Theses (Germanic and Slavic Studies)

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Hybrid memorial culture: Moving beyond rigid interpretations of Ukrainian memorial culture at Babyn Yar.
(2025) Ward, Alicia; Yekelchyk, Serhy
As the most recognizable symbol of the Holocaust in Ukraine, Babyn Yar’s culture of memory has long been of interest to Western scholars of history and memory. Despite this interest, little has been done to approach Ukraine’s post-Soviet Holocaust memorial culture through a postcolonial lens. Once a silenced memory subsumed into the broader Soviet myth of the Great Patriotic War, memory of the Holocaust only officially entered Ukraine’s mnemonic space in 1991. At the core of the existing scholarship over how Ukraine has approached the memory of the Holocaust is what Michael Rothberg has referred to as a logic of scarcity. This logic assumes that the emergence of other previously banned memories such as Stalin’s man-made famine, also known as the Holodomor (1932-1933), and the anti-Soviet activities of the Organization of Ukrainian Nationalists (OUN) and Ukrainian Insurgent Army (UPA), have automatically pushed memory of Holocaust out of the mnemonic space. Scholarly literature targeting English-speaking audiences has utilized this competitive logic, following an assumption that post-Soviet Ukrainian presidents have continued the Soviet culture of denial, while simultaneously suggesting the presence of wide-spread ethnic nationalism introduced by the state. This thesis contends that Holocaust memory in Ukraine is more complex than the rigid binaries articulated in previous literature. By taking a postcolonial and multidirectional approach to Babyn Yar’s official and non-governmental memorial culture, this project demonstrates that a new humanistic and hybrid model of Holocaust memory has developed in the post-Soviet space; a model that is neither the former Soviet culture of denial, nor an overall reinterpretation of the past. Rather, it is a new model of memory that blends the intersecting and multiple layers of memory at Babyn Yar.
The Fantastic problem of individuation as depicted in Gustav Meyrink's Der Golem and Walpurgisnacht
(1995) Zimmermann, Iris Petra
This thesis focusses on two novels by Gustav Meyrink, Der Golem and Walpurgisnacht which employ fantastic motifs to depict the two main themes that characterize Meyrink's work, the individual's search for the "self" and the possession of an individual by other-worldly forces. The aim of this thesis is an analysis of what constitutes fantastic literature and themes in relation to these two novels. An emphasis is placed on Jung's theory of the archetypes of the collective unconscious and the process of individuation, because both he and Meyrink consider arcane symbols as depictions of the psyche. After a detailed analysis of Der Golem it is concluded that the text constitutes what Tzvetan Todorov defines as a fantastic-marvellous text. Walpurgisnacht, however, depicts supernatural events as metaphors for "reality," which detract from the fantastic nature of that novel.
Lives of Lotte : an examination of a literary relationship between Goethe and Plenzdorf
(1991) Willis, Lydia Françoise
For over two hundred years the mostly male literary critics have concentrated on the trials and tribulations of Werther, the protagonist in Goethe's epoch-making Die Leiden des jungen Werther (1774), while thoroughly neglecting the all-important role of Lotte, his female counterpart in the love relationship. These same critics saw in her the embodiment of innocence and passivity, an image which cannot be supported by a critical reading of Goethe's text, and needs to be reassessed, Similarly, Charlie's role in Plenzdorf's Die neuen Leiden des jungen W. (1973) has been overshadowed by the tragic fate of the male protagonist. Like the Lotte of the classical novel, she is an active and not totally innocent player in a triangular relationship. In spite of the fact that the female characters played such a crucial part in the novels, no study of their respective roles had been undertaken so far. The purpose of this thesis is to examine and compare socio-cultural aspects and narrative techniques-as they influenced the portrayal of the female protagonists in the Goethe and Plenzdorf novels. My conclusions are based on an extensive study of the primary texts against the background of secondary literature spanning over two hundred years, including some of the latest literary criticism. Although I deal with the female perspective, my aim is not to pursue a feminist interpretation. The portrayal of the female characters by the male authors appears perfectly plausible. In the classical novel, Goethe paints an idealized portrait of a young woman who combines intrinsic natural charm, goodness, social skills, and love of music and literature. Yet her image becomes less perfect when, although engaged to the older, reliable and solid Albert, she becomes involved during his absence with the younger, more sensitive and compatible Werther, continuing this relationship with him even after her marriage. Lotte and Werther both deceive themselves into believing that their relationship will remain on a purely platonic level. Whereas Werther is attracted immediately by Lotte's physical charms, he denies such feelings and treats her as an unattainable "saint," even going so far as to cover her rather forward and coquettish behaviour with a mantle of innocence. Lotte enjoys his company and dallies with him, blind to his growing passion, secure in the knowledge that good and reliable Albert is beside her. When finally she is overcome by passion, she sees her kisses as an affront against the convention of marriage, and she must let go of Werther, even though she knows that it may mean death for him. Plenzdorf's Charlie is a typical young East German woman of the 1970s. She has a productive job outside the home, which she seems to enjoy . Like Lotte in the Goethe novel, she is engaged to a reliable older man, who is presently serving in the army. When Charlie meets the young Edgar, she is attracted by his sensibility and carefree manner. Edgar, who as a twentieth-century character does not share Werther's sexual inhibitions, desires Charlie, yet is prepared to wait. It is the female character who initiates the encounters and shapes the relationship, finally provoking consummation, which she instantly regrets. In pursuing her marriage instead of her inclination, she pushes Edgar into a depression, which culminates in his fatal accident.
Expressionistic elements in Walter Bauer's early works
(1997) Whelan, Michael Paul
The German-Canadian writer Walter Bauer (1904-1976, immigrated to Canada in 1952) began his literary career nearly a decade after the literary movement Expressionism had lost its currency, yet his early works of poetry and prose are often reminiscent of the ardent temperament of the Expressionists, of some of the distinguishing themes and motifs of the movement, and, occasionally, of the excited literary style of Expressionism. This thesis examines three of Bauer's early works, Kamerad en. zu euch sprecheich (1929), Stimme aus dem Leunawerk (1930), and Die notwendige Reise (1932), for marked expressionistic elements of temperament, theme and style. The chief findings are as follows: running through Kameraden, zu euch sprecheich and imbued with expressionistic pathos are the Expressionist theme of the inhumanity of the modern urban and industrial world and the Expressionist watchword of brotherhood with the downtrodden; distinguishing Stimme aus dem Leunawerk is a revolutionary undertone, evident not only in symbolic images of a proletarian socialist rising, but also heard in Bauer's avatar of the working class--"Hiob," or the proletarian Job--who speaks with an expressionistic voice from the heart and for a revolution of the spirit; and, finally, standing out in Die notwendige Reise is the theme of the journey of inner transformation which can be compared with the progressive transformation of the protagonist toward becoming " der neue Mensch " in the typical Expressionist station drama , such as Ernst Toller ' s Die Wandlung (1919), insofar as the journey is a search for a new spiritual reality and for authentically human and morally sensitive community. These early works by Bauer cannot be called Expressionist , yet the many and notable expressionistic elements in them do indicate the important influence of Expressionism on Bauer's literary beginnings.
Distanz und nähe : das Amerikabild in ausgewählten texten von Jürg Federspiel
(1996) Tranbarger, Andrea Elisabeth Schmidt
This thesis focusses on three texts by Jürg Federspiel, Museum des Basses, Die Ballade von der Typhoid Mary and Die beste Stadt und andere Berichte in which Federspiel's preoccupation with America is most apparent. The aim of this study is an examination of what constitutes the Swiss writer's creative tension not only within Swiss society but in relation to other cultures, as well as the subsequent shift of the location from Switzerland to abroad which seems to be a dominant feature in the literatures of Switzerland. Based on the three texts and their mutual topic of depicting a foreign cultural environment, the function of America as a theme is examined in order to detect a potential development in the author's stance regarding his America image.
Das fiat mihi im werke Gertrud von le Forts
(1997) Speth, Kathrin
This study examines the theme of 'fiat mihi' as the basis of Gertrud von le Forts world-view and literary works, and as their unifying principle. The concept of 'fiat mihi' derives from the Annunciation of Mary in St. Luke's Gospel (1 :38),. where Mary replies to the angel: "fiat mihi secundum verbum tuum" ("be it unto me according to thy wo'rd") (1 :38). Le Fort recognises this gesture of devotion and selflessness as fundamental not only to the historical Mary, but to the whole of human existence itself. Critical studies of Gertrud von le Fort have so far neglected this vital aspect of her lyrics and prose. In order to demonstrate the applicability of the 'fiat mihi' as unifying element, the thesis analyses a wide variety of the writer's prose, poetry and unpublished correspondence and documents. It examines how acquiescence and selflessness - what some critics would call submission and passivity - form an integral component of her concept of life and letters. Following the tradition of the Renouveau Catholique, le Fort argues that the poet functions as a medium between God and the reader. In order to be able to proclaim the word of God, the poets must empty themselves of their own will and submit fully to the will of God. Furthermore, the fiat mihi is seen as an important ingredient in human relationships. In her works, le Fort stresses the necessity of the individual's devotion to God, to mankind and to one's generation, a gesture that she sees symbolically as particularly feminine (weiblich). Whereas previous studies have focused on le Fort's depiction of woman and femaleness, they have failed to acknowledge that the fiat mihi also constitutes the essence of male persons as well. Using textual analysis of various novels, the dissertation attempts to show le Forts understanding of gender roles, in which peace can exist only through fulfilment of the God-given gender roles. Furthermore, the thesis explores the importance of the fiat mihi in uniting the soteriological structure of Christianity with secular history (Heils- und Weltgeschichte). Following the tradition of Luther, le Fort recognises the worldly state as an integral part of the divine plan; therefore a culture with its social and political laws has to submit itself to the will of God. The study also explores Gertrud von le Forts relationship to National socialism, a period during which she produced some of her most famous, and major, works. Significantly, where secular critics have at least addressed the issue, Christian critics have failed to deal effectively with this aspect, a feature that has led to various misinterpretations and misunderstandings about le Fort and her work. Contrary to prevailing Christian critical opinion, le Fort cannot be rescued from suggestions of her having been a fellow traveller by claiming her as a closet Resistance fighter. Characteristically, le Fort faced National Socialism according to the biblical dictum of not resisting Evil; this meant, for the 1930s to 1940s, non-resistance. Rooted in a particular understanding of Scripture, she regarded evil as part of a divine plan that had to be accepted in its totality as the will of God. The thesis therefore argues that le Fort illustrates a form of spiritual Resistance (geistiger Widerstand) by her upholding of her Christian ethics and morals in the face of evil. This spiritual Resistance, often expressed in her writing using historical parallels and other methods of literary camouflage, forms an essential part of le Forts lyrics and novels. Evidence suggests that many of her readers found consolation in her works of this period. This dissertation's bibliography contains, among other things, an up-to-date and complete account of the secondary sources on the works and thought of Gertrud von le Fort.
Neuschreibungen historischer Frauengestalten in der Literatur von Frauen : Daphne Marlatts Ana historic und Christa Wolfs Kassandra
(1992) Satzinger, Beatrix
The symbolism of the cross in Ernst Toller's drama "Die Wandlung"
(2002) Russell, Bonnie
The symbolism of the cross in Ernst Toiler's 1919 drama Die Wandlung is a preeminent representation of the Expressionist theme of "der neue Mensch." This thematic study underlines the relevance of cultural context to the themes associated with the cross symbolism in Die Wandlung, which occurs as Christian symbol of sacrifice and regeneration, the Iron Cross of war honour, and the Red Cross of healing. Association of the theme of Ahasver, the Jew exiled from a Christian world, with the symbolism of the cross offers Toller' s new variation of the theme of "der neue Mensch." The recurrent imagery of the cross in Toller' s later dramas of revolution, Masse Mensch (1919), Die Maschinenestiirmer (1921 ). Hoppla, wir leben! (1927), and Feuer aus den Kesseln (1930), supports a cultural understanding of the cross symbolism in Die Wandlung.
Gottfried Keller's farewell to the "originalgenie" an examination of the Züricher Novellen
(1988) Robertson, Karen Lee
In the development of the notion of "Genie" in German literature during the eighteenth and nineteenth centuries, various attributes were ascribed to the concept by writers on the subject. Originality was seen as an important aspect of the concept and this, especially in the "Sturm und Drang" years (1770's), gave rise to a concept referred to as the "Originalgenie". In his Ziiricher Novellen (1876-77), Gottfried Keller takes issue with the "Originalgenie". The purpose of this thesis is to examine, in its historical context, Keller's critical view of the notion and what he proposes in its stead. Since it is the so-called Jacques-cycle of the Ziiricher Novellen that specifically deals with the historical idea of the "Originalgenie", my thesis concentrates on these particular stories. Offering various perspectives by way of these individual "Novellen", Keller presents his understanding of what constitutes originality. The significant framing narrative that encompasses each "Novelle" serves to bind the different perspectives together and elaborate on the theme· of originality. An important relationship can be seen here between Keller's choice of form and content. The essential idea behind the German "Novelle" is to portray, with a didactic intent, something new, unheard of (or "original"). Keller makes use of the "Novelle" form to convey his didactic message which throws a different light· on the traditional understanding of originality. Finding the "Originalgenie" to be arbitrary and misdirected and not tenable in his day, Keller proposes his alternative of the "gutes Original". He does not intend this figure to be seen as a new version of the "Originalgenie". It is, in fact, a complete reversal of this notion. Keller sets out to show that what he considers as "gute Originalitlit" is developed through a learning process over time; it is not an innate gift, nor does it arise spontaneously. "Good originality" often involves imitation of a worthy model, guided by recognition and acceptance of given limitations; there is no room for passionate excess. Keller aims for socially· valid originality. It is for this reason that his "gutes Original" appears first and foremost as a "tiichtiger Burger". However, rather than diminishing the exceptional quality usually associated with originality, Keller brings out a less obvious, perhaps neglected dimension of the term. He opposes the idea of inventiveness with that of exemplarity: the "gutes Original" is the model that deserves to be copied. Keller emphasises that this remains an exceptional occurrence. Keller's criticism of the "Originalgenie" is tied in with his perception of himself and his contemporaries as epigones. He offers his counter-concept to underline the possibility that one can develop into an inspirational individual in spite of the limitations of the times. Saying farewell to the "Originalgenie" and presenting his "gutes Original" in its place, Keller endeavours to meet a perceived need of his day.
Die Landschaft in ausgewählten Werken Walter Bauers
(1984) Obst, Brigitte U.
The landscape, which often plays a major role in literature, is of particular importance in the literature of Canada. The German immigrant Walter Bauer contributed to this Canadian literary tradition with many works. From his early literary career in Germany to his years in Canada, the landscape remained a central theme of his writings. This study investigates Walter Bauer's portrayal of the landscape in selected poems, short stories, novels, biographies, and diary entries within a biographic and thematic context. Walter Bauer's works are considered in three sections. The first analyzes his early prose and poetry written in Germany; the second, works written around the time of his immigration; the third, works written in Canada. The emphasis is on writings from his time in Canada. The findings of this study are as follows: Walter Bauer's basic impressions of the North American landscape - defined here as a particular environmental scene which creates significant visual and emotional impressions on the viewer - were initially formed by "frontier adventure" stories he read as a boy; many short stories and poems in Stirnme aus dem Leunawerk ( 1930) reflect this theme. Walter Bauer's personal experiences during the Second World War increased his longing for a new life outside Europe; his hopes and apprehensions are recalled in detail in the short story "Prolog: Letzter Tag in Genua" ( 1963). Walter Bauer's preconceptions of the landscape, formed during his early literary career in Germany, were reinforced during his time in Canada through literature and through discussions with people about their experiences in various areas of his new homeland. During these years his writings reflect especially a preoccupation with the Arctic - as in the biography about Nansen, Die langen Reisen ( 1956), - and. with parts of northern Canada - as in many short stories in the collection Fremd in Toronto ( 1963). Images of glaciers, of regions covered by eternal snow, and of endless silent forests recur. Ironically, Walter Bauer himself rarely set foot in the natural, unspoiled landscape he wrote about. From the beginning of his career as a writer to his later years, Walter Bauer's images are mainly of personal significance: they express his longing for an inner freedom from earlier negative experiences.
Christa Wolfs Medea.Stimmen : mythen, frauen und der literaturstreit
(1998) Neumann, Christiane
This thesis focusses on three aspects of Christa Wolf' s Medea. Stimmen. To demonstrate how Christa Wolf reverts to pre-Euripidean versions of the myth, the first chapter examines different versions of the ancient Medea-myth. To show how Medea and other female figures can not realize .their true potential in society, the second aim of the thesis is to discuss and analyze the significance of the female characters, not only in this novel, but also in texts published before Medea. Stimmen In order to demonstrate that the novel is not only a new version of the Medea-myth and a discussion of the role of women, but that it is also about the author herself, the third aim is to examine the novel in the context of the collapse of the GDR and the ensuing debate about Christa Wolf and her role in the so-called Literaturstreil
Theodor Plievier's Des Kaisers Kulis : ideology and fact
(1997) Main, Ross Roberts
Theodor Plievier's highly su~cessful revisionist historical novel Des Kaisers Kulis (1930) deals with events leading to the demise of the German Imperial Navy. The sailors' rebellions in 1917-18 were a manifestation of the common sailor's antipathy towards the officer corps that reflected the discontent in the Weimar Republic between the common man and the privileged classes. Against a prevailing mood of heroic nationalism propagated by the military establishment and society's dominant, conservative elite, Plievier's stirring, anti-war novel offered a critical expose of the hypocrisy and ineptitude of the leadership of the German navy. However, despite the novel's documentary character Plievier had motives other than just a factual recounting of history. Influenced by difficult life experiences, the self-educated Plievier had developed his own individualistic ideology. He saw neither socialism nor capitalism as solutions to the ills of the world. Rather, he hoped for a revolution of the spirit in each individual. He regarded the November Revolution as not only the end of the Great War (1914-18) and the German empire, but also as a unique, historical, global turning point. This new era would be governed by what he believed was man's primal religion -- Individualism. This thesis focusses not only on how this ideology developed, but also on how it finds expression in both the content and form of the novel. By examining Plievier's selection of the historical data that was availabl,e to him, this thesis evaluates what documented fact has become in the hands of a literary artist, and determines what message the reader is to understand from the work. As well, the thesis focusses on how Plievier expresses his ideology through the depiction of the sailors, particularly Alwin Kobis and Max Reichpietsch, to whom the novel is dedicated. Plievier's insistence on historical verisimilitude, coupled with an account of his own period of service aboard ship, lend the work an autobiographical quality. A mix of narrative methods provides a dual thrust to the work: a claim to both historical truth and to ideological instruction. Indeed, Plievier's novel is significant in that it broke the taboo of the German Imperial Navy by accurately revealing the deplorable conditions of the revered institution. However, into this historically authentic background Plievier wove the tenets of his ideology. Throughout the novel Plievier attacks capitalism while at the same time ignoring all other political movements or organizations. As well, he glorifies and idealizes Kobis as an example of his 'new man'; the autonomous individual who should serve both as an example and beacon for the rest of mankind. Contrary to the prevailing interpretations offered by the political parties during the Weimar Republic, Plievier invests the genre of the war novel (Kriegsroman) with an individualistic, anarchistic interpretation of the sailors' revolt of 1917. While Plievier was revered by the left of the Weimar Republic and censured by the right, an objective reading disappoints the stereotypical thinking of both sides. Des Kaisers Kulis is the propagandization of Plievier's doctrine which Plievier had developed earlier in life and with which he remained until his death in 1955.
"My songs are my diary" : an investigation of biographical content in the Köstlin settings of Josephine Lang
(2001) Krebs, Sharon
The German Lied composer Josephine Lang ( 1815-1880) is frequently quoted as having said that her songs are her diary . Although this statement has coloured virtually all analytical work on her songs, it has not been subjected to a critical and thorough evaluation. Focusing on Lang 's settings of her husband ' s poems, this thesis investigates the following: 1) Lang's verbal notes on the song manuscripts as a diary in the literal sense; 2) Lang's choice of texts for her songs; 3) the significance of Lang's textual modifications of the poems she set; and, 4) the biographical inferences that may be drawn from the music of Lang' s songs. Lang' s entries in her "song diary" range from straightforward to veiled. By examining four possibilities for making entries in a "song diary" and by synthesizing information from a number of previously unexplored primary sources, a number of new insights into Lang' s life and work are gained. The thesis fills gaps in her biography; corrects errors in earlier writings about Lang; demonstrates the complexity of her text selection; presents groups of songs with particular biographical significance; and uncovers information about Lang 's critical stance, her convictions and her perceptions. Lang's famous statement is shown to be true on a number of levels.
Else Seel's Canadian diary : a diary or an autobiographical narrative?
(1995) Kosinski, Lech
This thesis examines the work of a female German-Canadian immigrant, Else Seel (nee Lilbcke), who moved to this country in 1927 and, with her German-born husband, Georg Seel, settled in a log house in the tiny pioneer community of Wistaria, BC. Else Seel's major contribution to Canadian pioneer literature is her Canadian Diary published in Germany in 1964. This work has its origins in the manuscript that Else Seel started during her passage to Canada and kept for twenty-seven years until the death of her husband in 1950, after which she moved from Wistaria. The thesis begins by outlining circumstances that resulted in Else Seel writing the Canadian Diary, as well as her aim in writing it. The first chapter acquaints the reader with Else Seel's biography -- both in Germany and in Canada. The second chapter examines the criteria which make the diary a literary genre; this examination provides the necessary foundation for the comparison of Else Seel's manuscript with the published work that constitutes the bulk of chapter three. Moreover, chapter three also sheds light on the reasons for the transformation of the original diary into a published autobiographical narrative. This is achieved through the comparison of the differences between Seel's original diary and the published work and the presentation of some of the problems she encountered in attempting to have her manuscript published. The result of this transformation is that the published work does not conform with the criteria that characterize a diary. Despite the title Canadian Diary, Else Seel's published work is not a diary, but an autobiographical narrative. This is so because a number of characteristic features of the diary, that are discussed in chapter two, are absent in the published work.
Heinar Kipphardt's Bruder Eichmann in east and west : a contribution to Vergangenheits-und Gegenwartsbewältigung
(1997) Kay, Jennifer Louise Irene
Heinar Kipphardt was one of West Germany's foremost documentary dramatists in the 1960's, and spent over fifteen years researching and writing what was to be his last play, Bruder Eichmann. The play is a condensation of over three thousand pages of testimony given by Adolf Eichmann during interviews from 1960 to 1961 while he was a prisoner in Jerusalem. Interspersed into the text are "analogy scenes" that point to the continuance of the Eichmann-Ha/tung in Western society. Due partially to the inordinate length of Kipphardt's text, the theatre productions of Bruder Eichmann differed significantly in the Federal Republic of Germany and the German Democratic Republic. This study examines approaches to Vergangenheits-und Gegenwartsbewaltigung in each country by analyzing the performance scripts and press reviews of the Munich and East Berlin productions.
Re-thinking male/female arrangements in Karin Struck's Glut und Asche : Eine Liebesgeschichte
(1993) Hofer, Monica Karin
Verdammt und erlöst : Parallelen und Gegensätze in der dramatischen Gestaltung drei historischer Heldinnen : Andreas Gryphius, Catharina von Georgien (1657), Friedrich Schiller, Maria Stuart (1800) und Die Jungfrau von Orleans (1801)
(1985) Dumka, Gisela
Stefan George, a poet of conflicts : from Hymnen to Algabal
(1985) Atkinson, Dena Lynn
A poet's concept of his calling is an important key to a thorough understanding of his literary works. The German lyric poet Stefan George was especially concerned with what he felt was his unique role, His ideal vision of himself leading an artistic empire of kindred spirits was finally fulfilled, in the latter half of his life, upon the establishment of the George-Kreis. In his twenties, however, he felt very keenly the discrepancy between reality and his lofty concept of the poet as a creator of beautiful works and a guardian of society's highest values. This thesis identifies and discusses the conflicts associated with the young poet's search for personal truth as reflected in Hymnen ( 1890), Pilgerfahrten ( 1891) and Algabal (1892), the first collections of poems that George published and considered a trilogy, George's youthful literary quest, in its formative stages, is revealed by the persona of the poet who is a solitary dreamer in Hymnen, a troubled pilgrim in Pilgerfahrten and a world-weary emperor in Algabal. The development of George's concept of the poet, in relation to. his conflicts, is traced from his initial self-affirmation in Hymnen to his doubts about his ability to reach his goals in Pilgerfahrten and Algabal. All of the poems in Hymnen, all but four in Pilgerfahrten and six representative poems in Algabal are discussed. The emphasis is on the first two collections because the conflicts raised in Hymnen and developed in Pilgerfahrten are repeated in Algabal. The poet reaches a nadir in Algabal which marks the end of a phase in George's life and work. Certain recurrent motifs are examined which embody the clash between fantasy and reality, dedication to art and passion for life, renunciation and temptation, the poet and the public, and art and nature. These motifs include the garden of art, the palace or temple of poetry, the hermitage 81'.ld the kingly robe of the poet. The would-be ruler of an artistic empire is seen on a difficult odyssey from his hermitage to the palace of poetry. He hopes that, in time, when his garden of art is in full bloom and his poetry becomes a temple-like haven, he will wear the poet's kingly robe in all its glory. For now, however, in this trilogy, the tension between this ideal and reality is unresolved.
The law of the father : patriarchal subtext and GDR literary tradition in selected texts by Kerstin Hensel
(2002) Alberg, Sandra Sharon
This thesis focuses on three texts by Kerstin Hensel, Im Schlauch, Tanz am Kanai, and Gipshut in which Hensel's preoccupation with the family narrative is most apparent. The aim of this study is to examine portray of Hensel ' s female characters, and how their depiction is typical of GDR literature. Based on the three texts examined, there is a marked trend of patriarchal dominance which underlies the texts in question. Though Hensel's work evolves and becomes more mature and complex, the subtext of the superiority of the father and the symbolic order in place remains constant in all three texts.
Structure and time, narrative perspective and feminism in Irmtraud Morgner's Leben und Abenteuer der Trobadora Beatriz nach Zeugnissen ihrer Spielfrau Laura
(1989) Abbott, Maria Klara
The structure of the novel Leben und Abenteuer der Trobadora Beatriz nach Zeugnissen ihrer .Spielfrau Laura is problematic. Most critical literature describes it as a Montageroman because of its seemingly chaotic sequence. Irmtraud Morgner rejects the term as inappropriate and insists that she adhered to a strict plan. Such a plan has not been recognised by the critics who have interpreted the novel so far. This thesis examines whether there is such a plan and whether Irmtraud Morgner is thus justified in dismissing her critics' failure to recognise the complete structure of her book. It concludes that a very sophisticated mechanical and thematic structure does indeed exist in this work. The thematic structure lies in the feminist orientation of the novel, in its subject matter and viewpoint. The mechanical structure is based upon time, specifically upon the calendar for the period from May 6, 1968 to August 22, 1973. The calendar is the matrix in which the fictional story and the factual information is embedded. A study of structure is a study of the complications, of the means by which this obvious skeleton has been obscured. The seemingly chaotic sequence reflects the thematic structure. The mechanical structure is the plan by which the author, in the person of a fictional editor with her own name, imposes order upon chaos and still lets it appear to be chaotic. The thesis reveals that Leben und Abenteuer is a feminist novel, and not a text in which the GDR and its politics dominate. It is basically and primarily a critique of Western patriarchal . civilisation from the perspective of modern women. The subject matter is the emancipation of women and their particular problems in the period during which the book was written and which it chronicles. Leben und Abenteuer is both a product and a mirror of its time. It reflects the gender of the author, and looks at actual life as a reflection of the theories which support the partriarchal status quo. It finds both life and theory wanting.

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