Kadın, tarih boyu toplumlar tarafından birbirinden oldukça farklı bir anlayışla muhatap olmuş, kiminde tabiatla eşdeğer görülmesi dolayısıyla düzen koyuculuğuyla övgüye mazhar olurken kimi ...toplumlarda ise insan grubuna aidiyeti tartışılmıştır. Toplumsal düzene ayak uydurmakta büyük güçlük çeken Hesse'nin kadına bakışı ise kadının toplumsal normlar ölçüsünde değerlendirilmesinden oldukça uzaktır. Hesse kadını daha ziyade evrensel varlığı ile ele almış ve onu varlık birliği hedefine giden yolda en önemli anahtar olarak görmüştür.Çok genel bir ifade ile özetlenecek olursa Hermann Hesse'de karşı cinse olan ilgi insanın özünde olan bir olgudur ve bundan kaçış genelde pek mümkün değildir. Nitekim romanlarındaki kahramanlar genelde başta bunu bir suç unsuru olarak görürler ve bu güdülerinden kaçmak için türlü yollara başvururlar ama en sonunda yenik düşüp en çok uzak durmaya çalıştıkları, kendilerini korumaya çalıştıkları durumlara herkesten daha çok teslim olurlar. Bu onların kendilerini aşma yolundaki en büyük adımlarıdır. Kendini gerçekleştirme yolunda gördükleri en büyük engel, aslında onlar için asıl ilerlenecek yoldur. Hermann Hesse'ye göre toplum tarafından bir engel ve günah sebebi olarak görülen kadın, aslında erkek için ona hayatı ve kendini öğreten en önemli araçtır. Bu bağlamda kadın, Hesse'de önem kazanır, nitekim eserlerinde toplum tarafından en bayağı olarak görülen fahişeler kimi zaman yüceltilmiştir.Bu çalışmada Hermann Hesse'nin romanlarındaki ( Siddharta, Narziss ve Goldmund, Bozkır Kurdu, Boncuk Oyunu, Peter Camenzind, Çarklar Arasında, Gertrud, Rosshalde, Demian, Knulp, Kaplıcada bir Konuk ) kadın karakterlerin başkahraman gözüyle algılanış biçimleri, başkahraman üzerindeki etkileri, onun kişisel gelişimine yaptığı katkıları ve dolayısıyla yazarın kadınlar üzerindeki genel düşünceleri incelenmiştir.
Hesse and German Expressionist artists shared a generation, although Hesse was a bit older than the majority of the Expressionist artists. Different factors of this era are explored to find common ...ground between the author and these artists. Social phenomena in Germany such as war is considered. Other phenomena during this era includes modernization, urbanization and primitivism. The cultural spirit of the "new,' included ideas such as alternative spiritualities and new philosophies for a new generation. The traditional Christian God was dead according to Nietzsche. Artists of Der Blaue Reiter veered away from traditional values and belief systems and instead turned toward alternative spiritual beliefs such as Theosophy to explain the mysteries of life. In Demian, Sinclair discovers Abraxas, a mystical diety that embraces duality, including; good and evil, man and woman, and birth and destruction. Sinclair is first frightened and then later comforted by the idea of dualism in the world. Both Hesse and Expressionist artists were familiar with the ideas on new values of Nietzsche. In this study, I attempt to describe the social psychology of the early twentieth-century Germany through the texts of Hermann Hesse and German Expressionist painting. I have not find a similar comparison.
Since its publication in March 2008, critics have praised the quality and underlined the originality of the seventy poems that make up For All We Know. The book might be said to mark a new departure ...in the art of Ciaran Carson in so far as the tone seems to be more personal and more direct, but the choice of the words, their texture, and their sonority remain as always paramount. This article aims at analyzing how the mode of writing adopted here by the poet is directly inspired by the art of the fugue, both in its structure and in its search for a new poetic language reaching beyond reality. Key words. Fugue, fugere, "sonnet", memory, voice, images, metaphors. Desde su publicacion en marzo del 2008, la critica ha alabado la cualidad y ha destacado la originalidad de los setenta poemas que componen el volumen For All We Know. El libro puede considerarse como un nuevo punto de partida en al arte de Ciaran Carson en tanto que el tono parece mas personal y mas directo, si bien la eleccion de vocablos, su textura y sonoridad siguen siendo de primordial importancia. Este articulo pretende analizar como la forma de escribir adoptada por el poeta esta directamente inspirada por el arte de la fuga, tanto en la estructura como en la busqueda de un nuevo lenguaje poetico que sobrepasa la realidad. Palabras clave. Fuga, fugere, "soneto", memoria, voz, imagenes, metaforas.
In recent years there has been a growth in travel writing and its reception despite the effects of globalization that has brought the world closer than previous centuries. This trend can be further ...supported with the publication of recent anthologies and theoretical works that explore multi-dimensional approaches to travel writing, especially in the Anglo-American Literature and Cultural Studies. But this trend is not just limited to Anglo-American Studies and is equally present in German literature where travel literature also encompasses what is termed as “literature of movement” highlighting migrant literature, transnational and transcultural literature. The recently published Reiseliteratur der Moderne und Postmoderne (2017) can be seen as a path breaking study on the modern and postmodern German travel writing that calls for newer theoretical approaches to be relevant in the global context. My research contributes to this area by using the cognitive-scientific approach to the analysis of travel writing. My dissertation analyzes German travel narratives on India published from 1980 to the present, using concepts of cognitive-literary theory to study the linguistic and ideological aspects that represent the identities of “Self” and the “Other” in these texts. I examine different genres including personal diaries, novels, and poems, and I also include Austrian and Swiss travel narratives. Through close readings of the texts, and through analysis of cognitive metaphors, conceptual blends, and narrative perspectives present in the chosen text corpus, I show how German authors construct their own spatiality vis-à-vis their image of India, and how they convey this to their readers. In addition, my analyses demonstrate how the cognitive-literary method adds a new dimension to intercultural understanding, enriches the aesthetic value of such writings, and enables fresh literary interpretations.
The Journey to the East is Hermann Hesse’s most deeply personal book. This enigmatic novel, with its deceptively simple narrative structure, lends itself well to multiple interpretations. To date, ...however, little attention has been paid by educationists to the book. This paper attempts to address this lacuna in the literature, beginning with an examination of the autobiographical and dream-like qualities of the novel. This is followed by a detailed analysis of the ritual of confession undertaken by H.H., the narrator and central figure in the book. H.H. lives in despair following the apparent dissolution of the League of Journeyers to the East. He seeks to overcome his despair, and learns the League is alive and well, through the character of Leo. At the end of the book H.H., having confessed his ‘sins’ and faced both his League brothers and himself, believes he has found the answer to his troubles. This paper argues that in his solution, H.H. fails to grasp of the importance of education, questioning and critique in self understanding and development. This being so, it is suggested, he will be unable to make the most of the knowledge available to him through the League archives, and his reflections on himself, Leo and the purpose of his existence will have only limited lucidity. He will, the paper concludes, have a long way to go on his journey to ‘the East’.
The fundamental role that tragedy has played in the development of European philosophy and, by extension, psychology, has in part been due to its inextricability from an understanding of human life, ...facilitating its many transformations alongside major shifts in the political and social landscapes where it plays out. This dissertation draws a thread from the traditions of tragedy and German Trauerspiel through the nineteenth century and into the twentieth, focusing on the legacy of the tragic as it lived on in Nietzsche's psychological philosophy and was taken up by Hermann Hesse in his literary explorations of spiritual development and the fate of the German soul. Affirmative fatalism is the conceptual name for a tendency that I observe specifically in German literature from the eighteenth, nineteenth, and twentieth centuries, finding its clearest articulations in Goethe’s Faust and Nietzsche’s amor fati, and then becoming thematized itself in Hesse’s Glasperlenspiel. This study illustrates how ultimately in Hesse’s texts the sharp distinction is drawn between affirmative fatalism in its authentic sense – a love of and dynamic engagement with fate – and the passive fatalism of authoritarianism – a prostration before a prescribed fate, the obsequiousness of which is veiled in the language and pageantry of patriotic heroism.
This thesis deals with the strategies in the works of E. T. A. Hoffmann and Pu Songling that are used to arrange the fantasy elements. It examines the basic settings of the environments and social ...backgrounds as presented in several works by Hoffmann and by Pu Songling. It also investigates and compares the various modes of presentation considering the adventures of the protagonists in these selected works by a German and by a Chinese author. It demonstrates that, although both authors tend to use fantasy elements as an important part in their narration each, they organize them differently. Hoffmann first puts his characters into a daily life background and then constantly brings fantasy events to them in order to arouse the feeling of amazement and to romanticize the world. Pu Songling uses elements of fantasy power to create a paradise that is like an idealized version of the human world. By juxtaposing the two authors, this thesis argues that both Hoffmann and Pu Songling play significant but also quite different roles in the transition process from traditional tales with fantasy elements to modern fantasy fictions in their own traditions. Hoffmann inherits but also makes some unique and remarkable innovations to the literary heritage of German Romanticism; Pu Songling modifies the usual pattern of zhiguai and chuanqi to achieve better art effect. Hoffmann’s unique style of intertwining reality with fantasy has influenced many modern writers, including Herman Hesse. Pu Songling’s creation of a secular paradise and the promotion of qing (a Chinese notion that represents emotion and love) may also be seen as the precursor for later works such as Dream of the Red Chamber.
Over the course of this thesis, three of Hermann Hesse’s novels will be examined—Demian (1919), Der Steppenwolf (1927), and Siddhartha (1922)—as performative texts in order to demonstrate how Hesse ...presents a blueprint of ideal paths to personal enlightenment through common themes that flow through his works, such as breaking out, creation and destruction, and Jungian archetypes. These themes will be compared to Nietzsche’s work on the transformation of the soul. Each of these performative texts by Hesse present a unique opportunity, not only to enjoy a masterful tale of such vivid characters, but also a chance for readers to discover for themselves a new access to peace of mind.
This dissertation explores the registers in which German filmmaker and artist Ulrike Ottinger (1942-) and writer Hubert Fichte (1935-86) push the boundaries of the representation of others – both ...non-European cultural others, as well as the silenced internal others of Europe and Germany – and the kind of aesthetic strategies they use to challenge the normative discourses about these others. I contend that their use of experimental aesthetic strategies foreground aspects of indeterminacy and relationality that are invariably a basic but often concealed part of cross-cultural encounters as well as of normative practices dominant within a culture. I do this by examining two of Ottinger's films – Freak Orlando (1981) and Johanna d'Arc of Mongolia (1989) – and two of Fichte's poetic ethnographic works – Die Palette (1968) and Petersilie (1980). The choice of these four works – in each case, one work on non-European cultures and one on Europe's own marginalized, persecuted and silenced others – serve to identify the framing principle of the other, be it Europe's external or internal others. Ulrike Ottinger and Hubert Fichte are both known for their ethnographic approach, and the reception of their works tends to divide their oeuvre into early and later phases. It is the later phase, engaging with non-European cultures, that gets categorized with its perceived distance to Europe as 'ethnographic'. I examine, instead, how both artists challenge traditional ethnographic discourse and how their ethnographic interest is also reflected in their early works and not only in the later ones.
This paper analyzes the relationship between the individual and society in the work of Hermann Hesse. Paying particular attention to Hesse's last novel, The Glass Bead Game, the author argues (a) ...that for Hesse "self" and "society" are dynamically intertwined and (b) that education plays a key role in linking the two together. Cet article analyse les liens entre l'individu et la société dans l'étude de Hermann Hesse. En apportant une attention toute particulière au dernier roman de Herman Hesse The Glass Bead Game, l'auteur soutient a) que Hesse "lui-même" et "la société," sont dynamiquement liés et, b) que l'enseignement joue un rôle clé dans le rapprochement des deux.
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