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1
Mosbach, Bettina. "Figurationen der Katastrophe : ästhetische Verfahren in W.G. Sebalds "Die Ringe des Saturn" und "Austerlitz" /." Bielefeld : Aisthesis-Verl, 2008. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016409980&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA.
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Hutchins, Michael D. "Tikkun: W.G. Sebald''s Melancholy Messianism." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1307321149.
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Eaheart, Martha Bass. ""Not an innocent enterprise" the narrator's transition from voyeur to victim in W.G. Sebald's Austerlitz /." Fairfax, VA : George Mason University, 2008. http://hdl.handle.net/1920/3355.
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Thesis (M.A,)--George Mason University, 2008.Vita: p. 45. Thesis director: David Kaufmann. Submitted in partial fulfillment of the requirements for the degree of Master of Arts in English. Title from PDF t.p. (viewed Jan. 11, 2009). Includes bibliographical references (p. 42-44). Also issued in print.
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Mital, Alexis. "Histoire du vertige - de Cervantes à Sebald." Thesis, Sorbonne Paris Cité, 2019. http://www.theses.fr/2019USPCC100.
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Comment réengager les livres du passé dans le monde du XXIe siècle ? Que nous apprennent le Quichotte de Miguel de Cervantes, le Moby Dick d’Herman Melville ou Le Livre de l’intranquillité de Fernando Pessoa dans ce temps anthropique où nous prenons la mesure de la destruction de nos appuis primordiaux, terrestres et atmosphériques ? Que sait la littérature de ce propre vertigineux de la vie humaine attachée à ses signes, ses codes, ses lettres ; cette vie qui tend à se désattacher du monde en s’enfermant dans des maisons de signes ? Que nous disent les textes de la tradition des systèmes d’appuis dont nous dépendons ? À quoi tenons-nous, à quoi sommes-nous attaché.e.s ? Et si nos formes de vie sont le produit de fictions que nous étendons à même le monde, que nous arrive-t-il quand ça lâche, quand nos appuis s’érodent ? Voici les questions qui traversent les huit études de cette « histoire du vertige. »How can we reengage books from the past in the world of the 21st century ? What do Miguel de Cervantes’s Don Quixote, Herman Melville’s Moby Dick or Fernando Pessoa’s Book of Disquiet have to teach us in our anthropic times as we take stock of the destruction of our basic terrestrial and atmospheric support ? What knowledge does literature possess about the essential vertigo of human life, which clings to its signs, its codes, its texts; a human life that is becoming progressively remote from the world as it withdraws into habitations made of signs ? What can these books inherited from tradition tell us about the support systems on which we depend ? What do we value, to what do we adhere ? And if our forms of life are the product of fictions that we spread across the world’s surface, what happens when they give way, and our supports crumble? These are the questions that run through the eight studies comprising this “history of vertigo”
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Madden, Christopher. "W.G. Sebald and the work of narrative melancholia." Thesis, University of Sheffield, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.531240.
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Rush, David. "The unnarratable & contemporary culture : Delillo, Sebald, Rushdie." Thesis, University of Sussex, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.443991.
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Preston, A. "Violence and the modern novel : Coetzee and Sebald." Thesis, University College London (University of London), 2013. http://discovery.ucl.ac.uk/1415746/.
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Early in her long essay On Violence, Hannah Arendt says “no one engaged in thought about history and politics can remain unaware of the enormous role violence has played in human affairs, and it is at first glance rather surprising that violence has been singled out so seldom for special consideration.” In the more than four decades since the publication of her book, much has been done to remedy this omission. Violence is everywhere now. As, through the eyes of our novelists, philosophers and cultural theorists, we look back on the wreck of the twentieth century, we see it as Walter Benjamin’s Angel of History perceived it, as a constellation of violence piled upon violence, a chaotic record of man’s brutality against man. This thesis sets out to chart the presentation of violence in the modern novel, looking specifically at the work of JM Coetzee and WG Sebald, two writers who have not only given us detailed accounts of the operation of violence in their work, but whose novels perform the ethical uncertainties of writing within a tradition that has been tainted by that violence. Using theorists from Benjamin to Arendt to Giorgio Agamben, I will look at the ethical and aesthetic decisions that each writer has made and question how and with what success Coetzee and Sebald have managed to write within the wreckage of a tradition scarred by violence. In wrestling with the subject of violence, modern novelists have had to discard many of the formal certainties of previous ages, tainted as they are by historical violence. I will show how violence, and the need to shape a narrative mode with which to address a debased modern existence, has led to formal inventiveness, to generic hybrids, to complex philosophical performances wrapped within the covers of books calling themselves “novels.” I will look at Sebald and Coetzee’s use of silence, of history, of other writers’ work in their attempts to find a voice with which to narrate the violence of modernity.
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Stamova, Darina. "Melancholia in W. G. Sebald's "The Rings of Saturn"." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 115 p, 2009. http://proquest.umi.com/pqdweb?did=1654488641&sid=2&Fmt=2&clientId=8331&RQT=309&VName=PQD.
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Savaton, Christine. "W.G. Sebald, Die Ausgewanderten : radiographie d'une écriture de l'exil." Phd thesis, Université Michel de Montaigne - Bordeaux III, 2012. http://tel.archives-ouvertes.fr/tel-00735697.
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Cette thèse consacrée à Die Ausgewanderten de W.G. Sebald (1992) procède à une étude microscopique et détaillée de l'écriture dans sa singularité, une radiographie du texte et de sa matérialité hétérogène. L'étude montre la structure binaire sous-jacente de l'ouvrage, la complexité des stratégies stylistiques et narratives, la manière dont le signifiant se soumet à l'impératif catégorique du signifié mais aussi la prééminence de signes tangentiels et obliques ; elle s'intéresse également à la singularité de l'enchaînement des discours rapportés et met en lumière le geste mélancolique du narrateur sébaldien. Il apparaît que l'intertextualité revêt une spécificité particulière puisque la polyphonie sébaldienne est orientée différemment de celle envisagée par M. Bakhtine. La deuxième partie s'attache à étudier la critique de la civilisation (Kulturkritik) dans une œuvre fortement marquée par la constellation idéologique de l'École de Francfort et plus précisément par " La Dialectique de la Raison " de Horkheimer et d'Adorno. La prose allemande muséale de l'auteur, qui rappelle celle d'Adalbert Stifter mais aussi, par ses emboîtements narratifs, emprunte la virtuosité bernhardienne, est incrustée de " moments " de bonheur ou de beauté qui mettent en évidence et soulignent l'inouï du monde concentrationnaire. Les thématiques de l'exil et du pays natal sont au centre des intérêts de la troisième partie. L'étude s'attache à montrer que l'ouvrage réécrit en quelque sorte une littérature de l'exil que l'auteur, professeur de littérature de langue allemande, a eu l'occasion de fréquenter mais aussi d'analyser. C'est un " chœur d'exilés " qui se fait entendre dans Die Ausgewanderten et qui manifeste la tragédie de l'homme moderne.
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Waller, Dorian. "Der heimatlose Bastler : die Melancholie des Ausgewanderten und ihre Bedeutung für die Textgestalt von W. G. Sebalds "Max Aurach" /." kostenfrei, 2008. http://othes.univie.ac.at/2713/.
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Ceuppens, Jan. "Vorbildhafte Trauer W. G. Sebalds "Die Ausgewanderten" und die Rhetorik der Restitution." Eggingen Ed. Isele, 2009. http://d-nb.info/1000386155/04.
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Jones, Emily Erin. "Verschachtelte Räume: Writing and Reading Environments in W. G. Sebald." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10296.
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This dissertation focuses on the construction of the narrated environment in W. G. Sebald's Die Ausgewanderten, Die Ringe des Saturn, and Austerlitz. Drawing on a constellation of ecocritical theories, I examine the ways in which memory and history are embedded in images of the built environment and how, in turn, this spatialization of the past contributes to a criticism of traditional linear narration. Sebald's texts create postmodern textual environments, urban, domestic, faux-pastoral, and heterotopian, that unite disparate times and spaces, demonstrating the need for innovative narrative in untangling and portraying complex, sometimes contradictory layers of history. An examination of the labyrinth and garden in Die Ringe des Saturn and of urban spaces in Austerlitz demonstrates the potential of the environment to seize agency and exert force on the human subject in the environment. The domestic environment also contains this potential, but in Austerlitz, the protagonist reclaims agency and uses the domestic environment as a medium for recovering memory. Finally, drawing on theories from Michel Foucault and Marc Augé, I examine the effect heterotopian spaces have on the characters experiencing them in all three of Sebald’s major prose works. More importantly, I demonstrate the way in which Sebald exploits the heterotopian potential of the text itself, creating a textual “environment” that pushes back against the reader, reinforcing the meaning of its content, but also drawing attention to the textual structures it deploys to create meaning.
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Riedl, Eva [Verfasser]. "Raumbegehren : Zum Flaneur bei W.G. Sebald und Walter Benjamin / Eva Riedl." Frankfurt a.M. : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2016. http://d-nb.info/1122004346/34.
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Lavis, Grahame J. "Pastoral modes in the poetry and prose fiction of W.G. Sebald." Thesis, Goldsmiths College (University of London), 2015. http://research.gold.ac.uk/12489/.
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In this thesis I extend the discussion of the works of W.G. Sebald beyond the more commonly discussed themes of melancholy, trauma, loss and memory. To this end I examine his long prose poem After Nature and his four books of prose fiction Vertigo, The Emigrants, The Rings of Saturn and Austerlitz to expose underlying pastoral modes and structural forms in these texts. In After Nature I make the case for this poem to be read as an anti-pastoral text which runs true to the elegiac form but exhibits a subtext of pastoral and anti-pastoral tension. The first published work of prose fiction, Vertigo, I argue demonstrates the pastoral structural device, integral to pastoral form, of the double-plot and in so doing, extend William Empson’s original thesis. In The Emigrants, I examine the parallels between Heimat and Pastoral by exposing the characters’ difficult relationships with displacement both physically and psychologically and argue for an anti-Heimat mode expressed largely in anti-pastoral imagery. The Rings of Saturn demonstrates the impossibility of utopia by constantly deferring a potential pastoral both spatially and temporally during the narrator’s “pilgrimage” across the Suffolk countryside. And finally in Austerlitz, we have a coalescence of pastoral modes structured as a discourse of retreat and return which, I argue, qualifies this work as a truly pastoral novel. In the final chapter I discuss the four short pieces of prose fiction in Campo Santo, which, although too brief to exhibit a pastoral form, demonstrate pastoral tropes commensurate with those discussed in the previous works.
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Covindassamy, Mandana. "À l'épreuve du dépaysement : W.G. Sebald : cartographie d'une écriture en déplacement." Paris 4, 2007. http://www.theses.fr/2007PA040163.
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W. G. Sebald lie intimement la recherche stylistique à une visée éthique et politique. Le présent projet consiste à mettre en lumière la cohérence poétologique de sa prose narrative en élaborant la notion d’écriture en déplacement. Loin d’une description thématique, elle se définit par un cadre que les stratégies d’écriture remettent sans cesse en question : le déplacement fondamental auquel procède Sebald réside dans la subversion des positions de discours. Tandis que la perspective générale des récits est assurée par la présence familière d’un narrateur à la première personne, le lecteur est désorienté par des procédés examinés pas à pas, depuis leur dimension concrète jusqu’à leurs implications éthiques. Une étude de la matérialité du texte révèle les affinités d’une telle écriture avec le bricolage lévistraussien. La prose allemande est émaillée d’images et de passages cités dans des langues étrangères, mais leur relation ne relève pas de l’insertion. Sans légende ni traduction, les matériaux résistent à leur inclusion. Au sein du récit, une pratique singulière de la citation et du discours rapporté animent l’écriture d’un mouvement allologique : un entrelacs de voix aux frontières poreuses se substitue à la prééminence d’une instance d’énonciation. Au plan de la construction, la structure cède le pas au réseau, en raison de sa plasticité. De tels procédés traduisent une vision archéologique du temps qui se reflète dans la syntaxe et la sémantique, ponctuées d’archaïsmes et de régionalismes. Par son regard mélancolique où perce parfois l’humour, la poétique de Sebald sait susciter l’émotion d’un lecteur confronté à une vision lucide du monde et de son histoireW. G. Sebald intimately binds stylistic pursuit with an ethical and political design. This project spotlights the poetological coherence of his narrative prose by developing the notion of shifting writing. Far from a hematic description, it represents a frame that is incessantly reassessed by the writing strategies : Sebald’s key use of displacement lies in subverting the positions of speech. If the general perspective of the narratives is provided by the familiar presence of a first person narrator, the reader is nonetheless disorientated by the various techniques which are examined here, step by step, from their tangible aspects to their ethical implications. Studying the materiality of the text reveals the affinities of Sebald’s writing with Levi-Strauss’s “bricolage”. The German prose is sprinkled with images and quotations in foreign languages, but these cannot be said to be inserted : in the absence of captions or translations, the materials resist inclusion. Within the narrative, a singular use of quotation and reported speech animates the writing with an allological movement : the preeminence of the enunciator gives way to a mesh of voices with porous boundaries. As for the construction, its plasticity means that network prevails over structure. Such techniques convey an archaeological vision of time which is reflected in the syntax and the semantics, punctuated with archaisms and regionalisms. With a melancholic, sometimes humourous outlook, Sebald’s poetics skilfully arouses the emotions of the reader who is faced with a lucid vision of the world and its history
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Knittel, Susanne C. "Spaces of memory in Giorgio Bassani, Ruth Klüger and W.G. Sebald." [S.l. : s.n.], 2004. http://www.bsz-bw.de/cgi-bin/xvms.cgi?SWB11244072.
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Salmon, Rachel. "Anselm Kiefer and W. G. Sebald: Intersecting Approaches to German History." Master's thesis, Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/522928.
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Art HistoryM.A.
The German artist Anselm Kiefer and German author W. G. Sebald are prominent and innovative figures in their individual fields whose works deal with many of the same themes, such as destruction, memory, and mourning. Their historical retellings are mediated by their own experiences of growing up in postwar Germany and hover between reality and fiction. Kiefer and Sebald are not the only German artist and author to address themes related to World War II and the Holocaust; however, their works share similar approaches to those themes that are not universally utilized by their peers. Despite this, there is no in-depth analysis of the similarities between the artist and author. This paper examines multiple works by Kiefer and Sebald in order to analyze shared approaches that are evident in Kiefer’s artworks and Sebald’s novels. Their works focus heavily on the archive, take advantage of the documentary aspect of photography, and feature the histories and responses of Holocaust survivors. By examining these similarities, insight is gained into a postwar mindset shared by both Kiefer and Sebald.
Temple University--Theses
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Rahman, SK Shaid-Ur [Verfasser], Kathrin [Akademischer Betreuer] [Gutachter] Sebald, and Andreas [Gutachter] Rosenauer. "Strong coupling in different designs of ZnSe-based microcavity systems: polariton manipulation and potential landscape / SK. Shaid-Ur Rahman ; Gutachter: Kathrin Sebald, Andreas Rosenauer ; Betreuer: Kathrin Sebald." Bremen : Staats- und Universitätsbibliothek Bremen, 2017. http://d-nb.info/1137608501/34.
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Selikowitz, Gillian. ""Connected but not Congruent": W.G Sebald and the Writing of his Generation." Thesis, The University of Sydney, 2015. http://hdl.handle.net/2123/15076.
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W.G. Sebald is widely perceived as a literary phenomenon, and critics assert the uniqueness of his prose fiction, and its position in the context of post-war German literature. In this study, I challenge the widely-held view that the narrative prose of W.G. Sebald is aloof from that of his generation, and demonstrate that his writing reveals not only significant thematic connections with that of his generation, but an intensification of the resentment and ambivalence that mark the earlier writing of his generation. My study is a comprehensive comparative reading of Sebald’s narrative prose and the writing of the German “second” generation, and builds on a small body of work by Morgan, Taberner, Davies and others. Exploration of Sebald’s prose fiction within a generational paradigm reveals significant connections between his writing and the literary, social, and political preoccupations that define the earlier, ambivalent writing of his generation. My study challenges the widespread perception of Sebald’s uniqueness, as well as the tendency to mystification that exists in critical appreciation of Sebald’s writing. Situating Sebald in a generational context has significant implications for our reading of his work: it allows us to identify his narrative prose as a belated, intensified, and elaborately figurative confrontation with the inheritance that troubled his second-generation cohort. My readings show that Sebald’s narrative prose continues to reflect the ambivalence towards national identity and recent traumatic history that marks the conflicted writing of his generation, born during or shortly after the war, and expressed in the anti-authoritarian writing of the 1960s, the intergenerational conflicts of the Väterliteratur, and the neo-Romantic writing of the 1980s. Placing Sebald in a generational context exposes the incongruity of his position in relation to the trajectory followed by many writers of his generation: while their concerns change over time to reveal a more empathetic approach to the National Socialist past and the imbrication of the parent generation in it, Sebald continues to express the discourse of loss and resentment that characterizes the earlier writing of this generation.
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Sebald, Karin [Verfasser]. "Neue Strategien zur Charakterisierung des sensorisch relevanten Peptidoms fermentierter Lebensmittel / Karin Sebald." München : Verlag Dr. Hut, 2020. http://d-nb.info/1219478504/34.
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Marques, Ana Martins. "Paisagem com figuras fotografia na literatura contemporânea (W. G. Sebald, Bernardo Carvalho, Alan Pauls, Orhan Pamuk): fotografia na literatura contemporânea (W. G. Sebald; Bernardo Carvalho; Alan Pauls; Orhan Pamuk)." Universidade Federal de Minas Gerais, 2013. http://hdl.handle.net/1843/ECAP-97ZLNU.
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Esta tese propõe uma investigação sobre a incorporação de imagens fotográficas em alguns textos literários contemporâneos. A partir da leitura de livros de W.G. Sebald, Bernardo Carvalho, Alan Pauls e Orhan Pamuk, busca-se analisar alguns dos efeitos produzidos pela presença de fotografias na narrativa, considerando, sobretudo, as relações que aí se estabelecem entre texto e imagem. De gênero dificilmente definível, os livros do alemão W. G. Sebald transitam entre a memória, o perfil biográfico, o relato de viagem, a ficção e o ensaio. Marcados por um tom digressivo e melancólico, os livros do autor caracterizam-se ainda pela reprodução de um grande número de fotos, sem legendas e em preto e branco. O emprego que W.G. Sebald faz das imagens fotográficas em sua obra, em especial em Os emigrantes e Austerlitz, é examinado aqui em articulação com os demais elementos narrativos, com o propósito de discutir o modo como a prosa sebaldiana problematiza o estatuto documental da fotografia, as associações entre imagem, memória e arquivo e o papel da fotografia na construção das narrativas pessoais e familiares, mas também históricas e coletivas. A tese procura ainda examinar o recurso à fotografia em Nove noites e Mongólia, do brasileiro Bernardo Carvalho, em articulação com o motivo da viagem e da representação do 'outro' e com o emprego de estratégias documentais e autoficcionais, bem como avaliar o impacto da incorporação de imagens fotográficas sobre as fronteiras entre texto e paratexto. Por fim, a partir da leitura de A vida descalço, do argentino Alan Pauls, e de Istambul, do turco Orhan Pamuk, em interlocução com outros livros que conectam fotografia e 'escrita de si', a tese se volta para as relações entre fotografia, ficção, ensaio e autobiografia.
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Nabben, Ragnhild. "Om samspillet mellom det essayistiske og det fortellende i Austerlitz av W.G. Sebald." Thesis, Norges teknisk-naturvitenskapelige universitet, Institutt for språk og litteratur, 2013. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-24140.
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Pompeu, Douglas Valeriano. "As sombras do real em Austerlitz: investigação sobre a fotografia em W.G. Sebald." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8144/tde-24072012-161500/.
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No ano de 2001, foi publicado o último livro do já então célebre escritor alemão W. G. Sebald, Austerlitz. Marcado pela digressão, pelo tom melancólico, pelo emprego de remissões factuais e pelo uso de fotografias, o livro se caracteriza como um gênero híbrido entre o factual e o fictional, que também pode ser denominado de autoficção. A presente dissertação se concentra na função da fotografia em Austerlitz, valendo-se justamente de sua relação com o texto, com os limites da representação e com a memória. Embora trate-se de uma narrativa assumidamente ficcional, procurase na presente investigação averiguar como o caráter indicial da imagem fotográfica é manipulado pelo autor e como a manipulação da fotografia enquanto documento indicativo de evidência e testemunho atua na composição de uma narrativa que pode servir como uma saída para o impasse da representação na literatura e na memória pós-Auschwitz. Para tanto, a análise a seguir, embora em alguns momentos procure apresentar em sua própria estrutura o caráter digressivo da narrativa sebaldiana, foca sua atenção na tematização e na reprodução da fotografia no texto, assim como nos procedimentos poéticos revelados pelo espólio do autor, preservado em Marbach am Neckar, Alemanha.In 2001 was published the last book of the renowned German author W.G. Sebald, Austerlitz. The digression, the melancholic tone, the use of factual references and photographs in the text are characteristic for the narrative, which is also marked by its hybrid genre between the factual and the fictional, that can also be called autofiction. The objective of this dissertation is to analyze the function of photographs in Austerlitz, especially in conjunction with the text, with the limitation of their illustrations and with memory. Even if Austerlitz actually is called a fictional narrative, the present investigation seeks to ascertain how the indicative nature of photographic images can be manipulated by the author and how the manipulation of the photograph as evidence and witness account acts in the composition of a narrative, which can be a solution to the representation\'s problem in the literature and in the memory after Auschwitz. The analysis, which in part attempts to introduce the digressive character of the sebaldian narrative, focuses on the topicalization and reproduction of photography inside the text, and on the poetic technique which may be revealed by the author´s heritage stored in Marbach am Neckar, Germany.
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Campos, Lucie. "Fictions contemporaines et conscience historique : J. M. Coetzee, I. Kertész, W. G. Sebald." Poitiers, 2010. https://acces.bibliotheque-diderot.fr/login?url=https://doi.org/10.15122/isbn.978-2-8124-4250-6.
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Les oeuvres de J. M Coetzee, I. Kertész, W. G. Sebald témoignent d'un effort spécifique du littéraire pour répliquer à la violence des évènements qui ont forgé la conscience historique du 20e siècle. A la pression d'un réel historique des évènements inassimilable et destructeur, ces écrivains répondent par un travail d'écriture et de clarification soucieux à la fois de son inscription dans un champ politique et de ses limites philosophiques. .The literary works of J. M Coetzee, I. Kertész and W. G. Sebald confront the violent events that have shaped the historical consciousness of the twentieth century with the specific tools of literature and fiction. In an effort to respond to the pressure of a destructive historical reality that is difficult to assimilate, these writers have sought to clarify their position within a political and philosophical field. .
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Sebald, Gaël Guyomar Daniel. "Nouveaux monocristaux à forte conversion piézoélectrique croissance, modélisation, modélisation et caractérisation /." Villeurbanne : Doc'INSA, 2005. http://docinsa.insa-lyon.fr/these/pont.php?id=sebald.
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Orr, Jeffrey David. "Visuality, genre and translation in selected works of Michael Ondaatje and W. G. Sebald." Thesis, University of Leeds, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.424895.
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Bates, Michael. "This being called human : nature and human identity in W.G. Sebald and Samuel Beckett." Thesis, University of Sheffield, 2015. http://etheses.whiterose.ac.uk/10501/.
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This thesis examines the representation of human identity in regards to the relationships and interactions with non-human nature in the writing of W.G. Sebald and Samuel Beckett. Through a discussion of the processes through which humans inhabit, delineate, and preserve settlements and cultural artefacts, the analysis proceeds to interrogate the impact of these upon the depiction of the urban and rural landscapes, and the interaction of humanity with the natural world. This approach depends upon a phenomenological strand of ecocritical thought, informed by the writing of Martin Heidegger and Robert Pogue Harrison, in order to establish the underlying signification of human landscapes via land ownership and memorialisation. The thesis then approaches the impact of modern technology and modes of living, particularly in industrial cities, upon the process of human self-identification, and the impact of this upon human interactions with animals. The discussion that follows approaches the fluidity of the human state, informed by Eric L. Santner's writing on creatureliness, and Carolyn Merchant's research regarding the role of empiricism in setting the precedent for human domination of the natural world. This leads to an analysis of the pastoral trope and notions of land ownership, through which the narrators of Sebald's and Beckett's writing hope to elide the human/nature division so that they might escape the dehumanising influence of the modern city, and the ecophobic worldview preserved within it.
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Bussius, Julia Teixeira. "'E o que resta não destrói a memória': história, memória e ficção na obra de W. G. Sebald." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-31082010-144951/.
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A presente dissertação de mestrado pretende analisar como o escritor alemão W.G. Sebald (1944-2001) enxerga a história, a memória e a ficção nos seus quatro livros em prosa. As narrativas desse autor lançam mão do procedimento de colecionar diversas pistas e fragmentos do passado, que surgem por meio de encontros com pessoas, imagens, objetos, paisagens e lugares da memória - algo que nos remete ao historiador arqueólogo-colecionador que Walter Benjamin dizia ser necessário para enxergar o passado de um modo crítico. Dividido em três capítulos, que tratam do deslocamento como modo de pensar, da elaboração da memória e da história em Sebald, esse trabalho buscou verificar relações entre a história e a literatura, tomando a obra singular desse autor como exemplo de que a ficção é uma ferramenta essencial para se apreender o passado.The aim of this dissertation is to analyze how German writer W.G. Sebald (1944-2001) talks about History, Memory and Fiction in his four prose books. The narratives of this author act by collecting several trails and fragments from the past through encounters with people, images, objects landscapes and places of memory - something that recall us of the historian who should be like an archeologist or a collector that Walter Benjamin thought necessary to understand and think critically about the ruins of History. Divided by three chapters - about the displacement as a way of thinking, the elaboration of memory and about History in literary narratives - this work has tried to deal with the connections between History and Literature by taking the singular work of a writer as an example that fiction makes it possible to have a different relationship with the past.
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Münüklü, Ersin. "Die Poetik des Marginalen : eine vergleichende Untersuchung der Werke von Orhan Pamuk und W.G. Sebald." Thesis, University of Kent, 2015. https://kar.kent.ac.uk/53864/.
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Literature increasingly deals with marginalized individuals, criticizes dominant structures, uncovers hidden traces from a suppressed past and attempts to restitute the voices of marginalized people. Orhan Pamuk and W.G. Sebald engage with what is considered to be marginal in various ways in their prose: marginal spaces (political and geographical peripheries), marginal times (marginalized past), marginalized people and objects (ruins, dilapidated buildings and seemingly dispensable objects) are the main subject matters in their works. The empathic engagement with the marginal constitutes a poetic principle in their narratives, in which the marginal is attributed with a specific significance and as a model of knowledge is given ethic-aesthetical value: a poetics of the marginal.
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Stacy, Ivan. "Narrative as complicity : atrocity, culpability, and failures of witnessing in W.G. Sebald and Kazuo Ishiguro." Thesis, University of Newcastle upon Tyne, 2013. http://hdl.handle.net/10443/3484.
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This thesis examines the nature of complicity and its relationship to narrative in the novels of W.G. Sebald and Kazuo Ishiguro. The effects of atrocity have been addressed in a significant body of scholarship which focusses on victimhood and trauma: a strand of work identifying and examining representations of perpetrators is also emerging. However, comparatively little research exists on the representation of complicity , a central concern of both Sebald and Ishiguro, in literary texts. This thesis therefore seeks to address the ways in which complicity originates, and , drawing on the attempts to theorise witnessing and testimony conducted by Shoshana Felman and Dori Laub, the ways in which narrative may act to perpetuate or deny such complicities. The thesis examines complicity on three levels. Firstly, it identifies the ways in which the authors' choice of protagonists permits an examination of complicity. Both Sebald and Ishiguro employ narrators who occupy intermediate positions, being subject to history, but possessing sufficient agency to contribute to the discourses and structures that shape the historical forces out of which atrocity grows. The first use of first person narration also makes visible a second form of complicity, which is that of the protaginists' denials of culpability. Both writers are concerned with the way I which narrative may deny or obfuscate culpability in historical events, and their use of first person narrations allows them to explore this potential. Finally, I argue that both authors display an awareness that complicity may be entered into through the acts of reading and interpretation, and as a result they employ narrative form to encourage reflexive and critical modes of reading, which in turn promote engagement with narrative as an ethical mode of witnessing.
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Johnston, Stuart. "'Hall of mirrors' : intertextuality in the poetry of Paul Muldoon and the prose of W.G. Sebald." Thesis, University of Aberdeen, 2015. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=230040.
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Since being coined by Julia Kristeva, the term 'intertextuality' has been defined and deployed in a variety of ways. Conceived in the revolutionary throes of 1960s Paris as a concept intrinsically linked with the antihumanist erasure of the author-figure, 'intertextuality' originally referred to a condition of all writing, a discursive field in which all texts are encompassed. Since then, however, the term has undergone a series of transformations that have ultimately facilitated its use in terms of a textual practice, employed by the very authors that were denied by the term's originators. If the two conceptions of intertextuality appear incommensurable, however, this appearance is belied by texts in which notions of intertextuality as both condition and practice are indelibly intertwined: in other words, by texts in which the conception of the general intertext is inscribed, articulated and performed by their own insistent and reflexive intertextual praxes. This thesis explores the writing of Paul Muldoon and W.G. Sebald in terms of this collision of seemingly incommensurable conceptions of intertextuality. It argues that each author's writing can be understood as a complex and self-reflexive inscription and negotiation of the tensions and paradoxes that emerge from the conflicting formations of intertextuality with which their texts are self-consciously engaged.
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Julien, Aurélie. "Errance identitaire, errance scripturale : Patrick Modiano, W. G. Sebald, Fred Wander et la littérature de l'après." Thesis, Rennes 2, 2016. http://www.theses.fr/2016REN20036/document.
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Le Français Patrick Modiano (1945-), l’Allemand W.G. Sebald (1944-2001) et l’Autrichien Fred Wander (1917-2006) : trois écrivains de l’errance, affectés par l’absence des témoins, la disparition des traces et les lacunes du passé au sortir de la Seconde Guerre mondiale. Leurs oeuvres sont hantées par les blancs de la mémoire et les brisures identitaires : exilés contraints de quitter leur Heimat afin d’êtres sauvés du nazisme, ou bien exilés volontaires lorsqu’ils entreprennent des voyages identitaires, les personnages des trois auteurs sont construits de ruines, de pièces manquantes. Les trous de mémoire, les failles de l’être, les incertitudes et les dialogues avec le hors-texte (l’espace extérieur, l’Histoire passée, la mémoire de chacun, le lecteur, les oeuvres antérieures) constituent la matière même de l’écriture. Errant entre fiction et réalité, oscillant entre roman, (auto)biographie, roman de formation, rapport d’enquête et mémoires, Voyage de noces et Dora Bruder de Modiano, Les Émigrants et Austerlitz de Sebald, Hôtel Baalbek et Das gute Leben de Wander sont des récits hybrides qui entremêlent les voix, brouillent les pistes, rassemblent mémoire collective, individuelle et culturelle et semblent laisser le sens des textes (en termes de direction, voire de fin, et de signification) et leur transmission en suspens. L’errance investit dès lors l’identité et la mémoire des textes eux-mêmes et renouvelle la question de la tâche dulecteur après 1945The French writer Patrick Modiano (1945-), the German writer W.G. Sebald (1944-2001) and the Austrian writer Fred Wander (1917-2006) consider the relationship between errance and literature after 1945: They are moved by the absence of the witnesses and the disparition of the past after World War II. Their books are haunted by memory lapses and identity disorder and they present a lot of trips accross worlds ; the characters of Modiano, Sebald and Wander are in exile or in transit, far away from their Heimat, and there are searching for missing peaces of their identity. The memory gaps and errors, the difficulty of being, the uncertainties and the dialogues with the out of text world (the space outside the text, the past History, the recall, the reader, the intertextuality and intermediality) compose the matter of writing. The books by the three writers, Honeymoon and Dora Bruder by Modiano, The Emigrants and Austerlitz by Sebald, Hôtel Baalbek and Das gute Leben by Wander, are wandering between fiction and reality and not corresponding the literary norms: are they novels,Bildungsromane, investigation reports, memoirs, or (auto)biographies? These hybrid and multi-level narratives combine voices, confuse the issue, collect the individual, collective and cultural memory and keep the meaning and the direction of the texts, so the narrative transmission, in suspense. The trope of errance leads also to the exploration of the identity and the memory of the texts themselves and the (re)consideration of the role of the reader after 1945
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Anderson, David Christopher. "Affective topographies : landscape and subjectivity in the work of Patrick Keiller, W.G. Sebald and Iain Sinclair." Thesis, University College London (University of London), 2017. http://discovery.ucl.ac.uk/10040447/.
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This thesis interrogates the relationship between landscape and subjectivity in the work of Patrick Keiller, W.G. Sebald and Iain Sinclair. In their work, it argues, depictions of England are mediated and modulated by an anxious preoccupation with the subjective experience of space and place, combined with a near-obsessive attentiveness to the peripheral and the ruined. In the process conventionalised notions of landscape and culture are variously criticised, adapted or dislodged, producing a distinctive set of variations on the ‘English journey’ for the end of the twentieth century. The work of Keiller, Sebald and Sinclair often takes the form of highly stylised reportage, self-consciously entangling ‘objective’ documentary with fictional tropes in its ordering and depiction of space. In this respect, as well as others, I claim that it symptomatises a particular cultural and political moment in English thinking about landscape and environment. The thesis explores this process by joining up recent developments in spatial theory and the ‘spatial turn’ with a heritage of critical melancholia, a fusion to some extent anticipated in the writings of Walter Benjamin. In this light it shows that, either implicitly or explicitly, my three subjects all produce something like a critical theory of contemporary space. This thesis is attuned to a distinct history of the creative appropriation of space, running through Surrealism and the Parisian Situationists: the term ‘affective topography’ itself is borrowed from Ian Walker’s 2002 study of Surrealist photography and documentary form in Paris, City Gorged With Dreams. Adapting this term to the field of ‘English psychogeography’, this thesis suggests ways that a dialectical relationship between dwelling and displacement has been exploited as a means to attempt the subject's re-orientation within the axiomatically disorientating conditions of contemporary modernity.
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McCormick, Connor. "Speaking for the Picture: Memory, Image, and Identity in the Works of W.G. Sebald and Chris Marker." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3758.
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The nineteenth and twentieth centuries saw the development of technologies for externalizing human memory beyond writing, painting, and sculpting. These modes of visual representation, namely photography and cinema carried with them a purported objective representation of reality, which has been used to create classifications, divide people groups, and construct grand historical narratives used to marginalize those that do not fit within the hegemonic center. Looking to the works of writer W.G. Sebald, and filmmaker Chris Marker, we see a complication of the divide between visual and verbal texts, as each artist deconstructs their own medium’s conventions. Using theories of ekphrasis to draw connections between verbal and visual representation, we see how Sebald and Marker explore notions of memory, identity, and history as they struggle with the impossibility of representing the great traumas of the twentieth century.
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Distler, Anton. "Kein Verstehen ohne fundamentale Ontologie eine philosophische Analyse des Werks von W. G. Sebald aufgrund der "existentiellen Psychoanalyse" Jean-Paul Sartres." Würzburg Königshausen & Neumann, 2007. http://d-nb.info/990565793/04.
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Knight, Kelvin. "Real places and impossible spaces : Foucault's heterotopia in the fiction of James Joyce, Vladimir Nabokov, and W.G. Sebald." Thesis, University of East Anglia, 2014. https://ueaeprints.uea.ac.uk/50585/.
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This thesis looks to restore Michel Foucault’s concept of the heterotopia to its literary origins, and to examine its changing status as a literary motif through the course of twentieth-century fiction. Initially described as an impossible space, representable only in language, the term has found a wider audience in its definition as a kind of real place that exists outside of all other space. Examples of these semi-mythical sites include the prison, the theatre, the garden, the library, the museum, the brothel, the ship, and the mirror. Here, however, I argue that the heterotopia was never intended as a tool for the study of real urban places, but rather pertains to fictional representations of these sites, which allow authors to open up unthinkable configurations of space. Specifically, I focus on three writers whose work contains numerous examples of these places, and who shared the circumstance of spending the majority of their lives in exile: James Joyce, Vladimir Nabokov, and W.G. Sebald. In each case, I argue that these sites figure the experience of exteriority constituted by exile, providing these authors with an alternative perspective from which to perform a particular kind of contestation. In Ulysses, I argue, they allow Joyce to interrogate the notion of a unified Irish identity by bringing into question the space that constitutes the common locus upon which the nation is founded. In Nabokov’s Ada, they help the author to create a world that transcends the discontinuities of his transnational biography, but also serve to contest this unreal world. In Sebald’s fiction, finally, we find a critique of Foucault’s concept. In relation to the Holocaust, he questions the validity of the heterotopia by bringing into doubt the equation of space and thought upon which it is established.
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Groll, Michael [Verfasser], Udo [Gutachter] Heinemann, and Walter [Gutachter] Sebald. "Strukturelle und funktionelle Zusammenhänge und Unterschiede archaebakterieller und eukaryontischer 20S-Proteasome / Michael Groll ; Gutachter: Udo Heinemann, Walter Sebald." Berlin : Humboldt-Universität zu Berlin, 2005. http://d-nb.info/1207656062/34.
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Ceuppens, Jan. "Vorbildhafte Trauer : W.G. Sebalds "Die Ausgewanderten" und die Rhetorik der Restitution /." Eggingen : Isele, 2010. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=018973359&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA.
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Sebald, Anna Kathrin [Verfasser]. "Reinventing the Customer Shopping Experience : Value (co-)creation, Shopping Motivations and Typologies in Curated Fashion Retailing / Anna Kathrin Sebald." Berlin : ESCP Europe Wirtschaftshochschule Berlin, 2018. http://d-nb.info/1173369228/34.
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Toubert, Victor. "Entre le livre et la lampe ˸ représentations et usages de l'érudition chez Pierre Michon, W.G. Sebald et Antonio Tabucchi." Thesis, Sorbonne Paris Cité, 2019. http://www.theses.fr/2019USPCA030.
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Prenant notre point de départ dans l’étude du rapport fantastique avec le savoir mis en évidence par Michel Foucault à propos du travail littéraire de Flaubert, nous voudrions nous interroger sur les modalités proprement contemporaines des rapports entre les écrivains et les savoirs, et tenter de caractériser précisément ces rapports dans la littérature européenne contemporaine, en nous appuyant sur les œuvres de Pierre Michon, W.G. Sebald et Antonio Tabucchi. À l’aide d’une définition pragmatique des savoirs, nous commençons par une étude des représentations de l’érudition dans la fiction, en nous concentrant sur divers personnages, secondaires ou plus importants, qui jouent tous des rôles d’intercesseurs dans la production, la transmission et la diffusion des savoirs. S’ils fonctionnent bien d’un certain côté comme des figures de l’érudition, images idéales de savoirs efficaces, ces personnages portent aussi des critiques des savoirs établis et des hiérarchies qui lui sont associées. Les lieux associés aux savoirs, bibliothèques et musées en particulier, sont également abordés selon cet angle polémique. La seconde partie de notre travail s’attache à l’étude des usages des savoirs par les écrivains que nous avons choisis, en fournissant des éléments pour une poétique des textes littéraires contemporains construits sur un rapport à l’érudition. Leur écriture seconde, s’appuyant sur une grande variété de textes, s’approprie de nombreux savoirs. Nous étudions successivement les diverses modalités des usages des paroles rapportées, que cela soit à travers l’oralité, par des citations, ou la présence des langues étrangères, pour montrer les usages particuliers des savoirs que font nos écrivains. En opposition à un usage postmoderne de l’érudition, une érudition inquiète, mettant au centre de sa dynamique une mise en commun du sens, se fait jourBeginning with the fantastic relation with knowledge highlighted by Michel Foucault regarding Gustave Flaubert’s literary work, we would like to bend over the contemporary modalities of the relations between knowledge and literary writers, and try to precisely characterize theses relations in contemporary European literature, basing our work on the examples of Pierre Michon, W.G. Sebald and Antonio Tabucchi. A pragmatic definition of knowledge helps us to begin with a study of the representations of erudition in the fiction, focusing upon various characters, who play an intermediary role in the production, transmission or diffusion of knowledge. If on one hand they operate as figures of erudition, ideals representations of effective knowledge, these characters on the other hand carry with them some critics of the established knowledges and the hierarchy that are associated with them. The places associated with knowledge, libraries or museums, are also studied in this polemic approach. The second part of our work studies the uses of knowledge done by the writers chosen, giving some elements for a poetic study of the contemporary literary texts that are written in a relation with knowledge. Their secondary writing, built on a wide variety of texts, assimilates various knowledges. We study successively the diverse modalities of the uses of the words reported, by the relation between the literary text and the orality, the quotations, or the presences of foreign languages, to highlight the original uses of knowledge done by our writers. Opposing a postmodern use of erudition, emerges an anxious and restless erudition, concerned by the sharing of meaning and the community it constitutes
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Osborne, Dora Elizabeth. "Traumatic traces : charting the limits of visual and topographical representation in the postwar fiction of W.G. Sebald and Christoph Ransmayr." Thesis, University of Cambridge, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.612422.
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Cawood, Megan Jane. "Passing on: "The Weight of Memory" and the Second Generation Fiction of Anne Michaels, W. G. Sebald and Bernhard Schlink." Doctoral thesis, University of Cape Town, 2014. http://hdl.handle.net/11427/12752.
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Includes bibliographical referencesThe value of second generation fiction for Holocaust studies can be found in its self-conscious examination of what might constitute an ethical response to the testimony of another. I bring together the fictional texts of three authors of the generation after, Anne Michaels’s Fugitive Pieces, W. G. Sebald’s The Emigrants and Austerlitz and Bernhard Schlink’s The Reader, in order to investigate the textual strategies each text employs to bear witness on behalf of another and pass on what Sebald has called "the weight of memory" . While Sebald uses the phrase to describe the burden of memory experienced by survivors, I use his phrase as a point of departure to consider how the second generation responds to the burden of memory. Rather than portraying fictional examples of "vicarious witnessing" (Zeitlin) or "witness by adoption"(Hartman), these texts present a form of structural witnessing that models how one storyteller can carry and pass on the story of another as a kind of caretaker. I argue that such forms of witnessing on behalf of or for another comprise ethical acts in which the other’s story is accepted as distinct from one’s own. Rather than simply examining "the weight of memory" thematically, each text develops strategies for passing on this weight, and its resultant sense of responsibility, to the reader. I examine the structural and aesthetic strategies employed in these four texts to show how these devices set up the terms by which the text becomes the site of response. I pay particular attention to narrative structures that both model and perform instances of literary address and which create layered structures of "proxywitnessing"(Gubar) within the space of the text. I consider how fragmentation and failure inform the aesthetics of these authors whose representational strategies may be considered productively "barbaric," to appropriate Adorno’s misunderstood aphorism, as the texts present narratives that are unsettling and yet engaging. The work of the gene ration after is that of carrying memory, but not so as to appropriate it or unduly over -identify with it, but rather to respond and demonstrate response in a gesture which then provokes alternative and continued responses.
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Conant, Chloé. "La littérature, la photographie, l'hétérogène : étude d'interactions contemporaines : C. Boltanski, W. Boyd, S. Calle, G. Davenport, J. Roubaud, W.G. Sebald." Limoges, 2003. http://www.theses.fr/2003LIMO2008.
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La rencontre interartistique entre littérature et photographie, manifestant l'hétérogénéité d'un medium traditionnel et d'un medium technologique, pose à la fin du XXe siècle des questions spécifiques. Cette période qualifiée de postmoderne, vit sur le mode de la multiplicité, mais aussi de la perte, la relation au réel. C'est ce qu'expriment plusieurs artistes (plasticiens et écrivains) à travers des oeuvres hybrides que l'on peut qualifier d'expérimentales au sens propre du terme : elles permettent aux créateurs et aux lecteurs/spectateurs d'appréhender le monde de façon ludique et interconnectée. Le premier temps de l'étude, qui concerne l'hétérogénéité interne de l'oeuvre, rend compte de la relation antagonique qu'ont longtemps entretenu l'écriture et la photographie, cette dernière n'ayant accédé que difficilement à la dignité de medium artistique à cause de son lien très fort avec le réel. Les oeuvres jouent sur cet écart, tout en parvenant à mettre en place une dynamique d'échange et d'interactions entre les composantes. Mais l'hétérogénéité des mediums crée des liens, des traversées de frontières qui ouvrent l'oeuvre sur l'extérieur. La deuxième étape de l'analyse s'attache donc à définir ces oeuvres comme poreuses vis-à-vis du réel. Celui-ci s'y inscrit de façon massive, ce qui entraîne leur décanonisation en termes de statut artistique. Pourtant, on observe finalement que l'oeuvre d'art hétérogène met en place toutes sortes de stratégies d'appropriation de ce réel, qui se retrouve alors contaminé, malmené par la fiction. Le monde de référence est tout d'abord mis en doute dans l'oeuvre, qui parvient à dépasser les répartitions traditionnelles de la littérature et de la photographie en ce qui concerne leur fidélité au réel. Il est ensuite mis en scène, ce qui constitue sur le mode du jeu une opération radicale, analysable comme la création d'une interface entre ces deux éléments, les plus hétérogènes sans doute, que sont l'être et le monde
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Kuffer, Dinerstein Paula. "Escribir historia significa dar su fisonomía a las cifras de los años. De Benjamin a Sebald a través de la historia: en torno al testimonio y la representación." Doctoral thesis, Universitat Autònoma de Barcelona, 2011. http://hdl.handle.net/10803/51008.
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En la present tesi doctoral es presenta una aportació als estudis relacionats amb la construcció i reivindicació de la memòria i dels processos de representació implicats en l'escriptura de la història i en particular en la història dels vençuts. L'actual treball de recerca exposa i estudia, en un primer moment, la concepció d'història presentada per Benjamin. Aquesta se centra en particular en la seva última obra, les "Tesis de filosofia de la història", però així mateix ofereix les respostes que el filòsof alemany presenta al llarg de tot el seu recorregut intel·lectual fins arribar a les seves últimes formulacions, que s'han d'entendre com una resposta de caràcter ètic i profundament polític. La tesi, doncs, pren com a punt de partida metodològic i conceptual les aportacions realitzades per Walter Benjamin al debat contemporani al voltant de la filosofia de la història. La seva interpretació de la història com discontinuïtat i redempció serveix per oferir una suggerent forma de narrar i recuperar de l'oblit la veu dels vençuts que trenca amb la historiografia clàssica, basada en una interpretació lineal i causal dels esdeveniments històrics. Conceptes com "instant", "temps-ara", "discontinuïtat", "rememoració" estan al servei d'una construcció de la història que posa l'accent en les llacunes i en els intersticis de tota narració històrica amb pretensió de totalitat. Aquesta estratègia permet rescatar el valor del testimoni i trencar així amb l'homogeneïtat de la cronologia clàssica. Al llarg d'aquest estudi, es presenta com s'articula aquesta nova concepció de la història, a partir de la idea central de rememoració, que pretén presentar un relat històric que, tal i com proposa Benjamin, se centri no ja en l'èpica de la història dels vencedors sinó en la tradició dels vençuts. Davant del relat acumulatiu i autocomplaent de l’historicisme, davant de la falsa totalitat, il·lusió mítica de l’ historicisme, per anar més enllà del relat dels vencedors s'imposa la necessitat d'una altra escriptura de la història, d'una altra història. En aquest sentit, resulta d'especial importància la figura del testimoni, ja que aquesta carrega contra la invisibilitat a la qual es pretén confinar els vençuts, ja que s'entén que el veritable testimoni és aquell que no ha pogut testimoniar. Així s'ha d'entendre l'imperatiu de la representació que s'exposa -doncs en el centre de la representació sempre batega l'absència-, com aquell gest ètic que posa en joc en la llacuna constitutiva del veritable relat històric i que es presenta en la figura del testimoni , així com en l'obra d'art entesa com a espai del testimoni i com a testimoni.
En un segon moment, s'estudia com es trasllada a la representació del passat tal concepció i com aquesta intervé en el paisatge del sensible a través de l'obra d'art, en concret en la narrativa de l'escriptor W. G. Sebald. L'escriptor alemany, doncs, es pren com a exemple de l'escriptura de la història com rememoració reivindicada per Benjamin i il·lustra perfectament el marc teòric que presenta el filòsof.En la presente tesis doctoral se presenta una aportación a los estudios relacionados con la construcción y reivindicación de la memoria colectiva y de los procesos de representación implicados en la escritura de la historia y en particular en la historia de los vencidos. El actual trabajo de investigación expone y estudia, en un primer momento, la concepción de historia presentada por Benjamin. Esta se centra en particular en su última obra, las "Tesis de filosofía de la historia", pero asimismo ofrece las respuestas que el filósofo alemán presenta a lo largo de todo su recorrido intelectual hasta llegar a sus últimas formulaciones, que deben entenderse como una respuesta de carácter ético y profundamente político. La tesis, pues, toma como punto de partida metodológico y conceptual las aportaciones realizadas por Walter Benjamin al debate contemporáneo en torno a la filosofía de la historia. Su interpretación de la historia como discontinuidad y redención sirve para ofrecer una sugerente forma de narrar y recuperar del olvido la voz de los vencidos que rompe con la historiografía clásica, basada en una interpretación lineal y causal de los acontecimientos historicos. Conceptos como “instante”, “tiempo-ahora”, “discontinuidad”, “rememoración” están al servicio de una construcción de la historia que pone el acento en las lagunas y en los intersticios de toda narración histórica con pretensión de totalidad. Esta estrategia permite rescatar el valor del testimonio y romper así con la homogeneidad de la cronología clásica. A lo largo de este estudio, se presenta cómo se articula esta nueva concepción de la historia, a partir de la idea central de rememoración, que pretende presentar un relato histórico que, tal y como propone Benjamin, se centre no ya en la épica de la historia de los vencedores sino en la tradición de los vencidos. Frente al relato acumulativo y autocomplaciente del historicismo, frente a la falsa totalidad, ilusión mítica del historicismo, para ir más allá del relato de los vencedores se impone la necesidad de otra escritura de la historia, de otra historia. En este sentido, resulta de especial importancia la figura del testimonio, pues esta arremete contra la invisibilidad a la que se pretende confinar a los vencidos, pues se entiende que el verdadero testimonio es aquel que no ha podido testimoniar. Así debe entenderse el imperativo de la representación que se expone —pues en el centro de la representación siempre late la ausencia—, como aquel gesto ético que pone en juego en la laguna constitutiva del verdadero relato histórico y que se presenta en la figura del testimonio, así como en la obra de arte entendida como espacio del testimonio y como testimonio. En un segundo momento, se estudia cómo se traslada a la representación del pasado tal concepción y como ésta interviene en el paisaje de lo sensible a través de la obra de arte, en concreto en la narrativa del escritor W. G. Sebald. El escritor alemán, pues, se toma como ejemplo de la escritura de la historia como rememoración reivindicada por Benjamin e ilustra perfectamente el marco teórico que presenta el filósofo.
This thesis presents a contribution to the studies related to the construction and assertion of collective memory and representation of processes involved in the writing of history and in particular in the history of the vanquished. The current research presents and examines, at first, the conception of history presented by Benjamin. This focuses in particular on his latest work, "Theses on the Philosophy of History", but also provides the answers that the German philosopher presents throughout his intellectual journey to reach its final formulation, to be understood as an ethical and deeply political answer. The thesis, then, takes as its starting point the methodological and conceptual contributions made by Walter Benjamin to the contemporary debate about the philosophy of history. His interpretation of history as a discontinuity and redemption is to offer a suggestive way of narrating and retrieve from oblivion the voice of the vanquished that breaks with classical historiography, based on a linear and causal interpretation of historical events. Concepts such as "instant", "now-time", "discontinuity", "remembrance" work in the service of a construction of history that emphasizes the gaps and interstices of any historical narrative with a claim to totality. This strategy allows to recover the value of the testimony and break the homogeneity of the classical chronology. Throughout this study, it is reported how this new conception of history is articulated, from the central idea of remembrance, which aims to present a historical account that, as Benjamin suggests, should focus not only on epic the history of the victors but the tradition of the vanquished. Faced with the cumulative and self-serving account of historicism, against the false totality, mythical illusion of historicism, to go beyond the story of the victors there is a need of another writing of history, another story. In this sense, it is particularly important the figure of the testimony, as this attacks the invisibility to which is to confine the vanquished, since it is understood that the true witness is one who could not testify. So we should understand the imperative of representation, as set out in the center of representation always beats the absence, as a gesture of ethics that comes into play in the lake that constitutes the true historical account and presented in the figure of the witness as well as the work of art understood as a place of witness and testimony. In a second step, we study how such a conception of the past is transferred to the representation and how it intervenes in the landscape of the senses through the art work, specifically in the narrative of writer W. G. Sebald. The German writer, then, is taken as an example of writing history as remembrance as claimed by Benjamin and perfectly illustrates the theoretical framework presented by the philosopher.
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Schmucker, Peter [Verfasser], Nicolas [Gutachter] Pethes, and Monika [Gutachter] Schmitz-Emans. "Grenzübertretungen : Aspekte der Intertextualität im Werk von W. G. Sebald / Peter Schmucker ; Gutachter: Nicolas Pethes, Monika Schmitz-Emans ; Fakultät für Philologie." Bochum : Ruhr-Universität Bochum, 2011. http://d-nb.info/1154307484/34.
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Seyfried, Moritz [Verfasser], Kathrin [Akademischer Betreuer] Sebald, Jürgen [Akademischer Betreuer] Gutowski, and Detlef [Akademischer Betreuer] Hommel. "Starke Kopplung, Lasing und Manipulation der Lichtauskopplung durch Mikrokavitäten verschiedener Geometrien / Moritz Seyfried. Gutachter: Jürgen Gutowski ; Detlef Hommel. Betreuer: Kathrin Sebald." Bremen : Staats- und Universitätsbibliothek Bremen, 2012. http://d-nb.info/107199381X/34.
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Nyikos, Julia. "Paradigme commun dans la création architecturale et littéraire : Peter Eisenman, Péter Esterházy, Rem Koolhaas, Winfried Georg Sebald, Claude Simon, Bernard Tschumi." Paris 8, 2009. http://www.theses.fr/2009PA082999.
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La logique et l'organisation interne des textes littéraires se trouvent rarement comparées ou confrontées à celles des espaces paysagers et architecturaux. L'enjeu de nos recherches est de réfléchir sur les conditions de faisabilité d'un tel dialogue : existe-il un champ commun pour traiter ensemble des œuvres appartenant à des formes d'expressions très distinctes, à savoir l'architecture et la littérature, est-il possible de l'élaborer ? Ce ne sont pas les éléments de base, les composants d'un ensemble qui doivent être confrontés à leurs "homologues" dans un système différent, puisque ceux-ci relèvent plutôt des spécificités incomparables. En revanche, les rapports qui s'établissent entre les constituants d'un système peuvent montrer des similitudes intéressantes et qui offrent une base commune à la démarche comparative. Notre hypothèse part de l'idée qu'il serait important de déceler un paradigme commun dans la création et dans la configuration du sens dans les œuvres artistiques contemporaines, et ce au-delà des limites disciplinaires. Nous tentons de mener les investigations à partir d'un corpus contemporain en choisissant cependant des auteurs et des architectes dont le commencement du travail remonte aux années 1960 ou 1970. Les analyses sont majoritairement focalisées sur des productions plus récentes, car un des problèmes principaux de cette étude est de savoir si à une époque donnée des structures de pensée et des méthodes de constitution de sens peuvent être repérées dans des domaines et dans des modes d'expressions différentsThe logic and internal construction of literary texts are seldom compared with those of landscape and architectural spaces. The aim of our research is to elaborate the feasibility and the conditions of such a relationship : whether it exists or it is possible to develop a common field to deal simultaneously with works belonging to very distinct forms of expression, i. E. Architecture and literature. It is not the components of a work of art that should be compared to their "counterparts" in a different system as they are incomparable specificities. Instead, the connections developing between the components of a system can display similarities which may establish a common basis for a comparative process. Our hypothesis stems from the idea that it would be important to find, beyond the boundaries of disciplines, a common paradigm in the creation and configuration of meaning of contemporary artworks. Although we study a contemporary corpus, the work of the selected authors and architects has begun in the 60s or 70s. The analyses mainly focus on more recent works for one of our main problems is to reveal whether, in a given period, structures of thinking and methods of constitution of meaning can be detected in different fields and modes of expression
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Jones, Susanne Lenné. "What’s in a Frame?: Photography, Memory, and History in Contemporary German Literature." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1132239561.
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Hasler-Bécane, Sigrid. "Les paysages gravés d'Augustin Hirschvogel et de Hanns Lautensack /." Paris (106 bd Kellermann, 75013) : S. Hasler-Bécane, 1999. http://catalogue.bnf.fr/ark:/12148/cb37084408t.
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Nascimento, Larissa Silva. "Para além das cercas de arame farpado : o Holocausto em Maus, de Art Spiegelman, e em Os emigrantes, de W. G. Sebald." reponame:Repositório Institucional da UnB, 2012. http://repositorio.unb.br/handle/10482/10276.
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Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, Programa de Pós-Graduação em Literatura, 2012Submitted by Alaíde Gonçalves dos Santos (alaide@unb.br) on 2012-04-18T14:08:53Z No. of bitstreams: 1 2012_LarissaSilvaNascimento.pdf: 3069035 bytes, checksum: 95f66d67a6c2b2cafacbf7aeea0962ae (MD5)
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Esta dissertação tem por objetivo evidenciar a expansão das possibilidades representativas que ocorre na literatura sobre o Holocausto. Para tanto, analisam-se dois livros – a obra Maus, escrita por Art Spiegelman, um romance gráfico no qual há uma inexorável interação entre imagem e texto, e o romance Os emigrantes, de W. G. Sebald, no qual também existe um diálogo entre fotografias selecionadas pelo autor e prosa literária – procurando-se investigar como esses textos ultrapassam aqueles discursos padronizados, o lugar-comum, que rondam as representações do Holocausto. Apesar de reconhecer e, ainda, de analisar os discursos que ressaltam os aspectos irrepresentáveis do evento em questão, este trabalho caminha em sentido contrário ao assinalar as novas possibilidades de representação do tema que surgem com a atualização dos meios de comunicação e das mídias na sociedade ocidental contemporânea. Essas mudanças notórias, como a ascensão da imagem como uma forma de expressão que antecipa o declínio da leitura linear da escrita, acontecem desde o imediato pós-guerra (meados de 1940), e isso se reflete na expressão da literatura que tem o Holocausto como objeto de representação. Graças a este estudo, pode-se notar que a ampliação das formas de representação do Holocausto se dá de forma mais evidente a partir da inclusão da imagem junto ao texto literário. É importante compreender também que, assim como se deu a expansão da forma literária, com a inserção de imagens, seu conteúdo, ou seja, a referência a sentimentos, tempos, espaços e vítimas do Holocausto, sofreu, igualmente, evidente ampliação. No que se refere às obras estudadas, Maus e Os emigrantes demonstram que o Holocausto ultrapassa o período da Segunda Guerra Mundial, de 1939-1945. Além disso, elas põem em evidência outros lugares em que a repressão nazista esteve presente que não só os campos de concentração, como também ressaltam a existência de inusitadas vítimas, por exemplo, emigrantes que fugiram da perseguição hitlerista. ____________________________________________________________________________ ABSTRACT
This work aims to evidence the expansion of representative possibilities that occurs in the literature about the Holocaust. For this, two books will be analyzed – the book Maus, written by Art Spiegelman, a graphic novel in which there is an inevitable interaction between image and text, and the novel The emigrants, written by W. G. Sebald, in which there is also a dialogue between photographs selected by the author and literary prose – seeking to investigate how these texts beyond those standardized discourse, the commonplace, that surround the representations of the Holocaust. Despite of recognize and, also, analyze the discourses that highlight aspects unrepresentable of the Holocaust, this work is moving in the opposite direction to signal the new possibilities of representation of the theme that come with the update of media of the contemporary occidental society. These remarkable changes, as the rise of the image as a form of expression that anticipates the decline of reading linear writing, have been held since the immediate post-war (Mid 1940), and this reflects in the expression of literature that has the Holocaust as representation object. Thanks to this study, it may be noted that the expansion of forms of representation of the Holocaust takes more evident from the inclusion of the image with the literary text. It is also important to understand that just as the expansion of the literary form with the inclusion of the image, the content, namely, the reference to feelings, time, space and Holocaust victims, suffered equally clear magnification. With regard to the works studied, Maus and The emigrants show that the Holocaust exceeded the period of World War II, of 1939-1945. Moreover, they highlight other places where the Nazi repression was present that not only the concentration camps, they also show the existence of unexpected victims, for example, immigrants who fled Hitler persecution.