bluuebunny/crossref_metadata_2025 huggingface dataset:
Moliere's Amphitryon: Myth in a Comic Perspective
Authors: Potter E. J.
Published: June 2007

This study explains how Amphitryon underscores the absence of correspondence between man's need for coherence and the incoherence of the world which he experiences. It also strives to show that Molière is a master of the art of creating in the audience an attitude of partial detachment. Because of the personal disinvolvement encouraged by the playwright, the public willingly arrogates to itself the right to spend a few hours laughing at helpless man whose pathetic role is to struggle under the burden of a mind that cannot satisfy its demands for rationality.
Noras Rollenengagement
Authors: Rieger Gerd Enno
Published: June 2007

Ibsen uses Nora as a concrete example to illustrate the social restrictedness of women in the 19th century. the main point of reference in Nora's conflict about her true rôle in society is her husband Helmer, who in his turn sees Nora only as the personification of a rôle. Nora is made aware of this conflict through Krogstad's social intrigue. Nora's inability to make Helmer understand her Rollenengagement (fight for identification with her rôle), leaves Nora with no other choice than to commit suicide, which she herself regards as a kind of sacrificial death. Nora, who hesitates for a moment, sees at the last moment Helmer's reaction to Krogstad's letter in which the affair of the promissory notes is revealed, and this realizes the pointlessness of her sacrifice. Her Rollenengagement has now lost all meaning for her. She leaves her husband.
Eluard's game of construction
Authors: York R. A.
Published: June 2007

Comment on Eluard's poetry has tended to concentrate on single images. the present study aims at showing that the images in the poems of Capitale de la douleur are combined according to certain regular patterns; they represent certain attitudes to the outside world, which normally are stated in a specific sequence, although certain stages of this sequence may be omitted or dealt with only briefly and there may be some variation, occasionally, of the basic order. the fundamental sequence is (1) immersion in the world; (2) awareness of the otherness of the world; (3) conflict and alienation; (4) assertion of the individual; (5) failure of the individual; (6) unity, love and imagination.
“Zwischen Heimatstil und Sozialkritik: Feuchtwangers Roman Erfolg”
Authors: Szépe Helena
Published: June 2007

Wohl in keinem Roman Feuchtwangers treten die Stärken und Schwächen des Autors so deutlich hervor wie in Erfolg (1930). Es ist ein Werk voll inhaltlicher und formaler Gegensätze. So ergeben sich Spannungen aus dem Wechsel von experimenteller und konservativer Erzähltechnik, von Heimatstil und Sozialkritik, aus dem Gegensatz zwischen politischer Naivität und prophetischem Weitblick, zwischen wässriger Sentimentalität und beissender Satire. In dieser Antithetik von Meisterschaft und Dilettantismus liegt zwar die Problematik des Romans, aber auch zugleich sein eigentlicher ästhetischer Reiz.
A Critique of Wayne C. Booth's A Rhetoric of Irony
Authors: Jakobsen Arnt Lykke
Published: June 2007

In this paper Booth's ‘rhetorical’ description of ‘stable irony’ in A Rhetoric of Irony as a particular operation performed by authors and readers is discussed. It is maintained that Booth's argument is blurred by an uncertain focus, now on ‘a particular operation’, now on irony as a type of statement. It is claimed that if the operation is not an exclusive defining characteristic of irony, the title of the book is unearned. Booth is criticized for failing to distinguish between ‘being ironic’, ‘describing something ironic’, and imitating the two in fiction. Booth's intentional notion of meaning is criticized from a consensualist point of view. the concept of ‘the implied author’ is rejected as superfluous, as a ‘fallacy of anthropomorphic projection’. A section on ‘clues to irony’ offers a new distinction between verbal irony and ‘the technique of implied quotation marks’. Two subsequent sections point out necessary distinctions (not observed by Booth) between parody and mock, and Booth's claim that genre determines meaning and value is refuted. Finally, illogicalities in Booth's classification of ironies are exposed, and it is argued that the book suffers severely from failing to define irony ‐ pure and simple.
René Chars »Le Bois de l'Epte« ‐ eine Allegorie des dichterischen Schöpfungsaktes
Authors: Simonis Ferdinand
Published: June 2007

Chars Lyrik ist Dichtung im Zeichen Heraklits. Es wird untersucht, in welchem Maße Prinzip und Gesetze der Heraklitischen Kosmologie in Chars Gedicht Bild, Empfindung und Gedanken prägen.

Die Zerstörung der Vergangenheit erscheint als ein wesentlicher Aspekt im Schöpfungsprozeß Charschen Dichtens, dessen verschiedene Phasen das Gedicht »Le Bois de l'Epte« allegorisierend wahrnimmt. Der Nährboden der neuen poetischen Gestaltung, jener rosiers sauvages, ist die Asche des Vergangenen, une ruine laissée jadis par l'incendie, die unmittelbar das bewirkte, was der Dichter vergebens zu erlangen strebte in der Gefolgschaft jenes Baches, der als bas coureur und jade ermite zum Gegenbild kraftvollen Schöpfertums wird. Die Vernichtung der Strukturen einer Vergangenheit, auf deren Ruine die Synthese des Neuen plötzlich und ungewöhnlich erfolgt, wird zum Augenblick fruchtbarsten Gestaltens. Die harmonische Einheit der Gegensätze, ein in Hölderlins »Hyperione« gefeiertes Gesetz Heraklitischen Denkens, offenbart sich in Chars Gedicht in jenem der Feuersbrunst (incendie) entstiegenen rauque incarnat d'une rose, wo ein Prozeß vollzogen ist, den Char stets ersehnte: Die Ewigkeit des Blitzes. Zeuger der Feuersbrunst, manifestiert sich in der Dauer des Zeitlichen, in der Vergänglichkeit der Rose.
The revolt against language: A critical note on twentieth‐century irrationalism with special reference to the aesthetico‐philosophical views of Virginia Woolf and Clive Bell
Authors: Heinemann Jan
Published: June 2007

In this article an attempt is made to shed light on the linguistic aspects of modern irrationalist philosophy as they appear in the writings of Virginia Woolf and Clive Bell. the treatment concentrates on problems relating to aesthetics and philosophy, omitting biographical details. the approach has been to combine historical observations in the manner of A. O. Lovejoy's “history of ideas” with the conceptual tools of contemporary linguistic philosophy. the purpose of the article is to show a) that the basic attitude behind the aesthetico‐philosophical theories of Woolf and Bell coincides with a profoundly sceptical view of Western civilisation prevalent among European intellectuals of the early 20th century, b) that this attitude is closely linked to certain pessimistic concepts of the nature and function of language in relation to aesthetics and philosophy, c) that these concepts have paved the way for, or strengthened belief in the so‐called faculty of intuition, d) that they are logically untenable, and e) that, because of their associations with intuitionist doctrines, they are questionable from an ethical point of view.
Religious dualism and aesthetic mediation in the work of Georg Trakl
Authors: Lincoln Peter
Published: June 2007

Starting from an analysis of the ambiguities within one Trakl poem, the article demonstrates how these have led to two extremes of critical opinion, one claiming evidence of Christian sympathies in Trakl's work, and the other asserting his allegiance to a view of poetry as an aesthetic activity independent of any such meaning. A re‐appraisal of those aspects of his verse which have given rise to these conflicting interpretations discovers firstly a strong religious dualism underlying Trakl's work, resembling a Gnostic rather than a Christian position. This then leads to a recognition that ambiguities of content and style do not indicate an affirmation of a Rimbaldian ‘world‐soul’, but reflect his attempt to use poetry to reconcile the two sides of his basic dualism. Musical imagery and the sister symbol emphasise Trakl's awareness that a poem can evoke die Seele as well as depict the world; he realises, however, that this mediation can only be imperfect.
Voltaire and Rousseau: Their Rencontre Fortuite
Authors: Scanlan Timothy M.
Published: June 2007

This paper presents an analysis of two strikingly similar passages ‐ one from Rousseau's La Nouvelle Héloïse, the other from Voltaire's Candide. After the details of the numerous similarities in structure, setting, theme and vocabulary are examined, the possibility of the direct influence of one of these authors upon the other is carefully investigated. A thorough consideration of the chronology of the composition and manuscripts involved leads surprisingly to the conclusion that neither writer could have been influenced by the other at the time he wrote the passage in question. the final conclusion is that what the reader is witnessing is a “chance” meeting of minds and a fortuitous crossing of narrative paths in the case of two authors who were both thoroughly familiar with a novelistic tradition replete with incidences of “fortuitous encounters” of fictional characters.
Der Heldentod des Dichters Theodor Körner Der Einfluβ eines Mythos auf die Rezeption einer Lyrik und ihre literarische Kritik*
Authors: Jöst Erhard
Published: June 2007

Die Wertung literarischer Werke hängt nicht nur von innerliterarischen Kriterien ab, sondern wird auch von biographischen Fakten und der Persönlichkeit des Autors mitunter entscheidend beeinfluβt. Diese These verifiziert der Aufsatz anhand der Rezeptionsgeschichte der patriotischen Lyrik Theodor Kömers. Körners Tod auf dem Schlachtfeld (26.8.1813) in dem gegen Napoleon geführten Befreiungskrieg war ein »heroisches Opfer auf dem Altar des Vaterlands«, das fatale und folgenschwere Auswirkungen auf Rezeption, wissenschaftliche Untersuchungen und Bewertung seiner Dichtung hatte. Der Körner‐Kult des 19. Jahrhunderts wird auf seine Ursachen hin befragt, die Legendenbildung um den Dichterhelden und seine vaterlädische Lyrik ideologie‐kritisch durchleuchtet. Symptomatische Aussagen aus wissenschaft‐lichen Abhandlungen, biographischen Darstellungen und Festschriften zu Körner‐Feiern werden herangezogen, um den Heldentod des Dichters als essentielles Wertungskriterium in der Literaturkritik und Literaturgeschichtsschreibung verschiedener Epochen bis zur Gegenwart nachzuweisen.
The Middle Ages as a Normative Element in Proust
Authors: Sankovitch Tilde
Published: June 2007

The theme of the French Middle Ages, inspired, no doubt, by Proust's childhood experiences and memories, and by his readings of Ruskin, constitute a focal point in A La Recherche du temps perdu. All manifestations of the medieval presence convey to Proust images of beauty and moral perfection, connected with the lost innocence of childhood and the deepest essence of ‘French‐ness.’ The medieval element contributes magic and poetry to the objects, people, places and even words which it affects by contact, and provides a touchstone for authenticity and worth.

Medieval churches and cathedrals especially establish enduring norms by which to judge individuals and societies. They also suggest rules of behavior which may impose cohesion, stability and dignity on the apparently fragmented human experience, and divide people between those who belong to the timeless paradise of childhood, as symbolized by Combray, and those who fall into the corrupt hell of worldliness.

The medieval opus francigenum, as Proust calls it, may overcome, through its continued creative impulse, the decaying action of time, and point to the truth which is the final goal of the Recherche.
The Bible and the Zoo in Andrey Sinyavsky's The Trial Begins
Authors: Chapple Richard L.
Published: June 2007

Biblical imagery plays an integral stylistic and thematic role in Andrey Sinyavsky's The Trial Begins. Simplified Old and New Testament concepts are used as focal points of allegory to expose the theology of the Soviet system and the sanctified person of Stalin. Through the use of such Biblical analogues as a prophet, the Fall, the Atonement, the Mosaic Law, the New Testament Gospel, the Promised Land, the scapegoat, and the account of Abraham and Isaac, Sinyavsky vents his dissident spleen against the excesses of an absolutist system's pursuit of the Great Goal. The system perceives itself as deified but fails because it does not possess the attributes of deity and because it runs amuck of an “end justifies the means” approach to implementation. To amplify his discussion of gods, victims, and sacrifices, Sinyavsky also utilizes animal imagery and focusses on the scapegoat and the prison‐like aura of the zoo. The Biblical conclusions of The Trial Begins indict the system from a New Testament perspective and expose the gospel, deities, and disciples as tragic imitations of ideal originals.
“Marriage in the later fiction of Camus and Simone de Beauvoir”
Authors: Keefe Terence
Published: June 2007

Marriage is an important topic in the post‐war fiction of Camus and Simone de Beauvoir. Characters like Clamence (La Chute) and Lucienne (La Femme rompue) are overtly cynical about the institution, but the marriages portrayed in detail in the twelve stories of this period do not entirely bear out this cynicism. Circumstances in which characters marry are frequently rather strange, showing little commitment to the institution, and few of the marriages run their course smoothly. Yet we are shown successes as well as failures, and all of the problems depicted could arise in any longstanding relationship between a man and a woman; marriage as such is not seen as exercising much influence upon the characters. Camus and Beauvoir are more concerned with the quality of human relationships than with their framework, and the principal targets for their criticism are a certain concept of romantic love with which marriage is commonly associated and any suggestion that sex is capable of solving an individual's metaphysical problems. The individual is shown as accepting marriage, if he does so at all, strictly on his own terms.
Europäisches Bewußtsein in der Krise. Unveröffentlichter Briefwechsel zwischen Stefan Zweig und Georg Brandes.
Authors: Bohnen Klaus
Published: June 2007

Die Begegnung zwischen Georg brandes und Stefan Zweig ist in zweierlei Hinsicht bedeutsam: einmal als kulturhistorisches Dokument für eine Verhaltensmöglichkeit in der Krise, die der Erste Weltkrieg für das europäische Bewußtsein darstellte, und zum anderen als Beleg dafür, wie sehr sich Zweig in seiner literarischen Wirksamkeit der Vorarbeit Brandes' verpflichtet fühlte. Insofern repräsentiert dieser bisher unveröffentlichte Briefwechsel ein charakteristisches Beispiel der Rezeption von Georg Brandes in Deutschland.
»J. P. Jacobsen und der Jugendstil.« Zur Jacobsen‐Rezeption in Deutschland und Österreich.
Authors: Sørensen Bengt Algot
Published: June 2007

Die dänische Jacobsen‐Rezeption, die bis vor wenigen Jahren weitgehend durch die von den Brüdern Brandes ausgehende Tradition bestimmt war, wird einleitungsweise skizziert. Die wesentlich anders verlaufende Jacobsen‐Rezeption in Deutschland und vor allem in Österreich wird anschliessend dokumentiert und charakterisiert. Erst nach dem Naturalismus entsteht in den deutschsprachigen Ländern Jacobsens Ruhm, der im Laufe der 1890er Jahre den Charakter eines kulturgeschichtlichen Modephänomens annimmt. Das Bild Jacobsens wird dabei mit den Zügen des europäischen Fin‐de‐siècle ausgestattet. Diese Jacobsen‐Welle wird an charakteristischen Beispielen untersucht und zwar mit besonderer Berücksichtigung der äusseren Ausstattung der deutschen Jacobsen‐Texte sowie ihres medialen Ortes und ihres deutschen Sprachstils. Das Verhältnis des jungen Rilke zu Jacobsen wird eingehend analysiert. Es stellt sich dabei heraus, dass die deutsche Jacobsen‐Rezeption auf einprägsame Weise durch den graphischen und buchkünstlerischen Jugendstil sowie durch dessen literarische und sprachstilistische Entsprechungen bestimmt und getragen wurde. Rezeptionstheoretische Erwägungen führen über die Analyse ausgewählter, charakteristischer Stilzüge in Jacobsens Werken zu der Feststellung einer auffallenden Affinität zwischen diesen Werken und dem Jugendstil. Aus dieser Sicht erscheint Jacobsen als ein Vorläufer und Wegbereiter des literarischen Jugendstils in Europa.
What is Dada?
Authors: Sheppard Richard W.
Published: June 2007

It has become a cliché that Dada is “nihilistic”, “destructive”, “negative”. Such generalized descriptions trivialize the very specific and penetrating attack on post‐Renaissance Humanist culture undertaken by Dada and obscure the movement's positive aspirations. This article hopes to rectify this imbalance and falls into three sections: In the first part, the five main points of the Dada critique of culture will be enumerated and discussed; in the second part, the essential nature of the Dada état d'esprit will be described and the metaphysic implicit in several of the major Dadaist writers discussed; in the third part, the assumptions behind the production of Dada artefacts will be identified and their paradoxical status as the simultaneous embodiments of critique and remedy established. This article will move across national boundaries and between the literary and visual products of Dada.
≤La Princesse de Clèves≥ ou la magie du conte
Authors: Frølich Juliette
Published: June 2007

La Princesse de Clèves est un récit doublement exposéà la magie du conte:

1. Une analyse du récit selon le modèle élaboré par V. Propp dans sa Morphologie du conte permet de constater qu'une structure‐clé du récit est analogue av). la structure des contes merveilleux. Relever cette structure, c'est rendre lisible l'histoire cachée de la princesse, histoire à laquelle s'est imposée le titre Le vol du portrait.

2. Un examen des rapports de dépendance thématique et textuelle qui lient chacun des protagonistes à≤son≥ histoire, montre que leur cheminement diégétique est soumis àla contrainte de récits intercalés dont ils sont à la fois le narrataire, le narrateur et l'acteur.
Three Concepts of the Reader and Their Contribution to a Theory of the Literary Text
Authors: Coste Didier , Brautigan Richard
Published: June 2007

Some critics see the recent interest in readers and reading as a threat not only to authorship but to the very notion of text. This paper contends that no such threat exists since contemporary concepts of the reader are rather the result of a displacement which works to extend the privileges of literariness and authorship.

A typology of concepts of the reader as signifiers in the language of metaliterature can be established, as shown in the table. the ideal reader, whether authorial or critical, is a relatively simple projection which ignores the text and glorifies the self. the implied reader, whether intended, inscribed or functional, is an interpretive device resulting from a need for “internal” evidence or which allows hidden shifts from internal to external evidence. the empirical reader, more or less active, conscious and autonomous, is a highly ideological tool which mediates value judgements on the social role of literary texts.

Studies of an ideal reader (as evoked at the beginning of Fleurs du Mal), of an implied reader (Culler's competent reader) and of an empirical reader (Ugo Margolin's) prove that concepts of the reader do not function as “ordinary” signs but are of a figural nature and work “backwards” ‐ i.e. they are overdetermined and euphemistic.

In conclusion, individual critics should not be made responsible for this phenomenon which is inherent to the tertiary nature of metaliterary language. In comparison, the literary text's process of signification could be seen precisely as an ability to move forward and backward, oscillating “freely” from pragmatic reference to critical reference through fictional reference.
Shakespeare's Tempest and Eliot's Waste Land: “What the Thunder Said”
Authors: Greene Gayle
Published: June 2007

An exploration of the theme of art in Shakespeare's Tempest casts light on Eliot's use of the play in The Waste Land. Art has powers of redemption because it involves qualities of restraint, balance, timing ‐ of “government” in the broadest sense ‐ which are analogous to those required in the control of a life, a state, or a destiny. A further analogy is suggested between receptivity to the harmonious and healing effects of art and a character's capacity for compassion. the qualities of control and compassion involved in the creation of and response to art are those necessary to attaining a “clear life”: art is a means of redemption because it teaches us to “give, sympathize, and control.” the key to releasing the curse on the modern Waste Land, the means to the feeling and remembrance that might revitalize it, are precisely those actions and attitudes which Shakespeare's last play affirms as central. Correspondences exist between the play and poem of which Eliot was no doubt aware, as he wove allusions to the play throughout his work: “What the Thunder Says” is, in the deepest sense, what The Tempest says ‐ “give, sympathize, control.”
Voltaire and the Classics the Testimony of the Correspondence1
Authors: Ages Arnold
Published: June 2007

The loom of classical antiquity in the Voltaire correspondence has been neglected in the past because of the lack of a definitive edition of the letters. the Besterman edition now permits a view of Voltaire as the man who moulds the cadences of classical antiquity into a personal and pliant tool which he uses to embellish a formidable prose style.

Voltaire uses quotations from the Latin and Greek authors because they constitute a repository of learned commentary on the futility of the human enterprise, the fragility of man, and the inconclusive nature of metaphysical speculation ‐ themes which find resonances in Voltaire's own view of the world.

As a superb stylist Voltaire appropriates the images of classical literature in order to draw analogies with contemporary phenomena. the decorative deployment of Greek and Latin maxims (the latter primarily) is a most impressive tribute to Voltaire's classical education. the language of the ancients becomes with Voltaire a kind of 18th‐century précieux language with which he dazzles his correspondents in a virtuoso performance unrivalled in his time. He not only illuminates the classical world in his letters but thereby invests his own writing with a vitality that demands admiration.
Nineteenth‐Century American Theory of the Short Story: the Dual Tradition
Authors: Evans Walter
Published: June 2007

Critics, historians, and theorists of the American short story commonly assume that a “traditional” plot‐oriented mode dominated the genre's theory and practice throughout the nineteenth century and that a more “formless” or “lyrical” mode deemphasizing plot began in America only with Sherwood Anderson. In fact, from the outset American theorists analyzed both these modes of short fiction. Irving contrasted stories dominated by plot and those in which plot functioned merely as “frame” to display more significant elements such as character, setting, and tone. Following a similar formal dichotomy Poe, Longfellow, and others discriminated between “tales” and “essays” or “sketches”; Henry Tuckerman refined that distinction in contrasting “melodramtic” and “meditative” fictions. Henry James carried the distinction even further by contrasting the “anecdotal” story and the “picture of personal states.” Brander Matthews'landmark 1884 essay on the short story had an immensely negative effect in establishing the myth of a plot‐dominated traditional short story, however, a myth which radically betrayed the genre's dualistic heritage and which clouded our understanding of the short story until well into the twentieth century.
Poe's House of the Seven Gothics: the Fall of the Narrator in ≥The Fall of the House of Usher≤
Authors: Frank Frederick S.
Published: June 2007

Viewed from an aesthetic point of view, the significant “fall” in the tale is not the architectural disintegration of the mansion at the climax, but the gradual collapse of the narrator's analytic faculty during his retelling. Assuming that the story is more “about” the narrator and his flawed habits of seeing than it is “about” the Ushers, we can trace Poe's theme of reason humiliated from the contemplative arrival to the Gothic departure of Roderick's rationalistic guest. Because he refuses to accept the reality of the supernatural the narrator contributes directly to the catastrophe which befalls the House. Terrified in the manner of the traditional Gothic victim and failing to use imagination, he cannot see the House as organic. His empirical attitude coupled with his Gothic fears for his own survival cast him in a villain's role. the external fall of the mansion symbolizes the internal collapse of the narrator's reliance upon scientific fact. the real fall, therefore, is the fall of the narrator's confidence in the power of reason.
L'impasse imaginaire. Notes sur la sensibilité familiale dans le roman français sous le Premier Empire.
Authors: Pelckmans Paul
Published: June 2007

Nous avons commencé par nous étonner de l'emphase que le dixhuitième siècle sensible mettait à exprimer des sentiments familiaux qui à l'outrance pathétique près, nous paraissent presqu'évidents. Afin de préciser le problème nous avons interrogé deux romans, Monsieur Botte et Elisabeth, pour y trouver un idéal de la soumission inconditionnelle au père et notamment du renoncement, en sa faveur, à la liberté passionnelle. Pour expliquer cet état de fait, nous avons montré, au sujet de Mademoiselle de Clermont, que, pour des raisons de psychologie historique, la passion, à l'époque, se trouvait prise dans les engrenages de la médiation; impasse destructrice qui ne saurait aboutir qu'aux rivalités ou à la déception. C'est pourquoi, suggérions‐nous, on aurait tenté de monopoliser la médiation au profit du père, cet Autre éminemment divinisable, ce qui engage le désir mimétique soit dans l'inceste (René) soit au moins dans une rivalité illégitime avec un rival auquel on ne saurait se refuser de céder (Valérie). La référence au père permet ainsi de paralyser le désir médiatisé et de prévenir ses effets fâcheux. S'amorce ainsi une attitude devant le père analogue à celle que Freud inscrira au coeur de sa théorie oedipéenne.
Flaubert ‐ ‘le premier des non‐figuratifs du roman moderne’?
Authors: Williams D. A.
Published: June 2007

This paper investigates the claim made by recent critics that there is a strong non‐figurative element in Flaubert's work. the introduction (pp. 66–72) challenges the view of Realism proposed by Barthes, suggesting that the mimetic element should be regarded as an integral part of the semiotic system which the novel constitutes. the next section (pp. 72–77) examines Flaubertian description which, it has often been felt, has a disruptive effect; it is argued that both the symbolic and mimetic effects created by descriptive details may lessen the threat they pose to the balance of the novel. the next section (pp. 77–79) deals with plot, examining the effects of suppressing causal connectives and the various forms of disturbance ‐ at the level of the sentence, of the units of plot, and of theme ‐ brought about by Flaubert's deep‐seated compulsion to defer. the following section (pp. 80–83) analyzes the way Flaubert uses the cultural code and challenges the view that he has capitulated to the voice of endoxal wisdom; the role of the narrator is shown to be of key importance, both in spiking human stupidity and in setting up links between the fictional world and external reality. the conclusion (pp. 83–84) suggests that Madame Bovary cannot be assimilated to either of the models put on display in the novel but successfully avoids the danger each represents.
Goldschmidt's English Novel Homeless
Authors: Ober Kenneth H.
Published: June 2007

The English version of Goldschmidt's novel Hjemløs has been regarded as merely the product of a professional translator. an examination of Goldschmidt's published letters and unpublished diaries demonstrates, however, that it is his own work, and that he thoroughly revised the novel in English, with his cousin's wife working as his editor. A comparison of the English and Danish versions reveals that the English revision has a tighter structure, sharper focus on the central character, and more concentrated narrative. the English Homeless; or, a Poet's Inner Life belongs to the body of Goldschmidt's original work and thus enlarges Goldschmidt's place in world literature.
»Er wußte noch mehr…«. Zum Konzeptionsbruch in Thomas Manns Doktor Faustus unter dem Einfluß Adornos
Authors: Sauerland Karol
Published: June 2007

Der Autor geht dem Einfluß Adornos auf den Doktor Faustus nach. Dieser Einfluß hat zu einem Konzeptionsbruch in Thomas Manns Roman geführt, der sich darin äußert, daß die ursprünglich angelegte Gleichung Leverkühn = Schicksal Deutschlands nicht mehr aufgeht. Als Tonsetzer symbolisiert Leverkühn weniger das Schicksal Deutschlands, als vielmehr die Entwicklung und Verstrickungen der modernen europäischen Musikgeschichte. Und seine Musik ist nicht mehr Ausdruck des Leids Deutschlands, sondern der Menschheit.
Social Climbing During the Age of Absolutism: Personality Distortion and Career Advancement in J. C. Krüger's “Die Candidaten”
Authors: van Cleve John W.
Published: June 2007

Johann Christian KrRger's comedy Die Candrdaten has been largely ignored by scholarship despite its availability in reprint and its author's status as a precursor of J. M. R. Lenz. This study examines Krger's portrayal of the effects of class conflict within a society that dispensed career rewards according to birth, not merit.

The play concerns the disposition of a bureaucratic position that a German count has to offer; several characters seek it, and the personality of each is diminished or distorted in the attempt. These figures are drawn from the educated middle class and the lower nobility: the distortion that they undergo ranges from a loss of Enlightenment optimism to a loss of basic human dignity. Krger attacks the ruling class directly through his cowardly, avaricious, stupid and sexually dissolute count and countess. The central character's descent into pessimism is presented as inevitable, given the hostile public sphere. Cundiduren reverses contemporary audience expectations regarding the mission of comedy by fitting a virtuous, sensible burgher into the fool's role. This represents a radical break with previous drama tradition: comedy no longer teaches through laughter. Here, it provides a release from stifling social tension Nevertheless. the thrust of the plot is dark and negative; in 1748 laughter must have been followed by bitterness.
Jonah and the Whale: Narrative Perspective in Patience
Authors: Clark S. L. , Wasserman J. N.
Published: June 2007

The Pearl‐Poet initially links Jonah and the whale in Patience on the basis of a common willfulness which opposes Divine biddings. Jonah's stay inside the whale enables the prophet to purge himself of this willfulness, and the Pearl‐Poet charts this progress through shifts in narrative perspective. The reader follows Jonah's entry into the whale first from the perspective of the omniscient narrator (11. 251‐255) and then from the individual perspective of the prophet himself as he passes through the whale's gullet to its stomach (11. 266‐272). Moreover, the poet's intent in his description of Jonah's prayers while in the whale is to depict a man who learns that the whale not only holds him in but also keeps the Divine out: through prayer (1 1.282‐288,305‐312) Jonah shifts his perspective from that of a man‐centered universe to one in which all is seen to emanate from the Divine. Finally, God's command to release Jonah from the whale and the swift deliverance of the prophet to shore (1 1.337‐340) attest to Jonah's new poverty of will and to his newfound willingness to do God's bidding.
The Critical We
Authors: Rendall Steven
Published: June 2007

This paper provides a conspectus and critique of current reader response theory by focusing on one of its central terms ‐ what may be called “the critical we”. This term is meant to designate the use of the first person plural in critical statements such as “we pity Gretchen because…” or “the text forces us to recognize that neither of these perspectives is adequate…” Such statements are frequently encountered in criticism dealing with the reader's response to a text, but the interpretive agreement they imply has only recently received serious attention from theorists. By examining the views of Norman Holland, Wolfgang Iser, Jonathan Culler, Stanley Fish, and other writers currently concerned with this problem I attempt to arrive at a clearer understanding of the issues involved and to show that the “critical we” is ultimately part of a prescriptive rather than a descriptive enterprise.
Androgyne et mythes familiaux. Une lecture de Fragoletta (1829) de Hyacinthe de Latouche.
Authors: Pelckmans M. Paul
Published: June 2007

Dans la perspective d'une psychologie historique, le climat de violence exacerbée qui caractérise le roman noir a partie liée avec les nouveaux dangers que les débuts de notre modernité inscrivent dans les rapports humains. Frogoletto amorce une mise en perspective critique de la mythologie familiale de son époque qui, préludant au discours oedipéen, cherche á réduire ces dangers en les rabattant sur la culpabilité du fils face á un pére décréré innocent. Latouche prend le contre‐pied de cette transcription tendancieuse du conflit familial en faisant du personnage paternel le principal responsable de passions face auxquelles seule sa mauvaise foi lui permettra, plus tard, de se poser un justicier. Pour une préhistoire littéraire de la psychanalyse, l'apport de ce roman trop mtconnu rtside ainsi dans le fait qu'il dtvoile la médiation paternelle dont l'occultation serait, selon les analyses de René Girard, I'enjeu essentiel de la théorie oedipéenne.
Surface et profondeur dans ≪Mademoiselle de Maupin≪
Authors: Schnack Arne
Published: June 2007

A partir d'une étude des images utiliées dans la description des personnages, cet article se propose de démontrer que, dans Mademoiselle de Maupin de Théophile Gautier, le culte de la beauté extérieure et la fascination quasi fétichiste de la surface des êtres dissimulent une angoisse devant les profondeurs de l'âme qui jure sensiblement avec les ≪thèses≫ arrogamment provocatrices du roman. Gautier, partisan de l'art pour l'art, se veut paien, surtout dans sa conception de I'trotisme, mais I'analyse du discours contradictoire et en quelque sorte mensonger du roman montre que son auteur est fortement influencé par le dualisme chrétien, qui, a I'époque romantique, irnplique une suspicion constante des sens et une inquiétude plus ou moins prononcée devant les mysttres du moi.
Snow as Deformity, Decoration, and Disguise
Authors: Hope Quentin M.
Published: June 2007

In the grotesque mode (passages from d'Aubigné, Cyrano and others) snow bedecks its victims with flour, sugar, cream, wig, foam, falling feathers, or spit from heaven, giving them a caricatural, comic, or monstrous aspect. Many of these images also appear in poetry whose basic allegiance is to the précieux tradition (Gautier's Fantuisies d'hiver), but the mockery is gentler: snow prettifies, decorates, domesticates. In satiric passages (the “mockery king of snow” in Richard II, W. R. Rogers' “White Christmas” and others) snow is an insubstantial pretense or a thin disguise. Whether as melting snowman, symbol of cold chastity, or white sheet that covers up an ugly reality, it is false, impermanent, and derisory. But each of these interrelated modes ‐ the grotesque, the preécieux, the satiric ‐ remains dependent on one or the other of the two fundamentalvisions of snow that it exaggerates, mocks, distorts, or embroiders upon: snow as a radiant affirmation of beauty, vitality, and renewal, (exemplified by the use of snow‐as‐feathers imagery in Ruth Stone's “Snow”) or snow as negation, deprivation, loss, and extinction, (exemplified by Apollinaire's use of the same imagery in “La Blanche Neige.”)
Kierkegaard und Max Frischs Roman ≪Stiller≪. Ein Kommentar zu einer Diskussion
Authors: Holmgren Holger stig
Published: June 2007

Die scheinbare Kongenialitát zwischen Max Frisch und Søren Kierkegaard, die im Roman ≪Stiller≫ am deutlichsten zurn Ausdruck kommt und die gerade diesem Werk in so hohem Maße eine Aura philosophischer Authentizitát verliehen hat, läßt sich nur durch eine unkritische Übernahme der im Roman prasentierten impliziten Kierkegaard‐Auffassung bestätigen. Ausgehend von den Kategorien ≪Selbst≫ und ≪Wahl≫ in Kierkegaards ≪Krankheit zum wird gezeigt, wie den im ≪Stiller≫ zahlreich vorkommenden Kierke‐gaardschen Begriffen ‐ anscheinend gegen Frischs Intention ‐ ein wesensfremder Inhalt zugeschrieben wird. Die daraus folgenden radikalen Divergenzen zwischen den beiden Werken lassen sich in zwei Problemkomplexe zusammenfassen: zum einen der Status des Gottesverhältnisses, das Verhältnis des Absoluten zum Relativen, und zum anderen der Status der subjektiven Introversion als Mittel beziehungsweise Ziel der Selbstbefreiung. Konklusion der Untersuchung ist, dab eine Kongruenz zwischen dem Roman ≪Stiller≫ und der Gedankenwelt Kierkegaards postulatorisch bleibt und lediglich durch die Verzerrung seiner Philosophie, die dem Gebrauch von Kierkegaard im Roman entspricht, aufrechtzuerhalten ist; eine Folgerung, die die weltanschauliche Kohärenz und Konzequenz des Romans radikal in Frage stellt.
Zola and the Ideology of Messianism
Authors: Nelson Brian
Published: June 2007

This article investigates the solutions Zola proposes to the problems of social anarchy and sterile materialism highlighted in his portrayal of the Second Empire; it explores the ways in which the triumphant messianism of his later fiction is prefigured in Les Rougon‐Macquart; and it examines the ideology that emerges from this messianism. Although Zola had a strong sense of social justice, his vision is conservative in its impulse towards order and rationality, and in the considerable respect he implies for authority. In Les Rougon‐Macquart he implicitly sees hope for the creation of a new social order in certain bourgeois figures who are admired for their energy, enterprise and leadership. The importance of the theme of leadership is confirmed by an analysis of Travail, in which the utopian world Zola describes is based on the values of love and work, but where he recognizes the need for a nominal leader in the shape of the messianic bourgeois philanthropist, Luc Froment. Zola's final vision of the ideal society corresponds to class collaboration and a rearranged bourgeois hierarchy. The rearrangement of the bourgeois hierarchy corresponds to the advocacy of bourgeois reformism and the creation of a bourgeois patriarchy; Zola's humanitarian messianism is deeply paternalistic. A latent authoritarianism is reflected in the fact that social utility is the ideology which guides and channels human energies in Zola's utopia.
Art and Alienation: Lukács' Late Aesthetic
Authors: Tavor Eve
Published: June 2007

For Lukács throughout his life, works of art reflected both the real socio‐historical world and an ideal human coherence and meaningfulness which is “always and never there in reality.” In his late aesthetic, he described art's function in an alienated society and laid the foundations for a materialist aesthetic. After the failure of the Hungarian Revolution, when he had lost hope in the imminent possibility of a humane socialist society, he argued that creative intellectual work is the only form of work which enables the worker to overcome his alienation from himself, from the world and from other men, and that art not only enables members of the public to overcome their alienation from society, but also encourages them to change it.
Thomas Mann and the theory of “Crystalline Beauty”
Authors: Gandelman Claude
Published: June 2007

Chapter III of Thomas Mann's Doktor Fuustus introduces a series of experiments in the natural sciences, in particular experiments concerning nonorganic and organic crystallisation.The metaphor of crystals and crystallisation, far from being a secondary motiv in the novel, links Doktor Fuustus with the theory of the “crystalline beauty” which has its roots in Hegel's lectures on aesthetics but will later be developed further by art historians like Riegl and W orringer. Just as, for them, the crystal metaphor was a metaphor for abstraction in art, it is, for Thomas Mann, a metaphor of the dodecaphonic music of Adrian Leverkuhn.
Der Spielbegriff bei Thomas Mann: die Kunst als Synthese von Erkenntnis und naivität
Authors: Dill Heinz J.
Published: June 2007

In vorliegender Arbeit wird versucht, den Spielbegriff bei Thomas Mann im Rahmen des Erkenntnisproblems zu deuten. Vertritt Mann einerseits die Ansicht, das ≪ernste Spiel≫ sei die Definition aller Kunst, so ist er sich andererseits dessen bewußt, daß die Kunst auf der Stufe des modernen Bewußtseins bzw. auf der Stufe der Kritik die Forderung nach Erkenntnis nicht umgehen könne, zugespitzt heißt das, die Kunst ≪will aufhören, Schein und Spiel zu sein, sie will Erkenntnis werden.≫ Kunst jedoch als Produkt der Erkenntnis allein liefe Gefahr, zu erstarren, während eine Kunst unkritischen und naiven Gestaltens nahezu unverbindlich wäre. Um dieses Problem zu lösen, entwickelt Mann eine Ästhetik, in der das Spiel dennoch, und zwar durch ≪intellektuelle Tricks, Indirektheiten und Ironien≫ ermöglicht wird. Nur so wäre zu einem Werk zu gelangen, das als ≪Travestie der Unschuld den Zustand der Erkenntnis einbekannte, dem es abgewonnen sein wiirde.≫ Daraus ergibt sich, daß die fur Mann grundlegenden gestalterischen Mittel der Ironie, der Travestie und auch der Parodie u.a. die Funktion erhalten, den Gegensatz von Erkenntnis und Naivität zu überbrücken. Folglich sind sie auch als Mittel aufzufassen, die dazu dienen, auch im modernen Zeitalter die Definition Kunst gleich Spiel aufrechtzuerhalten.
Objectivity and Subjectivity in Eliot's Critical Theory
Authors: Shusterman Richard
Published: June 2007

This paper shows that contrary to accepted opinion, Eliot's critical theory (and not only his actual criticism) is not thoroughly objectivist, but rather developed, as Eliot matured, from extreme objectivism to an outlook which not only accepted but encouraged critical subjectivity. My paper traces this radical development in Eliot's critical theory and explains its causes. Moreover, Eliot's case as a non‐objective critic and a non‐objectivist critical theorist is shown to support a general meta‐critical doctrine that I have argued for extensively in other essays: i.e. that there are other valid and fruitful critical goals besides the pursuit of objective truth.
The Technique of Qualification in Fielding's
Authors: Andrews Joseph , Jones Tom , Tandrup Birthe
Published: June 2007

A striking aspect of Fielding's narrative technique is his frequent use of qualifiers such as “perhaps,”“possibly,” or “probably,” expressions like “I believe,”“I will not venture to determine,” and phrases with a similar function. The narrator, by thus professing his inadequacy, undercuts his own fiction and judgement is thrown back on the reader. Hence, reader‐consciousness plays a part in the structure of the novel. This is true not only on the linguistic level but also in terms of plot and characterization. The purpose of a method such as “the technique of qualification” is to draw the reader into an educative process: he is constantly forced to re‐examine and redefine his own norms and habits so as to conform to the role of the “ideal reader” prepared for him by Fielding. Instead of preaching his system of moral values Fielding has developed the more effective method of having the reader discover it himself.
'Schreiben, um schreibend der Welt standzuhalten': Robert Walser's 'Räuber'‐Roman and Max Frisch's Montauk. Eine Erzählung
Authors: Pender Malcolm
Published: June 2007

On the basis of Max Frisch's statement that Robert Walser has influenced the themes of his work, a comparison is drawn between the 'Rauber'‐Roman and Montauk. Eine Erzahlung. In the former, through the interplay between the narrator and his character the 'Rauber', the difficulties of writing and the problems of the writer's relationship to society are passed in review. The figure of Edith, about whom the narrator/'Rauber' is writing a book, becomes the symbol of the paradoxical connection between the writer and his material: the more he develops his book, the more it reveals the extent to which society influences him. In Montauk. Eine Erzahlung, the narrator employs two aspects of his consciousness, 'ich' and 'er', to review his life which is characterised by failed personal relationships. In demonstrating the genesis of Montauk, which seeks, by a portrayal of the successful relationship with Lynn, to overcome the pain of his past and of his break with Marianne, the narrator paradoxically reveals the restricted validity of his literary presen‐ tation. In both books, the process of writing affords the writer a defence against reality, the limited effectiveness of which ironically becomes apparent in the completed text.
Wandlung und Wahnsinn. Zu expressionistischen Erzählungen von Döblin, Sternheim, Benn und Heym
Authors: Ihekweazu Edith
Published: June 2007

Über expressionistische Prosa besteht bis in die jüngste Forschung noch wenig Einigkeit. Der Artikel versucht, an einer Auswahl von Texten ein zentrales Motiv, das des Wahnsinns, mit der Veraänderung der bis dahin konventionellen Erzählstrukturen in Zusammenhang zu bringen. Dabei ergibt sich, daβ der Wahnsinn, in der Forschung meist als pathologisches Phänomen behandelt, bei vielen expressionistischen Autoren zum antibürgerlichen Prinzip par excellence aufgewertet wird und der Irre zu einer Verkörperung des ≪neuen Menschen≫. Nicht das Leiden steht im Vordergrund, sondern die destruktive Energie, welche durch die Zerstörung oder Ausschaltung der Rationalität vitale und schöpferisch‐imaginative Kräfte freisetzt, also utopische Qualität hat. Von besonderem Interesse sind dabei Texte, in denen die Wandlung des Bürgers zum Wahnsinnigen stattfindet. Für die Erzählstruktur bedeutet die Perspektive des Wahnsinnigen nicht nur Verfremdung der Welt, sondern auch Auflösung psychologischer Abläufe, die der zentralen Forderung der expressionistischen Prosatheorie entspricht. In den Texten zeigt sich, wie das Experiment des Wahnsinns inhaltlich in verschiedener Weise zu Aggression, Selbstzerstörung, Introversion und Isolation führt ‐ Formen einer radikalen Kommunikationsver‐weigerung mit dem ≪Bürger≫ ‐ und in der Darstellungstechnik zu diskontinuierlichen Erzählformen, die dessen Leseerwartungen schockieren. Trotzdem bleibt der Wahnsinn eine noch‐rationale Motivation, die den Prozeβ einer Umwandlung deutlich macht, der erst im Surrealismus und Dadaismus kulminiert.
Pièges du récit dans ≪Les Nuits d'Octobre≫ de G. de Nerval
Authors: Tritsmans Bruno
Published: June 2007

La spécificité des oeuvres des denières années de Gérard de Nerval dépend du rapport qu'elles ont avec la folie, de la stratégie qu'elles développent face à la problématique existentielle. Il est possible de définir la folie, cet Autre de la Raison, au niveau de son inscription textuelle comme un phénomène de destructuration.

Un des niveaux de structuration du texte ≪lisible≫ consiste en la position d'où l'on parle: à ce niveau, la folie se manifesterait donc sous la forme de ce que R. Barthes a appelé une ≪instabilité tonale≪.

Dans Les Nuits d'Octobre (1852), la position du narrateur est indécidable, partagée entre la réinterprétation du ≪vécu≫ propre au contrat de lecture de l'autobiographie et certaine fidélité au ≪vécu≪, propre au récit de voyage. Plus précisément, l'enjeu des Nuits d'Octobre consiste en la négation de la portée aliénante du ≪vécu≪, qui se cristallise autour de la figure féminine (la femme mérinos). Le récit procède subtilement à la négation de sa ≪face interprétative≫ dans un ensemble d'interventions d'auteur consacrés au réalisme, et dans lesquelles le narrateur revendique la valeur de vérité pour son récit.

Ces tensions, ces lacunes créent l'impression de malaise propre à la lecture des Nuits d'October, enocore que le lecteur puisse supplér aux manques, aux incohérences par son activité imaginative.