desconstrução do modelo clássico, joga com a forma, de maneira a desarticulá-la, transformando-a em palco para o advento do ritual dionisíaco; não mais a serenidade e harmonia de Apolo que imperam, mas sim o frenesi de Dionísio, que domina e se expande de maneira extraordinária. Dessa maneira, as categorias do belo, da graça e do sublime ganham em Schiller e Kleist dimensões díspares e afins, abrindo espaço para a comparação de suas obras. Aproveitando-nos dos apontamentos feitos por Friedrich Schiller sobre a tragédia como instância que proporciona ao homem o entretenimento e a liberdade através de meios morais, utilizamos as peças Die Jungfrau von Orleans (Friedrich Schiller, 1801) e Penthesilea (Heinrich von Kleist, 1808) como via de exemplificação prática de como estes autores usaram as concepções estéticas apontadas acima para a construção da ação de suas heroínas...
Abstract: This study has the objective to discuss the theories of Friedrich Schiller (1759-1805) and Heinrich von Kleist (1777-1811) about grace, dignity, beauty and sublime, comparing them in order to show the differences and the confluences of these aesthetic concepts that were developed in the classical period (with Schiller) and romantic (with Kleist).Using as a basis for the analysis of these categories the essays On Grace and Dignity (Über Anmut und Würde), by Schiller and On the Marionette Theatre (Über das Marionettentheater), by Kleist, we are showing as the aesthetic theories of the two authors reflect the tensions between Classicism and Romanticism in Germany, and how these tensions establish differences between the idea of form in Schiller and Kleist, considering that classical harmony and the dismantling of this harmony are common themes. Schiller values the maintenance of harmony and search in the art a way for men to achieve balance; Kleist, through the deconstruction of the classical model, play with form, dismantling it, turning it into a stage for the advent of the Dionysian ritual; no more serenity and harmony of Apollo that reign, but the frenzy of Dionysus, which dominates and expands in an extraordinary way. Therefore, the categories of beauty, grace and sublime acquire in Schiller and Kleist different and similar dimensions, making possible the comparison of their works. Utilizing the notes made by Friedrich Schiller about the tragedy as an instance that provides entertainment to man and freedom through moral means, we are using the plays Die Jungfrau von Orleans (Friedrich Schiller, 1801) and Penthesilea (Heinrich von Kleist, 1808) as a form of practical exemplification of how these authors used the aesthetic conceptions mentioned above for the construction of the action of his heroines, characterizing them to attend these aesthetic assumptions
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23

Brandt, Lindsey. "The Elusive "Poem of the World": The Task of the Reader and the Problem of Knowledge in Heinrich von Kleist's Novellas "Die Marquise von O..." and "Das Erdbeben in Chili"." The University of Montana, 2009. http://etd.lib.umt.edu/theses/available/etd-06222009-143532/.

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The literary works of Heinrich von Kleist (17771811) have long been an important influence on thinkers and writers interested and engaged in the German cultural tradition, particularly due to the enigmatic and highly problematic nature of his narrative approach. In recent years, however, there has been a notable surge of interest in Kleists works, which has led to the production of several articles, papers, and even entire conference panels dedicated to the investigation of his oeuvre from various angles. Why does Kleist still fascinate his readers so much, and what is it about his texts that allow for such a large and varied body of interpretation? In this thesis, I will argue that it is crucial to examine closely the interface of text and reader when analyzing Kleists novellas, specifically "Die Marquise von O" and "Das Erdbeben in Chili." I will then attempt to establish a link between Kleists unique reaction to the philosophical debates concerning epistemology and aesthetics that were taking place during his short lifetime and the experience of the reader when confronting Kleists texts. I will examine these questions first with the aid of narratology and reader-response theory, particularly by examining the issues of closure and focalization in the two narratives. Furthermore, I will illustrate how a narratological/reader-response approach to Kleists work can also inform a feminist critical approach and, likewise, how a feminist analysis can complement the former. In the final chapter, I will conduct a feminist analysis, focusing on both form and content in the two novellas to show how Kleists work both structurally and thematically challenges male Enlightenment values such as order and logic. These analyses ultimately illustrate how Kleist displaced the philosophical questions with which he was grappling into the realm of the text-reader interface, thus emulating and illuminating with this relationship the selfs quest for knowledge and meaning in the world.
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24

Binder, Barbara. "Heinrich von Kleists "Die Verlobung in St. Domingo" : entkörperte Seele und inszenierter Körper /." kostenfrei, 2009. http://othes.univie.ac.at/3873/.

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25

Castro, Rodrigo Campos de Paiva. "\'Michael Kohlhaas\' - a vitória da derrota: uma interpretação da novela \'Michael Kohlhaas\', de Heinrich von Kleist." Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/8/8144/tde-09112007-141030/.

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Esta dissertação, cujo enfoque central é a novela \"Michael Kohlhaas\", do escritor alemão Heinrich von Kleist (1777-1811), procura identificar o mecanismo que permite à prosa do autor trafegar pelos mais diferentes espaços e assuntos sem, aparentemente, esfacelar-se. No primeiro capítulo, apresenta-se um breve panorama da crítica kleistiana, identificando-lhe alguns percalços. No segundo, analisam-se com mais atenção os mecanismos formais utilizados pelo narrador para compor o texto com que acompanha a trajetória do protagonista. No terceiro, analisam-se os móveis da ação de Kohlhaas. Ao final da dissertação, conclui-se que a novela traça um perfil da subjetividade moderna, revelando-lhe o caráter alienado.
This dissertation, whose main object is the novella \"Michael Kohlhaas\", written by the German author Heinrich von Kleist (1777-1811), tries to identify the mechanism which allows the writer\'s prose to inhabit the most diversified spaces and to present the most diversified subjects without apparently falling to pieces. The first chapter presents a short overview of the Kleistian literary criticism pointing to some of its problems. The second one analises the formal mechanisms used by the narrator to build the text with which he will present the path opened by the main character of the novella. The third one will analise the motives of Kohlhaas\' actions. At its final part, this paper concludes that this Kleistian novella presents the profile of the modern subjectivity revealing its alienation.
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26

Perry, Petra. "Möglichkeit am Rande der Wahrscheinlichkeit : die "fantastische Situation" in der Kleistschen Novellistik /." Köln : Böhlau Verl, 1989. http://catalogue.bnf.fr/ark:/12148/cb35553541n.

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27

Wilhelm, Hans-Jakob. "Der tierische Magnetismus als Grundlage einer Psychologie des kampfes bei Heinrich von Kleist." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=55653.

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28

Endres, Johannes. "Das "depotenzierte" Subjekt : zu Geschichte und Funktion des Komischen bei Heinrich von Kleist /." Würzburg : Königshausen und Neumann, 1996. http://catalogue.bnf.fr/ark:/12148/cb390092141.

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29

Hahn, Torsten. "Das schwarze Unternehmen zur Funktion der Verschwörung bei Friedrich Schiller und Heinrich von Kleist." Heidelberg Winter, 2007. http://d-nb.info/989183661/04.

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30

Howe, Steven Mark. "Philosophical inspirations for violent fiction and drama : Heinrich von Kleist and Jean-Jacques Rousseau." Thesis, University of Exeter, 2010. http://hdl.handle.net/10036/112954.

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Heinrich von Kleist (1777-1811) is renowned as an author who posed a radical challenge to the prevailing intellectual, aesthetic and ethical orthodoxies of his age. Recently, his elusive works have frequently been seen to represent a poetics of irony that relentlessly deconstructs the philosophical paradigms of Idealism and reflects a Romantic, even postmodern, view of the fundamental ambiguities of the world. For all that this contributes to our understanding of the famed plasticity and inexhaustibility of his texts, however, a limited reading along these lines effects a decided levelling of social, political and intellectual context, and fails to do full justice to the more complex manner in which Kleist articulates the tensions between the secure modalities of Enlightenment thought and the deep anxieties of the revolutionary age. This study aims to offer a new angle on Kleist’s dialogue with the Enlightenment by reconsidering his investment in the philosophy of Jean-Jacques Rousseau. Where previously critics have tended to conceptualise this from a biographical perspective as a temporary, personal interest borne of the strict antinomies of nature-civilisation and individual-society, an attempt will be made here to re-establish Rousseau’s specific importance as a political thinker whose theories remained a fertile source of creative inspiration and critical reflection for the violent constellations of Kleist’s fiction and drama. Focusing on a cross-section of his work, particular focus will be placed on his explorations of the links between religion and fanaticism (Das Erdbeben in Chili), the legitimacy of revolutionary violence (Die Verlobung in St. Domingo), the performance of nationhood (Die Herrmannsschlacht), and the relationship between patriotism and liberty (Prinz Friedrich von Homburg). Set in the historical context of the French Revolution and Napoleonic Wars, a mode of discourse will be located which sheds new, important, and at times unexpected, light on the political and ethical issues at play in Kleist’s work.
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Allan, Sean D. "Ideals and illusions : the subversion of discourse in the plays of Heinrich von Kleist." Thesis, University of Cambridge, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.260508.

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Perry, Petra. "Möglichkeit am Rande der Wahrscheinlichkeit : die "fantastische Situation" in der Kleistschen Novellistik /." Thesis, Connect to this title online; UW restricted, 1987. http://hdl.handle.net/1773/9940.

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Kastner, Sven. "Heinrich von Kleists Michael Kohlhaas und E.L. Doctorows Ragtime ein Vergleich unter besonderer Berücksichtigung sozialer Verhältnisse und historischer Parallelen /." Morgantown, W. Va. : [West Virginia University Libraries], 2000. http://etd.wvu.edu/templates/showETD.cfm?recnum=1371.

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Thesis (M.A.)--West Virginia University, 2000.
Title from document title page. Document formatted into pages; contains vi, 112 p. Includes abstract. Includes bibliographical references (p. 110-112).
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Silva, Carina Zanelato. "O problema do conhecimento e a dissolução do conceito de maldade em Heinrich von Kleist /." Araraquara, 2019. http://hdl.handle.net/11449/181794.

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Orientador: Karin Volobuef
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Resumo: Recentes pesquisas sobre a obra literária de Heinrich von Kleist (1777-1811) retomaram a famosa "crise-kantiana" do autor como fator de grande relevância no estudo de seu universo literário. Tim Mehigan, por exemplo, em seu livro Heinrich von Kleist: writing after Kant (2011) nos apresenta uma nova faceta de interpretação desta crise ao considerá-la como o ponto de partida para o desenvolvimento de Kleist como um grande colaborador da filosofia pós-kantiana, pois suas cartas (a partir de 1800), ensaios e obras literárias refletem o embate entre a teoria do conhecimento de Kant e os limites a que a autoconsciência pode chegar na apreensão dos dados da realidade empírica. O trabalho de Kleist, neste ponto de vista, pode ser entendido como "pós-kantiano" na medida em que vai além da escola kantiana e discute novas questões culturais, estéticas e filosóficas abertas pelo próprio Kant. Essas conclusões nos permitem avançar a discussão empreendida por estes pesquisadores para a abordagem de uma temática frequente nas obras de Kleist: a quebra de limites entre os conceitos de maldade (Das Böse) e bondade (Das Gute) desenvolvidos durante a Aufklärung. Essa quebra nos parece estar fortemente associada a uma subversão do conceito de realidade extraído por Kleist da noção kantiana de apreensão da realidade pela razão e ao ceticismo muito característico da filosofia de Hume. Assim, nesta pesquisa, procuraremos demonstrar em que consiste essa quebra de limites do bem e do mal e como a com... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: Recent researches on the Heinrich von Kleist's literary works (1777-1811) recovered the author's famous "Kant crisis" as a factor of great relevance in the study of his literary universe. Tim Mehigan, for example, in his book Heinrich von Kleist: writing after Kant (2011) presents a new facet of interpretation of this crisis by considering it as the starting point for Kleist's development as a great contributor to post- Kantian philosophy, because his letters (from 1800), essays and literary works reflect the clash between Kant's theory of knowledge and the limits to which self-consciousness can arrive at the apprehension of the data of empirical reality. Kleist's work, from this point of view, can be understood as "post-Kantian" in that as long as it goes beyond the Kantian school and discusses new cultural, aesthetic and philosophical issues opened by Kant himself. These conclusions allow us to advance the discussion undertaken by these researchers towards an approach of a frequent theme in Kleist's works: a break in the boundaries between the concepts of badness (Das Böse) and goodness (Das Gute) developed during the Aufklärung. This break seems to us to be strongly associated with a subversion of the concept of reality drawn out by Kleist from the Kantian notion of apprehension of reality by reason and the very characteristic skepticism of Hume's philosophy. Therefore, in this research, we will attempt to demonstrate what this break of the limits between good and evil con... (Complete abstract click electronic access below)
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Wirth, Michael. "Heinrich von Kleist : die Abkehr vom Ursprung : Studien zu einer Poetik der verweigerten Kausalität : thèse présentée... /." Berne : P. Lang, 1992. http://catalogue.bnf.fr/ark:/12148/cb35593937b.

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Guenther, Beatrice Martina. "The poetics of death : the short prose of Kleist and Balzac /." Albany (N. Y.) : State university of New York press, 1996. http://catalogue.bnf.fr/ark:/12148/cb37622445b.

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Clot, Cécile. "Kleist épistolier : le geste, l'objet, l'écriture." Paris 4, 2004. http://www.theses.fr/2004PA040075.

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L'objectif que se fixe cette thèse est double. Il s'agit de réhabiliter les textes épistolaires de Kleist dans leur dimension littéraire et de définir leur statut dans l'ensemble de l'œuvre, tout en les envisageant dans la perspective de la démarche communicative qui les sous-tend. Dans l'étude de la démarche communicative inhérente à la lettre, se manifeste le mode sur lequel Kleist choisit de se dévoiler à l'autre. Dans ce dévoilement s'esquisse un portrait épistolaire du poète, dont la particularité est de demeurer contradictoire et fragmentaire, à l'image de l'œuvre dont il est le produit. L'analyse du positionnement ambivalent de la lettre kleistienne, discours de l'absence aspirant à l'immédiateté, révèle d'autre part la coexistence en elle d'instants monologiques réflexifs, dont la particularité est de servir à la mise en forme de la pensée, et d'une détermination essentiellement dialogique qui est au fondement de la démarche d'écriture. La mise en forme consciente de l'image, les procédés de dramatisation de l'écriture, l'utilisation réflexive du signe et du mot, le recours à un dispositif rhétorique, l'acuité du regard, la transformation du réel dans l'écriture apparaissent comme autant d'aspects constitutifs d'une œuvre littéraire, que l'étude stylistique des lettres s'attache à mettre au jour. Mais la singularité de l'étude réside dans l'enrichissement de la réflexion par la prise en compte de l'objet épistolaire, selon une méthode héritée de la critique génétique, dont l'objectif est d'analyser les traces du processus d'élaboration de l'écriture sur les manuscrits. Dans les lettres du poète, la progression de l'énonciation se manifeste non seulement dans la construction syntaxique de l'énoncé, mais aussi à travers l'adjonction de tracés et de signes divers - dont le tiret - auxquels échoit la fonction de dire sur un mode métalangagier. A la frontière entre la sémantique et la sémiotique, l'étude des manuscrits révèle un champ d'investigation fondamental pour l'approche de l'écriture épistolaire kleistienne, conçue aussi comme une contribution à l'étude de l'œuvre globale du poète
The aim of this dissertation is twofold : to demonstrate the literary dimension of Kleist's letters and to determine their status within Kleist's works while examining the communicative aspects of his epistolary texts. Analyzing the communicative perspective inherent to epistolary texts indicates the way in which Kleist is revealing himself to his correspondents, and it creates an epistolary portrait of the poet. The particularity of an epistolary portrait is its contradictory and fragmented nature based on the incompleteness of epistolary works. The analysis of the ambivalence of Kleist's letters (an absence's discourse yet aspiring to immediacy) displays the coexistence of monologic and reflexive passages on the one hand, which are used by the writer as a way of forming his thoughts, and of a dialogic determination on the other hand on which the act of writing is based. The conscious forming of the image, the process of dramatisation of style, the reflective use of the word and of signs, the use of rhetoric figures, the intense observation, the transformation of reality into words are constituent components of a literary work. The purpose of the stylistict analysis of the study is to bring these aspects to light. But the singularity of this study lies in the careful examination of the epistolary object through the method of genetic critic, which proposes to analyze the manifestation of the elaborative process of writing within the manuscripts. In the poet's letters the unfolding of the enunciation is not restricted to the syntactic construction of the utterance, but also manifests itself in the addition of lines and signs - like the dash - which convey a metalingual level. On the borderline between semiotics and semantics, the study of the manuscripts reveals a fundamental field of investigation for Kleist's epistolary works and his writing
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Pollard, Matthew. "The bodies of Kleist : aspects of corporeality in his dramatic works." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=35047.

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This dissertation examines the representations of the body in the completed dramatic works of Heinrich von Kleist (1777--1811). While taking into account the psychoanalytical and philosophical approaches to Kleist, this project has Heiner Miller's words as its point of departure: that the theater represents the collision of ideas with the body. The forces of power, gender and authority leave their traces of this collision on the bodies of his characters, whose metaphorical and literal falls, wounds and recoveries speak their own gestural language.
This study is organized on the principle of Kleist's use of genre designation, the approximate chronological order of his plays, and the representation of the body. Chapter one focuses on Die Familie Schroffenstein, Der zerbrochne Krug, and Amphitryon and the notion of bodily authenticity and integrity; chapter two, on Die Hermannsschlacht and Penthesilea, looks at the spectacle of violence and its effect on the body mobilized by emotional extremity; the third chapter, on Kleist's most celebrated works, Prinz Friedrich von Homburg and Das Kathchen von Heilbronn, examines aspects of gender and vulnerability. The conclusion views his essay "Uber das Marionettentheater" not as a key to understanding his works, but rather as a culmination of them, and investigates Kleist's writing on the wounded body and its connection to grace.
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Hall, William. "Kleist and Hoffmann in dialogue with enlightenment." Thesis, University of Manchester, 2018. https://www.research.manchester.ac.uk/portal/en/theses/kleist-and-hoffmann-in-dialogue-with-enlightenment(be9c0ed9-14f6-4efe-9ce5-12a464a94c17).html.

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This thesis considers how Kleist and Hoffmann’s fiction might be considered as responding to the perceived shortcomings of enlightenment. The two writers, despite the barriers of literary categorisations, have a striking affinity in their sense that notions of truth and knowledge are intertwined with social and political agendas, rather than forming part of some natural teleology. The thesis breaks new ground in viewing the texts within a more expansive discourse context as literary interventions within a broad, cross-society engagement with enlightenment, in its various streams and factions. The texts studied, I argue, represent thought experiments, not merely reflecting and re-articulating the influences of literary peers and historically significant events, but instead testing the real-world application of key enlightenment ideas. The driving force for this thesis is the need to locate their work more rigorously in relation to enlightenment thought of their time than has previously been attempted. This is not so much a question of retrieving past influences, as one of viewing their work as being in dialogue with contemporary thought. Moving away from attempts using Kleist’s letters to theorise the relation between Kleist and Kant, this investigation instead turns to aspects of Kant’s philosophy to illuminate the texts. Hoffmann’s relationship to enlightenment, too, is explored beyond the prism of Romanticism. Taking a more comparative approach than previous work on the two writers, I identify not only thematic commonalities, but also a parallel aesthetic, in which multiple narratives coexist and where ‘truth’ is manufactured by the dominance of one particular narrative. The notion of 'MÃ1⁄4ndigkeit', central to Kant’s famous definition of 'Aufklärung' offers a useful guiding concept for the investigation and captures the emancipatory promise of self-realisation and the positive trajectory of human progress at the heart of the miscellany of moral and political theories and philosophies collectively known as ‘enlightenment’. The latter refers not to the historical period, but rather to a process of intellectual emancipation and an assemblage of ideals and values. As an intellectual movement, enlightenment was not, as is often assumed, monolithic, but encompasses conflicting notions of reason, freedom, and how its goals were to be achieved. Not only are the certainty and consequences of this intellectual emancipation evaluated in the texts, but I have also identified a radical questioning of the paradigms of thought which condition our understanding of narratives. Both Kleist and Hoffmann’s texts are narratively complex, often with shifts in focalisation, jumps in time, occasionally, figures whose identity changes leave the reader uncertain whether they are dealing with more than one character, and depictions of events which resist clarification through conventional understandings of time, space and causality. This project seeks to reconcile these ‘blind spots’ with a broader critique of enlightenment, in which absolute knowledge is shown to be illusory and truth simply reflective of constellations of power. The spatiotemporal and causal frameworks foundational to rational understanding and used to make sense of the world are revealed to be inadequate.
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Kempen, Anke van. "Die Rede vor Gericht : Prozeß, Tribunal, Ermittlung: Forensische Rede und Sprachreflexion bei Heinrich von Kleist, Georg Büchner und Peter Weiss /." Freiburg im Breisgau : Rombach, 2005. http://www.loc.gov/catdir/toc/fy0608/2005438932.html.

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Linfield, Eva. "Heinrich von Kleists ”Marionettentheater” oder die Notwendigkeit der Verknüpfung von Kenntnis und Intuition in der barocken Aufführungspraxis." Bärenreiter Verlag, 1987. https://slub.qucosa.de/id/qucosa%3A38342.

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Castro, Rodrigo Campos de Paiva. "Alencar e Kleist. Til e Toni: crise(s) da identidade na servidão e na escravidão modernas." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8144/tde-13032013-120632/.

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Nesta tese, o autor busca analisar os elementos comuns e divergentes havidos entre o romance Til, do escritor brasileiro José de Alencar, e a novela \"Die Verlobung in Sto. Domingo\" (\"O Noivado em Sto. Domingo\"), do escritor alemão Heinrich von Kleist, e por meio desse esforço comparativo identificar como se relacionam a formação do sujeito na periferia escravista do capital e a formação do sujeito em sua periferia servil. Conclui-se que, trilhando caminhos opostos, um marcado pela carência identitária outro pelo excesso identitário, Alencar e Kleist retratam subjetividades problemáticas que são uma o reflexo invertido da outra, e as duas, por sua vez, o retrato de uma modernidade em crise. Na primeira parte da tese, o autor procura embasar historicamente a comparação, buscando as raízes comuns entre as duas formações socioeconômicas supostamente estranhas entre si. Na segunda parte, destaca principalmente o que o romance brasileiro e a novela alemã guardam de semelhanças. Na terceira, o que as duas obras guardam de diferenças.
In this thesis, the author seeks to analyse both similar and deviating aspects which one will find to exist between the novel Til, from Brazilian writer José de Alencar, and the novella \"Die Verlobung in Sto. Domingo\" (\"Betrothal in St. Domingo\"), from German writer Heinrich von Kleist. Moreover this comparative study should identify what kind of relation two different models of subject constitution, one from the slave periphery of capitalism, the other from the serf periphery of capitalism, maintain with each other. It concludes by asserting that, having taken opposite paths, one characterized by a lack of identity, the other one by a surplus of identity, Alencar and Kleist portray problematic subjectivities which reflect one another inversely and both, when together, reveal a modernity driven to crisis. In the first part of this thesis, the author, as he searches for common roots to these two models of subject constitution that apparently bears little resemblance to each other, seeks to historically corroborate the comparison. In its second part, he highlights mainly what similarities the Brazilian novel and the German novella have to offer. In its third part, he discusses what sets them apart.
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Kliem, Martina [Verfasser], and Annette [Akademischer Betreuer] Keck. "Das Zeit-Wissen medizinisch-psychologischer Fallgeschichten um 1800 : epistemische Schreibweisen bei Marcus Herz, Christian Heinrich Spieß und Heinrich von Kleist / Martina Kliem ; Betreuer: Annette Keck." München : Universitätsbibliothek der Ludwig-Maximilians-Universität, 2017. http://d-nb.info/1142787508/34.

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Karlsson, Helene. "Aber was in aller Welt, wenn es eine List ist : Analyse von Heinrich von Kleists Die Marquise von O..., der ambivalenten Erzählung einer Schwangerschaft." Thesis, Linnéuniversitetet, Institutionen för språk och litteratur, SOL, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-62.

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Gabriel, Michelle Rodrigues. "As inversas razões da bilha quebrada - a trajetória da companhia. Razões Inversas a partir das montagens de A bilha quebrada, de Heinrich von Kleist, em 1993 e 2011." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27156/tde-14012016-094650/.

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Esta pesquisa de mestrado se deu a partir de uma investigação das montagens do espetáculo A Bilha Quebrada, de Heinrich Von Kleist, realizados, respectivamente, em 1993 e 2011 pela Companhia Razões Inversas, com direção de Marcio Aurelio. No primeiro capítulo, apresenta-se um breve histórico do diretor e um panorama de todos os espetáculos da Companhia realizados entre 1990 e 2015. No segundo, analisa-se com mais atenção as montagens de A Bilha Quebrada em 1993 e 2011, estudando-se a trama, a comicidade existente no texto, as diversas montagens no Brasil e a relação do teatro e tribunal. Por fim, no terceiro capítulo, analisa-se o campo de visão e a leitura de mesa, um dos exercícios utilizados pela Companhia para a criação de seus espetáculos. O estudo explicita a importância de cada encenação para o momento cultural da época, apontando para uma necessidade de salvaguardar a trajetória de uma das companhias mais importantes do cenário paulistano e nacional.
This master\'s research took from an investigation of the performing assemblies The Broken Jug, Heinrich Von Kleist, performed respectively in 1993 and 2011 by the Razões Inversas Company, directed by Marcio Aurelio. The first chapter presents a brief history of the director and an overview of all the Company\'s spectacles carried out between 1990 and 2015. In the second, we analyze more closely the assemblies The Broken Jug in 1993 and 2011, is studying the plot, the existing comic in the text, the various assemblies in Brazil and the relationship of theater and court. Finally, the third chapter analyzes the \"campo de visão\" and the table work, one of the exercises used by the Company to create its shows. The study explains the importance of each scenario for the cultural moment of the day, pointing to a need to safeguard the trajectory of one of the most important companies in the São Paulo and Brazil scene.
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Deissner, David M. "Morality and motivation: The problem of mediation between moral demands and human capacity in the works of Heinrich Von Kleist." Thesis, University of Oxford, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.491556.

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Ebisch-Burton, Katherine. "Ungeheure Wendung der Dinge : eine Untersuchung der Interaktion zwischen Katastrophe und Geschlecht um Werk Heinrich von Kleists = Terrible turn of events : a study of the interaction of catastrophe and gender in the works of Heinrich von Kleist." Thesis, University of Oxford, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.289010.

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Jenn, Camille. "Pensee politique et creation litteraire dans l'oeuvre de heinrich von kleist. Contribution a une etude des champs politique et litteraire dans le drame la bataille d'hermann." Paris 4, 1999. http://www.theses.fr/1999PA040112.

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L'etude analyse avant-dernier drame de kleist dans ses aspects tant politiques que litteraires, voulant montrer que le message patriotique est tempere, voire subverti par l'injection d'elements dramatiques specifiquement kleistiens. La presentation prealable du contexte historique et intellectuel et du cadre biographique permet d'apporter, non une justification, mais une explication au patriotisme exacerbe du poete et de situer les determinations et les objectifs de son engagement. En tant que patriote, quand il ecrit la bataille d'hermann, kleist participe aux preoccupations de son temps et fait oeuvre de propagandiste, esperant par la gagner un statut et une reconnaissance sociale qu'il n'a jusqu'alors pu acquerir par sa seule creation litteraire. Au cours des annees 1808 et 1809, la production d'ecrits et de pamphlets politiques, au ton et au contenu souvent proches des propos et de la strategie exposes dans la bataille d'hermann, illustre cette facette de la biographie du poete et devoile ses ambitions. Mais l'oeuvre deborde le champ de la propagande patriotique et met a jour les exces et les dangers inherents au combat patriotique : son auteur dote les personnages de traits tragiques, utilise les ressorts du comique kleistien, enfin montre les multiples et redoutables utilisations et la force du langage dramatique, retablissant un lien avec l'ensemble de la production litteraire kleistienne et privant la bataille d'hermann de son etiquette reductrice de piece a these. Ainsi, l'intrication dans la piece du contenu ideologique et de son traitement dramatique produit un theatre paradoxal et critique, de choc et de confrontation, fondamentalement interrogateur et subversif. L'oeuvre echappe a sa determination premiere ; kleist demeure poete
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Freder, Julia Verfasser], Anke [Akademischer Betreuer] Detken, Heinrich [Akademischer Betreuer] Detering, and Ruth [Akademischer Betreuer] [Florack. "Es ist bloß ein Anstoß von Schwindel : Ohnmachten bei Heinrich von Kleist im Vergleich mit Friedrich Schiller, Johann Wolfgang von Goethe, J. M. R. Lenz, E. T. A. Hoffmann, Sophie La Roche und Sophie Mereau / Julia Freder. Gutachter: Anke Detken ; Heinrich Detering ; Ruth Florack. Betreuer: Anke Detken." Göttingen : Niedersächsische Staats- und Universitätsbibliothek Göttingen, 2014. http://d-nb.info/1051530067/34.

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Freder, Julia Verfasser], Anke [Akademischer Betreuer] [Detken, Heinrich [Akademischer Betreuer] Detering, and Ruth [Akademischer Betreuer] Florack. "Es ist bloß ein Anstoß von Schwindel : Ohnmachten bei Heinrich von Kleist im Vergleich mit Friedrich Schiller, Johann Wolfgang von Goethe, J. M. R. Lenz, E. T. A. Hoffmann, Sophie La Roche und Sophie Mereau / Julia Freder. Gutachter: Anke Detken ; Heinrich Detering ; Ruth Florack. Betreuer: Anke Detken." Göttingen : Niedersächsische Staats- und Universitätsbibliothek Göttingen, 2014. http://nbn-resolving.de/urn:nbn:de:gbv:7-11858/00-1735-0000-0022-5EB6-6-4.

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