Shi Zhecun (1905-2003) was among few Chinese writers in the New Literature who conscientiously illustrated the Freudian notions, such as the Eros and the Thanatos, the pleasure and the reality ...principles, and the sadism, in several of psychoanalytic stories written between 1928 and 1933. Adhering to the late Qing reformist and the May Fourth intellectual tradition to reconstruct a new National Character by a Westernized new fiction for the nation’s regeneration, the writer treated the profession seriously as to enlighten the people with progressive Western knowledge, especially the Freudian psychoanalytic propositions of the unconscious thoughts, feelings, and desires, via modernist devices such as the stream of consciousness, dual narrative, and the use of contrasting colors. Through an investigation of the literary trends since the late Qing to the early thirties, the writer’s literary career, and his psychoanalytic historical and urban stories, I suggest that despite certain shortcomings, as well as being largely unappreciated and misunderstood by the literary circle around him, the writer’s modernist experiments practically introduced several Freudian concepts to Chinese readers in the period when the New Literature was dominated by the ideologically charged Realism and Romanticism schools.
This is a unique collection of seven of Schnitzler's best known plays in a new English translation. They explore love, sexuality, and death in various guises, against the backdrop of ...turn-of-the-century Viennese decadence. The introduction explores the plays in relation to Schnitzler's life, to the culture of late twentieth-century Vienna, and to Modernism in general.
Arthur Schnitzler’s novella Fräulein Else has often been juxtaposed with Freud’s Bruchstücke einer Hysterie-Analyse, and both can be read as an endeavour to ‘give voice’ to the hysteric through ...representation. This representation, however, depends on someone speaking for someone else, and thus, the ‘hysteric’ herself has no voice of her own. Juxtaposing this with Han Kang’s novel The Vegetarian helps shed light on a different way of communication and understanding, one that does not rely on someone speaking for someone else but allows for the silence of the silenced to be understood on their own term. I draw on Mieke Bal’s narratology and Spivak’s “Can the Subaltern speak?” in order to analyse and describe how representation of the ‘other’ and the possibility of communication with the ‘other’ is presented differently in these three texts and what we can learn from them.
This master's thesis concerns the gendered habitus of the protagonist in Arthur Schnitzler's Frau Berta Garlan (1901). Although previous research mainly relied on a psychoanalytical approach to ...understand the novel's content and a literary modernism framework to understand its form, the thesis uses the sociological theory of Pierre Bourdieu to situate Berta Garlan's presumed failure in her various roles as a wife, mother, widow, and artist. Specifically, Bourdieu's concept of habitus permits an analysis of Berta as an individual shaped by societal structures, and Bourdieu's conceptual expansion Masculine Domination (1998) helps us see Berta's internalized subjugation to gender norms of fin de siècle central Europe. I contend that, seen through Bourdieu's theory, Berta's failure subverts these norms.
This valuable collection of eight original and penetrating essays by American scholars honors the centenary of the Austrian dramatist's birth. The contributors are Kurt Bergel, Joseph Dayag, Lore ...Foltin, Robert Kann, Richard Lawson, Walter Perl, Herbert Reichert, and Robert Donald Spector and they attend to themes from depictions of death to the influence of Nietzsche on Schnitzler's work and his reception in France.
In his article "Agency, Desire, and Power in Schnitzler's Dream Novel and Kubrick's Adaptation Eyes Wide Shut" Ari Ofengenden explores Arthur Schnitzler's novella and Stanley Kubrick's adaptation to ...offer insights into the ways in which desire disrupts and clashes with social structures (i.e., family, relationships, and society in general). Ofengenden shows how the dynamic in which disruptive desire is ideologically narrativized back into acquiescence with the status quo. Ofengenden interprets the narrative of the film as unique intuitions into action and agency where sources of agency are opaque to the subject and arise by an impenetrable combination of desire and power.
The linguae & litterae series, edited by Peter Auer, Gesa von Essen and Werner Frick, documents the research activities of the School of Language and Literature of the Freiburg Institute for Advanced ...Studies (FRIAS). These research activities in literary studies and linguistics are characterized by an approach that is theoretically and methodologically "state of the art" and interdisciplinarily open. In linguistics the accent is on the corpus-based, quantitative and qualitative investigation of language; in literary studies the focus is on the comparative, transdisciplinary analysis of literary phenomena in their cultural contexts. At the same time the series deals with the productive interfaces and synergies between modern linguistics and literary studies (as well as the humanities, social and natural sciences with which they interact). It seeks a new, contemporary reformulation of the humanities research curriculum and its problem and concept orientation for the future. The series has a clear international orientation - each volume is multilingual, containing German, English and French contributions and, depending on the volume, articles in Italian or Spanish as well. Each individual volume is peer reviewed by an international editorial board. Each year 2-4 volumes are published.
FOREPLAY (aka La Ronde) KRUGER, LOREN
Theatre Journal,
10/2010, Volume:
62, Issue:
3
Book Review, Journal Article
Peer reviewed
Mimicking Dr. Schnitzler's clinical portrayal of lust that levels class and age distinctions to leave individuals at the mercy of their reflexes, each scene portrayed a tryst between a lustful and an ...initially unwilling participant, which began with resistance, feigned or panicked, moved through a dance of thrusting and yielding, and ended in consummation signified by performers blowing and popping bubble-gum balloons. The final scene confronted the audience with a new and much more disturbing authority figure: the politician (embodied with menacing bulk by Boitumelo Shisana), who threatened the sex worker from the first scene with retribution if she did not return compromising photographs she allegedly took of him. While his refusal to moralize may break with a long didactic tradition that shapes African culture from the earliest folktales to The Number One Ladies' Detective Agency, he succeeded nonetheless in confronting the spectators of Foreplay with their own desires for resolution in a society caught between new challenges and unfinished business.
In this dissertation, Billy Wilder: Experience, Reflection, and Experimentation, I use an interdisciplinary approach to investigate Billy Wilder’s early experiences and journalistic writing and ...compare these to his later screenplays and film aesthetic to provide a rationale for how he learned and developed in his career. Wilder’s journalistic writing at several newspapers in Vienna and Berlin, and his literary writing highlight the reflections he engaged in. These reflections provide early evidence of his ability in character development and various dramatic structures, as well as his finely developed sense of wit and social satire that are apparent in his films. I have selected films with original screenplays written by Wilder, and two by Wilder and his long-term co-writers Charles Brackett and I.A.L. Diamond, rather than adaptations of existing plays or stories, to illustrate the experimental component of his experiential education. The theoretical underpinning for this study is David Kolb’s experiential learning model (1984). This approach gives a new perspective in understanding Billy Wilder’s work and expands the functionality of experiential learning theory.
The present study provides an overview of Arthur Schnitzler's collaboration with the film industry. His attitude towards cinema is taken into account, as is his perception and theoretical reflection ...of the new medium. In addition to the history of the film adaptations, which were created during Schnitzler's life based on his literary texts, Schnitzler's own film drafts based on his works and finally his scripts and film sketches have to be cited.
Schnitzler's own film drafts and his comments on the film adaptations are used to reconstruct Schnitzler's film historical context, his aesthetic demands on the film, his film technology and his filmic narrative strategies.
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