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- Auer, Elisabeth, 1949-
(författare)
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"Selbstmord begehen zu wollen ist wie ein Gedicht zu schreiben" : eine psychoanalytische Studie zu Goethes Briefroman "Die Leiden des jungen Werther"
- 1999
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This study is an interpretation of Goethe´s epistolary novel "Die Leiden des jungen Werther" ("The Sorrows of Young Werther") from the perspective of psychoanalysis, in particular object relations theory (ORT). On the one hand, it attempts to investigate which fantasies, conflicts and emotions in the text are treated and manipulated by the author. On the other hand, it tries to establish how these fantasies, conflicts and emotions, particularly the latent sense of the text, can be recognized, manifested and interpreted by the reader. In this effort, a number of methods are used, including both traditional text analysis and psychoanalytic methods adapted to the study of literature - above all counter-transference analysis. These methods are combined principally with psychoanalytical object relations theory, especially Donald Woods Winnicotts concept of the transitional object, in order to examine and explain subjectivity as an instrument of perception in psychoanalytical textual interpretation. With the same goal in mind, certain aspects of the author's life are explored. An overview of psychoanalysis as applied to literature, as well as an introduction to various psychoanalytical theories (such as narcissism, borderline and suicide theories), are presented for the benefit of readers without a basic knowledge of psychoanalysis.The main part of the study focuses on the interpretation of the novel "Die Leiden des jungen Werther", in particular on the interpretation of the character of Werther. By means of counter-transference it is established that the search for a self-identity and the longing for a mother are created in the literary imagination of the author and together form the central fantasy of the text. The intense preoccupation with object relations and transitional phenomena in the text proves that its underlying structure is predicated on the dialectic of rigid boundaries and limitless emotions. Against the backdrop of a growing proximity-distance conflict in the text, the author's unconscious vision of coalescence can be shown to exist in the humiliation and separation experienced by the character of Werther. Finally, the point is made that at the end of "Die Leiden des jungen Werther" this vision of coalescence in the literary imagination of the author is fulfilled in the fictitious hereafter of the text.
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- Behrens, Ragni, 1931-
(författare)
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Zur Bedeutung des Vergleichs in Eichendorffs Erzählwerk : "...ihm war, als spiegelte sich wunderbar sein Leben wie ein Traum noch einmal wieder"
- 2005
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The present dissertation investigates similes and their importance in Eichendorff’s narrative work. The sources of the investigation consist of seven of Eichendorff’s narratives. Their 734 similes make up the corpus, which is presented in its entirety in the appendix. The context of the similes is partly included as well. Initially, I define the concept of “simile” more precisely, partly distancing myself from the definitions found in classical dictionaries of literary terms. After this, I describe my procedure for analysis in detail. This turned out to be necessary, since there was no similar study to be found on this topic in the extensive literature on Eichendorff. The search for models of types of similes brought me back to antique rhetoric as well as to Middle High German epic poems. In the first analysis, the types of similes occurring in the corpus are presented. The syntactic structures of image receivers and image givers are used as criteria. Four structures of similes occurred: a) classical similes and b) similes with image givers, which represent adverbial clauses and c) as / as if – clauses or are d) subject-related. The frequency and the development of frequency of types of similes are presented as well. In the second step of the thesis, I investigate whether similes tend to depict conditions/qualities or procedures/actions. It turned out that similes reflecting conditions/qualities, i.e. epic similes, dominated strongly. The high number of similes could possibly be explained by the functions carried out by epic similes in narrative texts. In the third part, I concern myself with the question whether the similes of the corpus are imaginative representations only and what kind of sensorial perceptions they express. Admittedly, the dominating percentage of the similes proved to be images, but more than fifteen per cent consist of sounds and other sensorial perceptions. Furthermore, imaginative similes, but also sounding similes express motion, so that they illustrate pictures in motion and sounding motion respectively. These come close to synaesthesia, whereas only five similes illustrate „pure“ synaesthesia. In contrast, subject-related similes are perceptions of different sensations and feelings, illustrating the inner life of a character not shared by any other character. Finally, the semantic content of the similes is investigated in order to determine the metamorphosis, i.e. the trope transfer from proprium to improprium. It turned out that only the classical simile originating in antique rhetoric is suitable for a semantic analysis. Above all, there is great variation in the trope transfer. The metamorphosis human being → nature dominates strongly, which makes the narrative text appear as a palimpsest, in which yet another world glimmer in front of the human being behind every character. However, the many trope transfers that convey reality → unreality could be interpreted as transitions and as a “magical code” of Eichendorff. Furthermore, the semantic analysis uncovers content and motives of classical similes. It becomes clear that pre-constructed – and only pre-constructed - content is imitated here. Consequently, it can be asserted that Eichendorff’s great number of similes constitute or at least contribute to the formulaic manner (according to Kohlschmidt) and the intertextuality (according to Nienhaus) in Eichendorff’s narrative work. Above all, the subject-related simile type turns out to be a typical representative of Romanticism because of its subjectivism. Together with its preformed semantic content, it constitutes the “romantic formula” of Eichendorff’s work.
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