Dissertations / Theses on the topic 'Winfried Georg'
To see the other types of publications on this topic, follow the link: Winfried Georg.
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 25 dissertations / theses for your research on the topic 'Winfried Georg.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
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.
Full textAbstract:
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.
2
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.
Full text
3
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.
Full text
4
Ceuppens, Jan. "Vorbildhafte Trauer W. G. Sebalds "Die Ausgewanderten" und die Rhetorik der Restitution." Eggingen Ed. Isele, 2009. http://d-nb.info/1000386155/04.
Full text
5
Wolf, Georg [Verfasser], and Winfried [Akademischer Betreuer] Schulze. "Bayerische Außenpolitik unter Herzog Maximilian I. zwischen 1605 und 1618 / Georg Wolf. Betreuer: Winfried Schulze." München : Universitätsbibliothek der Ludwig-Maximilians-Universität, 2012. http://d-nb.info/1027066224/34.
Full text
6
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.
Full textAbstract:
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
7
Ward, Lewis Henry. "Holocaust memory in contemporary narratives : towards a theory of transgenerational empathy." Thesis, University of Exeter, 2008. http://hdl.handle.net/10036/47273.
Full textAbstract:
What is the relationship between writing in the present and the traumatic historical events that form the subject of that writing? What narrative strategies do authors employ in order to negotiate the ethical and epistemological problems raised by this gap in time and experience? “Trauma theory” is undermined by clinical controversies and contradictory claims for “literal truth” and “incomprehensibility”. Similarly, the Holocaust has been considered inherently unrepresentable unless by those who witnessed it, leading to a false opposition between genres of “testimony” and “fiction”. A way out of these dead ends is to consider the role of the first-person narrator in contemporary Holocaust narratives. While use of this device risks an inappropriate level of identification with those whose experience is both extreme and unknowable, I argue that this problem may be resolved to an extent through “transgenerational empathy”, an approach to the past that is self-reflexive, incorporates ideas of time, memory and generations, and moves both towards and away from the victims of the past in a simultaneous gesture of proximity and distance. For this theory I draw on Dominick LaCapra’s definitions of empathy and “empathic unsettlement”, and on Hans-Georg Gadamer’s concept of the “fusion of horizons” between past and present. Transgenerational empathy involves giving equal weight to “memory” and “history”. An over-emphasis on memory leads to narratives that are merely identificatory, such as Anne Michaels’ Fugitive Pieces and Binjamin Wilkomirski’s Fragments. In contrast, W. G. Sebald’s use of a narrative persona in The Emigrants and Austerlitz enables transgenerational empathy in narrative by simultaneously imposing layers of distance while establishing close personal connection. Similarly, Jonathan Safran Foer’s third-generation aesthetic of “post-postmemory” in Everything is Illuminated uses a “dual persona” device to foreground empathically the abyss at the heart of any attempt to recapture the past. My analysis of these authors draws on the writings of Gillian Rose, Paul Ricoeur, Marianne Hirsch and Jacques Derrida. However, the concept of “transgenerational empathy” would benefit from further research, both in terms of its “temporal dimension” and the use of narrative personae by other contemporary authors such as Philip Roth.
8
Baer, Andrea Patricia. "The moods of postmodern metafiction : narrative and affective literary spaces and reader (dis)engagement /." Thesis, Connect to this title online; UW restricted, 2008. http://hdl.handle.net/1773/6654.
Full text
9
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.
Full textAbstract:
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)
Approved for entry into archive by Leila Fernandes (leilabiblio@yahoo.com.br) on 2012-04-18T17:29:22Z (GMT) No. of bitstreams: 1 2012_LarissaSilvaNascimento.pdf: 3069035 bytes, checksum: 95f66d67a6c2b2cafacbf7aeea0962ae (MD5)
Made available in DSpace on 2012-04-18T17:29:22Z (GMT). No. of bitstreams: 1 2012_LarissaSilvaNascimento.pdf: 3069035 bytes, checksum: 95f66d67a6c2b2cafacbf7aeea0962ae (MD5)
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.
10
Covindassamy, Mandana. "À l'épreuve du dépaysement : W.G. Sebald : cartographie d'une écriture en déplacement." Paris 4, 2007. http://www.theses.fr/2007PA040163.
Full textAbstract:
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
11
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.
Full textAbstract:
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. .
12
Engels, Andrea. "W. G. Sebalds Nach der Natur. Ein Elementargedicht." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1236033480.
Full text
13
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.
Full textAbstract:
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
14
Tseti, Angela. "Photo-literature and trauma : from collective history to connective memory." Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCC004.
Full textAbstract:
Prenant appui sur l'intérêt contemporain pour les rencontres texte/image et la prolifération récente des oeuvres bi-médiales, cette thèse se propose d'étudier les structures et les qualités du photo-roman, en vue de soutenir que cette forme nouvelle offre un espace privilégié à l'interrogation — et potentiellement à la représentation ¬des événements traumatiques collectifs. L'exploration d'une série de travaux photo-littéraires produits entre la fin du 20ème siècle et le début du 21ème et caractérisés par une thématique historiographique ainsi que la concomitance avec une catastrophe historique suggère que la combinaison de la fiction et de la photographie au sein d'un même dispositif photo-narratif est susceptible de fournir une alternative à la problématique bien connue de l'irreprésentabilité du trauma. Nous considérons que la photo-littérature emploie les rapports souvent notés entre la photographie et l'histoire, la biographie, le temps et la mort dans le cadre familier du roman, tout en faisant appel au lecteur comme un acteur indispensable du processus d'élaboration du sens textuel. Les mécanismes complexes du composé photo-textuel permettent de mettre en lumière le fait que les histoires de vie personnelles sont pertinentes à l'expérience collective, ainsi que les parallèles entre des événements historiques traumatiques divers. Ainsi, la photo-littérature permet un passage de l'histoire à un genre de mémoire qui est essentiellement connectif ; par là même, cette forme nouvelle va à l'encontre d'une incapacité présumée à énoncer la mémoire traumatique, en suivant une approche fondée sur l'attention et l'investissement affectifDrawing on the increased interest in word-image interactions and the recent proliferation of bimedial works of literature, this study proposes an investigation of the structures and qualities of the photo-nove', with the contention that this emergent new form constitutes a privileged space where instances of collective trauma may be addressed, potentially even represented. The exploration of a series of works of photo-literature of the Tate 20th and early 215t century that are affiliated to historiography and unfold in the midst or aftermath of a great historic calamity suggests that the combination of fiction and photography within a single, photo-textual narrative may counter the problematic of unrepresentability raised by Trauma Studies. Photo-literature, as this study purports, employs photography's well-lçnown relations to history, biography, time and'cleath within the familiar schema of the nove', while invoking? the respondent reader as an essential component of the meaning¬making process. These elaborate workings of the photo-textual compound result in the highlighting of the individual life story's pertinence to the collective experience and the establishment of parallels between diverse historical instances of trauma. Thus, photo-literature enables the passage from history to an essentially connective type of memory and, subsequently, responds to a professed inability to enunciate the traumatic experience, by offering an approach that is reliant on affective investment and attention
15
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.
Full textAbstract:
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
16
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.
Full textAbstract:
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.
17
Blackler, Deane Pamela Ann. "The adventurous travels of a disobedient reader : a reading practice for the fiction of W.G. Sebald." Thesis, 2005. https://eprints.utas.edu.au/19200/1/whole_BlacklerDeanePamelaAnn2005_thesis.pdf.
Full textAbstract:
This thesis traces an exploratory reading itinerary whose destination
is a way of engaging with the prose fiction of W.G. Sebald (1944-2001).
It reflects on the obedient reader as one who travels a straight path
shepherded by the rhetoric of authority in a textual journey and
considers the alternative paths of disobedience offered by Sebald's
invitation to adventure in his four works of fiction.
The appearance of a new writer of substance at the end of the
twentieth century aroused considerable interest, not least because his
fiction, written originally in German, announced a reception dilemma.
The essence of this problematic lies in the destabilisation of the reader
with the consequence that Sebald's fiction constructs what this thesis
calls a disobedient reader.
Made uncertain of the road ahead, this disobedient reader cannot
surrender to the comfort of knowing that the journey has been
mapped out for her in a way that enables her to trust the text. She
must be ever on the alert, watchful for the unexpected and the
unreliable by reading with a close attentiveness. This signals both her
own capacity for disobedience and her preparedness to assume
collaborative responsibility for the textual imaginary. Consequently
this disobedient reader emerges as one who, from time to time, takes
matters into her own hands, setting off on side-trips away from the
decentred narrative authority of the Sebaldian text, expanding the
reading itinerary in ways which cannot be contained by the journeys
offered in each of the texts.
The thesis identifies three facets of Sebald's practice which are
deployed in the construction of a disobedient reader. These are his
employment of a seemingly autobiographical narrator; his insertion of
photographs into his prose; his drawing on a precisely indexed sense
of place only to subvert it by constructing it as a textual space.
According to the parameters of these domains the thesis considers the
journey that each text offers to the reader by bringing to bear a
watchful scrutiny which preserves the reader's interrogative and
contestatory position free from the authority of the text. Finally I reflect on the notion that encouraging the reader's capacity
for disobedience, affording contemplative and imaginative freedom, is
part of Sebald's legacy to literature, offering the possibility of
continuing travel into the unknown by means of a collaborative
textual imaginary free of the discursive authority of any single voice.
18
Watts, Andrew Michael School of English UNSW. "Metonymy and trauma: re-presenting death in the literature of W. G. Sebald." 2007. http://handle.unsw.edu.au/1959.4/40456.
Full textAbstract:
Novel: Fragments of a Former Moon The novel Fragments of a Former Moon (FFM) invokes the paradoxical earlier death of the still-living protagonist. The unmarried German woman is told that her skeletal remains have been discovered in Israel, thirty-eight years since her body was interred in 1967. This absurd premise raises issues of representing death in contemporary culture; death's destabilising effect on the individual's textual representation; post-Enlightenment dissolution of the modern rational self; and problems of mimetic post- Holocaust representation. Using W G Sebald's fiction as a point of departure, FFM's photographic illustrations connote modes of textual representation that disrupt the autobiographical self, invoking mortality and its a-temporal (representational) displacement. As with Sebald's recurring references to the Holocaust, FFM depicts a psychologically unstable protagonist seeking to recover repressed memories of an absent past. Research dissertation: Metonymy &Trauma: Re-presenting Death in the Literature of W. G. Sebald. The dissertation centres on the effect of metonymy in the rhetoric of textually-constructed identity and its contemporary representation in the face of death. I concentrate on the effect of Holocaust trauma on representation and memory, relating trauma theory to the metonymy of W G Sebald's fiction, and situating representations of the traumatised self within the institution of modern bureaucracy. Using Ronald Schleifer's theory of metonymy I explore the rhetorical process by which Sebald seeks to depict the unrepresentable within Holocaust history, arguing that Sebald's correlation of text with image evokes problems of Holocaust discourse because it re-presents the past while recognising inadequacies within conventional narrative. Photography's function as an indexical trace of the past grounds my account of Sebald's use of imagery in questioning conventional forms of representation. I argue that Sebald construes the institutionalised constitution of the modern self through civic architecture, emphasising the metonymical associations of contemporary Western life and death. I maintain ultimately that the ethically displaced modern self typifies a culture capable of committing - and simultaneously repressing the representation - of technologised mass genocide: Sebald's texts critique modern society by apprehending modes of intersubjective memory and narrative responsibility through acknowledgement of the arbitrary, indexical capacity of metonymical representation.
19
Turcot, François. "Itinéraire et mémoire des lieux : l'espace visuel, mélancolique et historique dans Les anneaux de Saturne de W.G. Sebald." Mémoire, 2007. http://www.archipel.uqam.ca/3350/1/M9666.pdf.
Full textAbstract:
Littéralement fasciné par l'anéantissement accéléré de la mémoire individuelle et collective -d'une crise de la transmission provoquée par la modernité -, l'auteur des Anneaux de Saturne est avant tout un écrivain mélancolique persuadé que l'histoire elle-même disparaît. La littérature sébaldienne est un agencement de ruines: elle revisite la syntaxe de l'interprète qui, lui, sélectionne, organise et structure les matériaux du souvenir. Pour Sebald, se souvenir, c'est inévitablement chercher à interpréter: tout concourt à revisiter l'Histoire à travers une écriture qui tente de reconstituer le lieu des disparitions, à configurer la perte elle-même. Les Anneaux de Saturne est un journal de voyage où l'auteur, qui incame la figure du marcheur, du sujet qui s'éprouve dans différents lieux, a la volonté de décrire l'épaisseur de l'espace qui l'environne, ce qui lui permet de saisir une mémoire des lieux. Ce projet de restitution de la mémoire par l'écriture et l'image tente de combler certaines failles de l'histoire (notamment en faisant ressurgir différents documents d'archive), afin de raconter a posteriori l'histoire de la côte est de l'Angleterre. En retenant des bribes du passé par l'apport photographique, Sebald crée des effets de réel qui participent au déploiement de l'imaginaire du document. La densité signifiante de l'espace visuel, constamment en dialogue avec les séquences textuelles, provoque une accumulation de significations. L'archive ouvre ainsi au lecteur un espace d'interprétation. Si la mélancolie des ruines nous conduit à l'intérieur d'un « voyage analytique » qui vise à cerner les caractéristiques significatives agissant dans l'espace visuel, mélancolique et historique de ce récit, il est essentiel de formuler de quelle manière l'écriture de Sebald est traversée par ces espaces. Comment, finalement, les trois espaces se rencontrent, résonnent entre eux. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Sebald, Ruine, Histoire, Mélancolie, Espace, Photographie.
20
Bocchi, Gianmarco. "The Rhetoric of images in W. G. Sebald´s narratives: The Emigrants, The Rings of Saturn and Vertigo." Master's thesis, 2017. http://hdl.handle.net/10362/23096.
Full textAbstract:
Sebald’s writing would be greatly impoverished without his use of images. Beginning with
this statement as my starting point, this dissertation will investigate the complicated relationship
between photographs and text in three of W. G. Sebald's narratives: The Emigrants, The Rings of
Saturn and Vertigo. The introductory chapter will establish the research questions and it will provide
a preliminary overview of fundamental issues, which one has to take into account when
approaching Sebald's works. These include the question of memory, the reasons and implications of
using photographs in fiction and the use of black and white images. I will then focus my attention
on the “hybrid” and intriguing nature of photography and by relying on Berger, Barthes and
Sontag's works in particular,1 I will be able to enrich the discussion and to provide my critical
insight on the role of photographs in Sebald's works. By considering concepts such as manipulation
and indexicality, I will determine the reasons behind Sebald's use of this medium. A considerable
portion of this work will focus on the analysis of the three books, both separately and combined.
Besides specific thematic issues, the core of this dissertation will be based on the identification of
sylistic devices within the visual apparatus of Sebald's narratives. By investigating Sebald's visual
narratives, I recognized many sequences that generate such stylistic devices. In doing this, I will
shed light on the rhetorical aspect of Sebald's visual apparatus, which represents a new critical
interpretation. By ʻwalkingʼ through Sebald's memories and images, I will also establish
connections between the three works. By using a series of comparative diagrams, I will contribute
to the critical body of work on Sebald's way of organizing both his verbal and visual apparatus.
Thanks to the critical positions that I will display throughout the dissertation and thanks to my focus
on the rhetoric of images, the conclusion will finalize the discussion by providing answers that will
open new direction to Sebald's scholarship.
21
Robalo, Maria Inês. "Memória traumática e limiares da representação em Die Ringe des Saturn e Austerlitz de W. G. Sebald." Master's thesis, 2016. http://hdl.handle.net/10451/26107.
Full textAbstract:
Esta dissertação de mestrado centra-se no estudo da representação de traumas e da memória do
Holocausto em dois textos literários de W.G. Sebald, a saber Die Ringe des Saturn (1995) e
Austerlitz (2001). Neste âmbito avançaremos a ideia de que a obra de Sebald converge entre si na
problematização da literatura enquanto veículo de memórias traumáticas, trazendo consigo
implícita uma reflexão acerca das relações entre estética e ética como horizonte crítico. Assim,
mostraremos como os narradores, e os mediadores em geral, permitem a Sebald o tratamento
desta questão sob o prisma da aproximação e/ ou afastamento face ao acontecimento traumático
e desse modo descobrir várias modalidades de veicular passados traumáticos. Atentar-se-á
também em figuras e imagens de limiares, que serão a base para se argumentar que a relação entre
a linguagem literária, a fotografia e a memória se configura na obra de Sebald como um conjunto
de interacções que produzem ambiguidade.This dissertation presents itself as a study of representations of trauma and Holocaust memory in two literary texts by W.G. Sebald, namely Die Ringe des Saturn (1995) and Austerlitz (2001). In this scope Sebald’s texts will be understood in their convergence toward the problematizing of literature’s stances as carrier of traumatic memories, which implies a reflection about ethical and aesthetical relations at its critical horizon. Thus I will try to show how narrators and mediators in general enable Sebald to treat the question of traumatic memory transmission through the lens of approximation and/or detachment, and consequently foster various modalities of traumatic pasts’ mediation. Attention will also be devoted to various figures and images of liminality, and I will argue that it is through these images that the relationship between literary language, photography and memory is configured in Sebald’s works as sets of relations that produce ambiguity and blurriness.
22
Lee, Thomas M. ""At all events, in retrospect I became preoccupied" : the prose fictional metaphysics of W. G. Sebald." Thesis, 2012. http://handle.uws.edu.au:8081/1959.7/525120.
Full textAbstract:
This thesis examines writing as a means of persuasion through which one might explore the grounds and scope of perception. Its primary focus is W. G. Sebald’s four works of prose fiction, Vertigo, The Rings of Saturn, The Emigrants and Austerlitz. I interpret Sebald as unique among contemporary writers of fiction in his sustained interest in the metaphysics of perception, in particular the role played by suggestive connections, and the kind of thinking that takes place in writing, as writing, while one writes. For Sebald, writing (both as material and as a representational device) and reading are crucial parts of perceptual experience, not simply from the perspective of a knowing, human subject, but in terms of the various kinds of agencies distributed throughout the world. I argue that Sebald’s prose fiction accounts for a wide range of perceptual experiences, including perspectives of the human and non-human, living and non-living, remembered, documented, dreamt and imagined. In his work we witness how these generically different experiences continually affect and participate in the nature of each other. Sebald’s attention to the complexity of perceptual experience, along with his stylistic elegance and formal innovativeness, means that his work offers valuable insight into the question that haunts any literary enterprise: what is the world like from another perspective? And to what extent is a perspective informed by the multiple perspectives it necessarily obscures? Sebald provides the reader with an account whereby specific perceptual detail and impersonal history at once interweave and retain their distinctness. I read Sebald alongside the philosophy of Alfred North Whitehead and recent critics and thinkers who have taken an interest in Whitehead’s work. For me, Whitehead offers a conceptual scaffold adequate to the richness, variability, obscurity and continual novelty of perceptual experience. In addition to Whitehead’s work, I recruit other contemporary thinkers and writers who, like Sebald, are preoccupied with imaginatively accounting for the various genres of thing that compose our world and instance worlds unto themselves. This predisposition methodologically and stylistically manifests in readings of modernity that emphasise poetic affect and poetic ix thinking as ways of accounting for experience and which are not limited by disciplinary exclusivity. Among the perhaps more implicit, though no less productive, propositions of this reading is a reassessment of the division between non-conscious and conscious perception. Invoking Whitehead’s “philosophy of organism”, I argue for a conception of consciousness that exemplifies aspects of non-conscious perceptual and cognitive processes, and, in an inverse but complementary fashion, for a more inclusive conception of the non-human world regarding its perceptual capacity. Sebald’s prose is the test case that serves as a limitation and medium, and which plays an active role in the tracing and establishment of these propositions. This thesis practises a kind of literary criticism that treats objects as implicated in the pervasive aspects of our experience. It proposes an interpretation of Sebald’s texts and, more generally, a reading methodology or theory that seeks to exemplify rather than judge the hypothetical worlds his texts establish.
23
Aquino, Maysa Macedo de. "A memória como cinza em W. G. Sebald: um itinerário." Master's thesis, 2020. http://hdl.handle.net/10451/44224.
Full textAbstract:
This paper seeks to investigate the nuances of the memory as ashes in the work of the writer W.G. Sebald. Centered on the effects of destruction, Sebald's writing continuously supports the idea of retention. Having The Rings of Saturn as central framework, due to its strong tone of compendium and the amplitude of the examined theme, the following itinerary registers the flux of the rescue of the ashes – understood as residue, reminiscence – through three essential points of convergence: Space, Image and Literature. The abovementioned categories will consider recurring aspects of the author's work, seen through the lenses of the proposed framework. Among them, the following shall be highlighted: the theme of pilgrimage – fundamental strategy of Sebald's narratives, in which the notion of the mobilization of space is intrinsically connected to the mobilization of memory; the strong interest towards the work of art and photography – especially, the understanding of the work of art as a residue; and the constant literary incidences – of the references evoked by the writer to register the memory of the dead, who are, essentially, also writers. Lastly, this paper endeavors to criticize Sebald's work under the perspective of the crossing between the dimensions of memory and oblivion, and, consequently, of the rescue made through his works. When examining Sebald's writing, it is possible to affirm that the author has the formalization of an absence as a principle. This procedure, which will be examined through this work, aims to contribute to the understanding of the work of art through the appreciation of what is forgotten – and must be rescued. It is within this context that the writer's obsessive preoccupation with the past is configured. In correlation, the followed itinerary seeks to replicate this movement of rescue and to unveil the author's intents.
24
McArthur, Elizabeth Andrews. "Narrative Topography: Fictions of Country, City, and Suburb in the Work of Virginia Woolf, W. G. Sebald, Kazuo Ishiguro, and Ian McEwan." Thesis, 2012. https://doi.org/10.7916/D89Z9BV7.
Full textAbstract:
This dissertation analyzes how twentieth- and early twenty-first- century novelists respond to the English landscape through their presentation of narrative and their experiments with novelistic form. Opening with a discussion of the English planning movement, "Narrative Topography" reveals how shifting perceptions of the structure of English space affect the content and form of the contemporary novel. The first chapter investigates literary responses to the English landscape between the World Wars, a period characterized by rapid suburban growth. It reveals how Virginia Woolf, in Mrs. Dalloway and Between the Acts, reconsiders which narrative choices might be appropriate for mobilizing and critiquing arguments about the relationship between city, country, and suburb. The following chapters focus on responses to the English landscape during the present era. The second chapter argues that W. G. Sebald, in The Rings of Saturn, constructs rural Norfolk and Suffolk as containing landscapes of horror--spaces riddled with sinkholes that lead his narrator to think about near and distant acts of violence. As Sebald intimates that this forms a porous "landscape" in its own right, he draws attention to the fallibility of representation and the erosion of cultural memory. The third chapter focuses on Kazuo Ishiguro's Never Let Me Go, a novel in which a cloned human being uses descriptions of landscape to express and, more often, to suppress the physical and emotional pain associated with her position in society. By emphasizing his narrator's proclivity towards euphemism and pastiche, Ishiguro intimates that, in an era of mechanical and genetic reproduction, reliance on perspectives formed in past and imagined futures can be quite deadly. The fourth chapter analyzes Ian McEwan's post 9/11 novel, Saturday--a reworking of Woolf's Mrs. Dalloway. In reading these two novels side-by-side, it reveals how London, its suburbs, and the English countryside might be imagined differently in the contemporary consciousness. Together these chapters investigate why novelistic treatments of the English landscape might interest contemporary readers who live outside England (and/or read these works in translation), especially during an era in which the English landscape has ceased to function as the real or metaphorical center of empire.
25
Hennlich, Andrew J. "Narrating the German loss : small histories and the historiography of Fascist violence /." 2007. http://dc.lib.unc.edu/u?/etd,866.
Full text