+publisher:"Cornell University" +contributor:("McBride, Patrizia C.")

Cornell University

1. Eaton, Megan. From One, Many: Ruth Klxc3X9Cger'S Weiter Leben And The Evolution Of Holocaust Memories.

Degree: MA, Germanic Studies, 2011, Cornell University

► In her 1991 memoir weiter leben, Ruth Klüger attacks the development of the culture of remembrance that has sprung up surrounding the Holocaust. She views… (more)

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APA (6^th Edition):

Eaton, M. (2011). From One, Many: Ruth Klxc3X9Cger'S Weiter Leben And The Evolution Of Holocaust Memories. (Masters Thesis). Cornell University. Retrieved from http://hdl.handle.net/1813/29424

Chicago Manual of Style (16^th Edition):

Eaton, Megan. “From One, Many: Ruth Klxc3X9Cger'S Weiter Leben And The Evolution Of Holocaust Memories.” 2011. Masters Thesis, Cornell University. Accessed January 16, 2021. http://hdl.handle.net/1813/29424.

MLA Handbook (7^th Edition):

Eaton, Megan. “From One, Many: Ruth Klxc3X9Cger'S Weiter Leben And The Evolution Of Holocaust Memories.” 2011. Web. 16 Jan 2021.

Vancouver:

Eaton M. From One, Many: Ruth Klxc3X9Cger'S Weiter Leben And The Evolution Of Holocaust Memories. [Internet] [Masters thesis]. Cornell University; 2011. [cited 2021 Jan 16]. Available from: http://hdl.handle.net/1813/29424.

Council of Science Editors:

Eaton M. From One, Many: Ruth Klxc3X9Cger'S Weiter Leben And The Evolution Of Holocaust Memories. [Masters Thesis]. Cornell University; 2011. Available from: http://hdl.handle.net/1813/29424

Cornell University

2. Flaig, Paul. Weimar Slapstick: American Eccentrics, German Grotesques.

Degree: PhD, Comparative Literature, 2013, Cornell University

URL: http://hdl.handle.net/1813/34066

► In Weimar Slapstick: American Eccentrics, German Grotesques I examine the wide-ranging popularity of American slapstick film in Germany's Weimar Republic (1919-1933). With its gag-driven narratives,… (more)

▼ In Weimar Slapstick: American Eccentrics, German Grotesques I examine the wide-ranging popularity of American slapstick film in Germany's Weimar Republic (1919-1933). With its gag-driven narratives, mechanically energized stars and urban, industrial mise-en-scène, slapstick spoke directly to the fears and desires of Germany's first democracy. Using this uniquely American, uniquely cinematic response to modernity as a lens, I offer a transnational account of Weimar culture, with slapstick refracting sites ranging from the film palace to the cabaret, Bauhaus design to modernist text. For those who celebrated the genre, slapstick's shocking, playfully curious humor challenged the traumas and cynicisms that would consume the Republic and which, moreover, still dominate scholarship on this era and its legacy. I approach slapstick cinema against the background of both Weimar Germany's obsession with all things American as well as grotesque traditions in European arts and letters. These films were more than simply received-they were also, to use playwright Bertolt Brecht's term, re-functioned, transformed by context and appropriation. Brecht himself adapted the lumpenproletarian gestures of Charlie Chaplin for developing his epic theater. Aside from this meeting of Tramp and Marxist dramaturge, I analyze a series of American-German constellations: Buster Keaton's androgynous deadpan through Dadaist Raoul Hausmann, white-collar employee Harold Lloyd iii through comic schlemihl Curt Bois and uncanny cartoon Felix the Cat through the animated, feline guide of Paul Leni and Guido Seeber's interactive crossword films. I situate these meetings within a broader historical circuit, with exiles from Hitler's Third Reich returning slapstick's favor by transforming American culture, even influencing heroes like Chaplin. Given the continued interest in the thought and culture of the Weimar era, I offer a case study for reevaluating its legacy vis-à-vis transnational cinemas, the relationship between avant-garde and mass media and modern theories of humor. iv Advisors/Committee Members: Villarejo, Amy (chair), Bathrick, David (committee member), McBride, Patrizia C. (committee member), Haenni, Sabine (committee member).

Subjects/Keywords: Slapstick Cinema; Weimar Culture; Comedy

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APA (6^th Edition):

Flaig, P. (2013). Weimar Slapstick: American Eccentrics, German Grotesques. (Doctoral Dissertation). Cornell University. Retrieved from http://hdl.handle.net/1813/34066

Chicago Manual of Style (16^th Edition):

Flaig, Paul. “Weimar Slapstick: American Eccentrics, German Grotesques.” 2013. Doctoral Dissertation, Cornell University. Accessed January 16, 2021. http://hdl.handle.net/1813/34066.

MLA Handbook (7^th Edition):

Flaig, Paul. “Weimar Slapstick: American Eccentrics, German Grotesques.” 2013. Web. 16 Jan 2021.

Vancouver:

Flaig P. Weimar Slapstick: American Eccentrics, German Grotesques. [Internet] [Doctoral dissertation]. Cornell University; 2013. [cited 2021 Jan 16]. Available from: http://hdl.handle.net/1813/34066.

Council of Science Editors:

Flaig P. Weimar Slapstick: American Eccentrics, German Grotesques. [Doctoral Dissertation]. Cornell University; 2013. Available from: http://hdl.handle.net/1813/34066

Cornell University

3. Phillips, Alexander. Transfiguring Social Nature: Environmental And Aesthetic Transformations In German Realism.

Degree: PhD, Germanic Studies, 2015, Cornell University

URL: http://hdl.handle.net/1813/41069

► TRANSFIGURING SOCIAL NATURE: ENVIRONMENTAL AND AESTHETIC TRANSFORMATIONS IN GERMAN REALISM Alexander Robert Phillips, Ph.D. This dissertation investigates the relation between post-1848 German realist aesthetics and… (more)

▼ TRANSFIGURING SOCIAL NATURE: ENVIRONMENTAL AND AESTHETIC TRANSFORMATIONS IN GERMAN REALISM Alexander Robert Phillips, Ph.D. This dissertation investigates the relation between post-1848 German realist aesthetics and the representation of nature as physically reconstituted by the human labor process. Environmental transformation in the form of cultivation, pollution, and sprawl would appear to pose a challenge to a realist poetics invested in achieving artistic status through "transfiguration" (Verklärung), or the synthesis between material reality and poesy, inasmuch as the mimetic representation of ecological depredation carries with it a reassertion of both prosaic capitalist relations and the base material reality capitalism produces. This study asks how Adalbert Stifter, Wilhelm Raabe, and Theodor Fontane negotiate the mimetic and poetic imperatives of realism where their texts encounter environmental depredation. I argue that the environment's increasingly social character feeds into each author's poetic project, such that environmental transformation grounds a dynamic realism that binds political critique with a broader theoretical reflection on the conditions of possibility for poesy in modernity. The encounter between the social production of nature and poetic realism is crucial for Stifter, for whom the cultivation of the environment mirrors the task he assigns to realist narrative of making perceptible the general moral order that sustains the universe. These cultivated utopias are impossible for Wilhelm Raabe, for whom environmental depredation becomes an agent of generative destabilization that stymies the transfiguration gesture and catalyzes a critical reevaluation of the status of art in a degraded world. Finally I turn to Fontane's Stechlin to consider how the poetic character of Brandenburg is determined by an emerging Anthropocene reality. By looking at the relation between environmental depredation and art, "Transfiguring Social Nature" develops a line of ecocritical inquiry that moves beyond the focus of much earlier ecocritical scholarship on nature and place to account for the poetically constitutive aspects of environmental transformation while also considering its deleterious effects. At the same time considering environmental issues as integral to the texts' otherwise social framework allows us to see realism both as a dynamic literary and theoretical discourse that also figures within the genealogy of contemporary environmentalism. Advisors/Committee Members: Schwarz,Anette (chair), McBride,Patrizia C. (committee member), Fleming,Paul A. (committee member).

Subjects/Keywords: realism; environment; ecocriticism

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APA (6^th Edition):

Phillips, A. (2015). Transfiguring Social Nature: Environmental And Aesthetic Transformations In German Realism. (Doctoral Dissertation). Cornell University. Retrieved from http://hdl.handle.net/1813/41069

Chicago Manual of Style (16^th Edition):

Phillips, Alexander. “Transfiguring Social Nature: Environmental And Aesthetic Transformations In German Realism.” 2015. Doctoral Dissertation, Cornell University. Accessed January 16, 2021. http://hdl.handle.net/1813/41069.

MLA Handbook (7^th Edition):

Phillips, Alexander. “Transfiguring Social Nature: Environmental And Aesthetic Transformations In German Realism.” 2015. Web. 16 Jan 2021.

Vancouver:

Phillips A. Transfiguring Social Nature: Environmental And Aesthetic Transformations In German Realism. [Internet] [Doctoral dissertation]. Cornell University; 2015. [cited 2021 Jan 16]. Available from: http://hdl.handle.net/1813/41069.

Council of Science Editors:

Phillips A. Transfiguring Social Nature: Environmental And Aesthetic Transformations In German Realism. [Doctoral Dissertation]. Cornell University; 2015. Available from: http://hdl.handle.net/1813/41069

Cornell University

4. Gelderloos, Carl. The Instrumental Body And The Organic Machine: Technology As Nature In Weimar Germany.

Degree: PhD, Germanic Studies, 2014, Cornell University

URL: http://hdl.handle.net/1813/37031

► This dissertation explores cultural narratives about technology in the Weimar Republic with a particular focus on tropes of the body-as-tool and the organic machine. At… (more)

▼ This dissertation explores cultural narratives about technology in the Weimar Republic with a particular focus on tropes of the body-as-tool and the organic machine. At once the organic seat of the self and merely one instrument among others in the shaping of the natural world, the ambiguous figure of the instrumental body straddles the border between nature and technology while undermining any strong distinction between the two spheres. The technological anthropologies of Karl Marx, Ernst Kapp, and Helmut Plessner invoke radically divergent political visions from the relationship between technology, the human body, and its environment. The conflicted implications of this relationship are literalized in Alfred Döblin's emblematic novel Berge Meere und Giganten (1924), which pushes the trope of the body-as-tool to a breaking point by repeatedly and spectacularly rupturing the bounds of the body itself; this topological assault on the autonomous individual reflects the confluence of Döblin's monist philosophy of nature and his avant-garde critique of the novel form. I then analyze key contributions to Weimar-era photographic discourse by Döblin, Brecht, Benjamin, Kracauer, and Albert Renger-Patzsch to unfold the uneasy relationship between physiognomy - the belief in the body's inherent legibility - and the way photography as technology compels the visible body to speak. And for Ernst Jünger, future technology itself becomes a human organ, thereby closing the progression of human history in a static, elemental temporality. In contrast to accounts of modernity that see an encroachment of a mechanical register on the organicist discourse of the body, my dissertation shows how the tropes of the body-as-tool and the organic machine destabilize any unidirectional relationship between nature and technology. By recovering the centrality of the organic body within contemporary technological imaginaries, my project intervenes in scholarship on the culture of the Weimar Republic by contributing a more complex - and non-teleological - picture of the aesthetic, philosophical, and political stakes of the discursive entwinements of nature and technology. Advisors/Committee Members: McBride, Patrizia C. (chair), Adelson, Leslie Allen (committee member), Schwarz, Anette (committee member).

Subjects/Keywords: Weimar Republic; Technology; Culture

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APA (6^th Edition):

Gelderloos, C. (2014). The Instrumental Body And The Organic Machine: Technology As Nature In Weimar Germany. (Doctoral Dissertation). Cornell University. Retrieved from http://hdl.handle.net/1813/37031

Chicago Manual of Style (16^th Edition):

Gelderloos, Carl. “The Instrumental Body And The Organic Machine: Technology As Nature In Weimar Germany.” 2014. Doctoral Dissertation, Cornell University. Accessed January 16, 2021. http://hdl.handle.net/1813/37031.

MLA Handbook (7^th Edition):

Gelderloos, Carl. “The Instrumental Body And The Organic Machine: Technology As Nature In Weimar Germany.” 2014. Web. 16 Jan 2021.

Vancouver:

Gelderloos C. The Instrumental Body And The Organic Machine: Technology As Nature In Weimar Germany. [Internet] [Doctoral dissertation]. Cornell University; 2014. [cited 2021 Jan 16]. Available from: http://hdl.handle.net/1813/37031.

Council of Science Editors:

Gelderloos C. The Instrumental Body And The Organic Machine: Technology As Nature In Weimar Germany. [Doctoral Dissertation]. Cornell University; 2014. Available from: http://hdl.handle.net/1813/37031

Cornell University

5. Duncan, Michelle. Freud And The Problem With Music: A History Of Listening At The Moment Of Psychoanalysis.

Degree: PhD, Germanic Studies, 2013, Cornell University

URL: http://hdl.handle.net/1813/34055

► An analysis of voice in performance and literary theory reveals a paradox: while voice is generally thought of as the vehicle through which one expresses… (more)

Subjects/Keywords: Opera; Richard Wagner; Max Graf

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APA (6^th Edition):

Duncan, M. (2013). Freud And The Problem With Music: A History Of Listening At The Moment Of Psychoanalysis. (Doctoral Dissertation). Cornell University. Retrieved from http://hdl.handle.net/1813/34055

Chicago Manual of Style (16^th Edition):

Duncan, Michelle. “Freud And The Problem With Music: A History Of Listening At The Moment Of Psychoanalysis.” 2013. Doctoral Dissertation, Cornell University. Accessed January 16, 2021. http://hdl.handle.net/1813/34055.

MLA Handbook (7^th Edition):

Duncan, Michelle. “Freud And The Problem With Music: A History Of Listening At The Moment Of Psychoanalysis.” 2013. Web. 16 Jan 2021.

Vancouver:

Duncan M. Freud And The Problem With Music: A History Of Listening At The Moment Of Psychoanalysis. [Internet] [Doctoral dissertation]. Cornell University; 2013. [cited 2021 Jan 16]. Available from: http://hdl.handle.net/1813/34055.

Council of Science Editors:

Duncan M. Freud And The Problem With Music: A History Of Listening At The Moment Of Psychoanalysis. [Doctoral Dissertation]. Cornell University; 2013. Available from: http://hdl.handle.net/1813/34055

Cornell University

6. Rotaru, Arina. Poetics Of Resonance And Legacies Of Sound In German Literature Since 1989.

Degree: PhD, Germanic Studies, 2013, Cornell University

URL: http://hdl.handle.net/1813/34192

► My dissertation analyzes two primary modes of engagement with sound in German literature since 1989. One is informed by the literary experiments of the interwar-and… (more)

▼ My dissertation analyzes two primary modes of engagement with sound in German literature since 1989. One is informed by the literary experiments of the interwar-and post-WWII avant-gardes, and the other is marked by vestiges of the manipulation of sound in Nazi and communist dictatorships. My first chapter examines complex relations between Herta Müller and Oskar Pastior, two Romanian writers of German ethnicity. By scrutinizing the relationship of these two authors to the Romanian avantgardes and their forms of experimentation in general (such as collage), I uncover both the potential of literary experiment to resist communist ideology and basic structures of untimeliness that Müller inherited from Pastior. The second chapter is dedicated to Marcel Beyer's prose and poetry, which testify to the influence of sound poetry and dub music on structures of contemporary prose. Beyer uses these innovative practices to recreate an imaginary East and explore unsuspected afterlives of colonialism and fascism in a present setting. My third chapter is devoted to the Turkish-German author Feridun Zaimoglu and his little discussed relation to the avant-garde. My discussion of Zaimoglu's work examines musical and ideological influences in his work, from the black power movement to rap aesthetics, but also probes the influence of the postcolonial Caribbean movement of négritude on his understanding and codification of sound. In my fourth chapter I address Thomas Kling's engagement with Dadaist experiments with sound as well as with the Wiener Gruppe's speech duets; I also show how Kling critically interprets these interwar and postwar traditions by recasting them in verses written under the sign of the digital. With this comparative study, I seek to contribute to the field of German studies as it intersects with the evolving scholarship on sound studies, media studies and performance studies, and I ask how the past of experimentation in its colonial, communist, and avant-gardist dimensions transforms and conditions the social and aesthetic textures of the present. Advisors/Committee Members: Adelson, Leslie Allen (chair), McBride, Patrizia C. (committee member), Gilgen, Peter (committee member).

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APA (6^th Edition):

Rotaru, A. (2013). Poetics Of Resonance And Legacies Of Sound In German Literature Since 1989. (Doctoral Dissertation). Cornell University. Retrieved from http://hdl.handle.net/1813/34192

Chicago Manual of Style (16^th Edition):

Rotaru, Arina. “Poetics Of Resonance And Legacies Of Sound In German Literature Since 1989.” 2013. Doctoral Dissertation, Cornell University. Accessed January 16, 2021. http://hdl.handle.net/1813/34192.

MLA Handbook (7^th Edition):

Rotaru, Arina. “Poetics Of Resonance And Legacies Of Sound In German Literature Since 1989.” 2013. Web. 16 Jan 2021.

Vancouver:

Rotaru A. Poetics Of Resonance And Legacies Of Sound In German Literature Since 1989. [Internet] [Doctoral dissertation]. Cornell University; 2013. [cited 2021 Jan 16]. Available from: http://hdl.handle.net/1813/34192.

Council of Science Editors:

Rotaru A. Poetics Of Resonance And Legacies Of Sound In German Literature Since 1989. [Doctoral Dissertation]. Cornell University; 2013. Available from: http://hdl.handle.net/1813/34192

Cornell University

7. Linden, Ari. Between Complicity And Critique: The Limits Of Satire In Karl Kraus, Elias Canetti And Else Lasker-SchÜLer.

Degree: PhD, Germanic Studies, 2013, Cornell University

URL: http://hdl.handle.net/1813/34203

► This dissertation addresses the discourse of twentieth-century German-language satire in three representative dramas: Karl Kraus's Die letzten Tage der Menschheit (1915-1922), Elias Canetti's Komödie der… (more)

▼ This dissertation addresses the discourse of twentieth-century German-language satire in three representative dramas: Karl Kraus's Die letzten Tage der Menschheit (1915-1922), Elias Canetti's Komödie der Eitelkeit (1934) and Else Lasker-Schüler's IchundIch (1940-1941). Using a wide range of theoretical approaches - from critical theory to contemporary theories of satire, laughter, parody and irony - and situating these dramas against the background of the two World Wars, this dissertation isolates a particular historical moment (1915-1941) in order to illuminate the ethical problems raised by modernist satire and the related phenomenon of the laughable. It asks: what are the stakes involved in producing a satire without the guarantee of an Archimedean point of authority, and what is entailed in laughing at historical catastrophe? Guided by the observations of Walter Benjamin, Chapters 1 and 2 analyze Kraus's "absolute" satire (Hermann Broch), and specifically the use of quotation and repetition in his dramatic lampoon of World War I, in order to show how the central figure of the text - the Nörgler - must be understood dialectically: his ability to critique the war is a direct function of his recognition, consumption and subsequent reproduction of its "language." Chapter 3 shows how Canetti's allegorical drama attempts to abandon the Krausian mold and produce a less annihilating satire of totalitarianism, only to expose the ambiguity of its laughter. Such laughter mimics the structures of power it aims to negate, similarly evoking the hermeneutic predicament introduced by Kraus. Chapter 4 shows how Lasker-Schüler's grotesque parody of National Socialism and "high" German culture alike invokes a different form of laughter altogether. Writing from the perspective of exile - which also manifests itself in the drama's aesthetics - Lasker-Schüler's laughter is not the embittered, authoritative laughter we find in Kraus and Canetti, but rather one that both embraces and is informed by an expression of subjectivity not bound to the single, ostensibly exterior authorial position. IchundIch thereby provides a model of how the comic disposition can maintain its legitimacy in times of terror without formally capitulating to its object of critique, while still pointing to a key internal aporia that lies at the core of twentiethcentury satire. Advisors/Committee Members: McBride, Patrizia C. (chair), Waite, Geoffrey Carter W (committee member), Schwarz, Anette (committee member), Fleming, Paul A. (committee member).

Subjects/Keywords: satire; Kraus; critique

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APA (6^th Edition):

Linden, A. (2013). Between Complicity And Critique: The Limits Of Satire In Karl Kraus, Elias Canetti And Else Lasker-SchÜLer. (Doctoral Dissertation). Cornell University. Retrieved from http://hdl.handle.net/1813/34203

Chicago Manual of Style (16^th Edition):

Linden, Ari. “Between Complicity And Critique: The Limits Of Satire In Karl Kraus, Elias Canetti And Else Lasker-SchÜLer.” 2013. Doctoral Dissertation, Cornell University. Accessed January 16, 2021. http://hdl.handle.net/1813/34203.

MLA Handbook (7^th Edition):

Linden, Ari. “Between Complicity And Critique: The Limits Of Satire In Karl Kraus, Elias Canetti And Else Lasker-SchÜLer.” 2013. Web. 16 Jan 2021.

Vancouver:

Linden A. Between Complicity And Critique: The Limits Of Satire In Karl Kraus, Elias Canetti And Else Lasker-SchÜLer. [Internet] [Doctoral dissertation]. Cornell University; 2013. [cited 2021 Jan 16]. Available from: http://hdl.handle.net/1813/34203.

Council of Science Editors:

Linden A. Between Complicity And Critique: The Limits Of Satire In Karl Kraus, Elias Canetti And Else Lasker-SchÜLer. [Doctoral Dissertation]. Cornell University; 2013. Available from: http://hdl.handle.net/1813/34203

Cornell University

8. Nousek, Katrina. "Pasts With Futures: Temporality, Subjectivity And Postcommunism In Contemporary German Literature By Herta MüLler, Zsuzsa BàNk And TeréZia Mora".

Degree: PhD, Germanic Studies, 2015, Cornell University

URL: http://hdl.handle.net/1813/40666

► This dissertation analyzes future-oriented narrative features distinguishing German literature about European communism and its legacies. Set against landscapes marked by Soviet occupation and Ceauşescu's communist… (more)

Subjects/Keywords: Postcommunism; Contemporary German Literature; Temporality

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APA (6^th Edition):

Nousek, K. (2015). "Pasts With Futures: Temporality, Subjectivity And Postcommunism In Contemporary German Literature By Herta MüLler, Zsuzsa BàNk And TeréZia Mora". (Doctoral Dissertation). Cornell University. Retrieved from http://hdl.handle.net/1813/40666

Chicago Manual of Style (16^th Edition):

Nousek, Katrina. “"Pasts With Futures: Temporality, Subjectivity And Postcommunism In Contemporary German Literature By Herta MüLler, Zsuzsa BàNk And TeréZia Mora".” 2015. Doctoral Dissertation, Cornell University. Accessed January 16, 2021. http://hdl.handle.net/1813/40666.

MLA Handbook (7^th Edition):

Nousek, Katrina. “"Pasts With Futures: Temporality, Subjectivity And Postcommunism In Contemporary German Literature By Herta MüLler, Zsuzsa BàNk And TeréZia Mora".” 2015. Web. 16 Jan 2021.

Vancouver:

Nousek K. "Pasts With Futures: Temporality, Subjectivity And Postcommunism In Contemporary German Literature By Herta MüLler, Zsuzsa BàNk And TeréZia Mora". [Internet] [Doctoral dissertation]. Cornell University; 2015. [cited 2021 Jan 16]. Available from: http://hdl.handle.net/1813/40666.

Council of Science Editors:

Nousek K. "Pasts With Futures: Temporality, Subjectivity And Postcommunism In Contemporary German Literature By Herta MüLler, Zsuzsa BàNk And TeréZia Mora". [Doctoral Dissertation]. Cornell University; 2015. Available from: http://hdl.handle.net/1813/40666

9. Calla, Matteo. Communities of Experience: Nationalist and Humanist Aesthetics in Klopstock, Lessing, and Kant.

Degree: PhD, Germanic Studies, 2018, Cornell University

URL: http://hdl.handle.net/1813/59492

► Accounts of the emergence of aesthetics in eighteenth-century Germany, the study of “sensible cognition” in Alexander Baumgarten’s words, frequently associate its emergence with the imaginative… (more)

▼ Accounts of the emergence of aesthetics in eighteenth-century Germany, the study of “sensible cognition” in Alexander Baumgarten’s words, frequently associate its emergence with the imaginative autonomy central to Immanuel Kant’s influential 1791 Critique of the Power of Judgment. Bridging aesthetics, media, and reception studies, this dissertation presents a more diverse picture. Analyzing the works of three key figures – Friedrich Klopstock, G.E. Lessing, and Kant himself – it suggests that aesthetics instead respond to a secular crisis of authority precipitated by the emergence of a bourgeois reading public coming into self-consciousness of its own autonomy. As theories about the essential relation between a subject and a shared sensible world, aesthetics are theories about a subject’s essential relation to community, in the absence of the external authority operative in religion, feudalism, and Leibnizean/ Wolffean rationalism. This study claims that aesthetics are influenced by two models for a subjective relationship to community present in eighteenth-century Germany: Protestantism and Pietism. While Max Weber has suggested that, in substituting external authority for a subjective principle, Protestantism offers a model for secular community based on individual distinction, this study claims that German Pietism offers an alternative at odds with individualism: oriented instead towards an experience of spiritual community in the present. These two models inform two genealogies of aesthetics catalyzed by the emergence of print. Humanist aesthetics, such as those of Kant and late Lessing, reinforce the isolation of the print medium by emphasizing autonomous experience and privileging written media. By contrast, in the work of Friedrich Klopstock emerges a nationalist strain that, influenced by Pietism, is in tension with reading, emphasizing live performance and forms of print distribution binding individuals into more substantive contact. Analyzing Klopstock and Lessing’s poetry, plays, and political allegories, this study shows how these aesthetic practices actively seek to organize different forms of secular community around sensible presentations. This dissertation ultimately seeks both to uncover a history of nationalist aesthetics obscured by humanist histories of aesthetics, and develop a methodology for understanding the role of aesthetic and medial practices in producing normative forms of secular community in the absence of absolute authority. Advisors/Committee Members: Fleming, Paul A. (chair), McNulty, Tracy K. (committee member), McBride, Patrizia C. (committee member).

Subjects/Keywords: Humanism; Protestantism; nationalism; Aesthetics; German literature; European history; Secularism; Enlightenment; History of Aesthetics

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APA (6^th Edition):

Calla, M. (2018). Communities of Experience: Nationalist and Humanist Aesthetics in Klopstock, Lessing, and Kant. (Doctoral Dissertation). Cornell University. Retrieved from http://hdl.handle.net/1813/59492

Chicago Manual of Style (16^th Edition):

Calla, Matteo. “Communities of Experience: Nationalist and Humanist Aesthetics in Klopstock, Lessing, and Kant.” 2018. Doctoral Dissertation, Cornell University. Accessed January 16, 2021. http://hdl.handle.net/1813/59492.

MLA Handbook (7^th Edition):

Calla, Matteo. “Communities of Experience: Nationalist and Humanist Aesthetics in Klopstock, Lessing, and Kant.” 2018. Web. 16 Jan 2021.

Vancouver:

Calla M. Communities of Experience: Nationalist and Humanist Aesthetics in Klopstock, Lessing, and Kant. [Internet] [Doctoral dissertation]. Cornell University; 2018. [cited 2021 Jan 16]. Available from: http://hdl.handle.net/1813/59492.

Council of Science Editors:

Calla M. Communities of Experience: Nationalist and Humanist Aesthetics in Klopstock, Lessing, and Kant. [Doctoral Dissertation]. Cornell University; 2018. Available from: http://hdl.handle.net/1813/59492

10. Taylor, Nathan James. The Value Form: Economies of Prose in Tieck, Keller, and Walser.

Degree: PhD, Germanic Studies, 2017, Cornell University

URL: http://hdl.handle.net/1813/58996

► This dissertation explores literary economies of prose in German-language literature from the 1830s to the early twentieth century, granting particular focus to questions of economic… (more)

▼ This dissertation explores literary economies of prose in German-language literature from the 1830s to the early twentieth century, granting particular focus to questions of economic value. The problem of value, this study argues, becomes a central literary concern after the end of the Kunstperiode (Heine) when the question of literature’s relation to everyday life – the central problem of prosaic art – turns into a reflection on the value of literature as art, as commodity, as work. While value remains an elusive problem in aesthetic, economic, and moral discourses of the nineteenth and early-twentieth century, literary authors such as Ludwig Tieck, Gottfried Keller, and Robert Walser generate an arsenal of value forms (Marx) that, in different ways, interrogate and shape relations between literature and the world, life and art, work and play, and, most of all, the status of the economic in literary texts. I analyze three value forms in Tieck, Keller, and Walser: lack and surplus; credit and debt; performance (Leistung) and invention. The problem of prose’s value is literalized in Ludwig Tieck’s novella Des Lebens Überfluß (1838), which documents how a last-resort Romantic attempt to turn the lack of poetry in a prosaic world into surplus runs up against value’s sine qua non: finitude or, in Tieck’s novella, need. I then analyze relations of credit and debt in Gottfried Keller’s 1874 novella Kleider machen Leute, which, I argue, engages central discussions about what constitutes value in late-nineteenth-century political economy, philosophy, and aesthetics as it reframes the older narrative trope of fortune in terms of a capitalist transfiguration: the risky turn from insolvency to solvency and vice versa. A last chapter argues for a subtype of literary genre, which I call the Leistungsroman, and which I trace specifically to Robert Walser’s novel Der Gehülfe (1908). Walser’s novel about clerical work and the insolvency of an entrepreneurial engineer pivots not around the question of Bildung but around the clerical employee’s (often written) job performance in the context of a division of labor between invention and performance (Leistung). The move to a Leistungsroman enacts a transvaluation of the modern novel, and the values of human and literary innovation and productivity that underwrite it, by reconfiguring the novel’s relation to work, action, and invention. Advisors/Committee Members: Fleming, Paul A. (chair), Waite, Geoffrey Carter W (committee member), Adelson, Leslie Allen (committee member), McBride, Patrizia C. (committee member).

Subjects/Keywords: Economy; Form; Life; Ninteenth Century; Prose; German literature; Economic theory; value

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APA (6^th Edition):

Taylor, N. J. (2017). The Value Form: Economies of Prose in Tieck, Keller, and Walser. (Doctoral Dissertation). Cornell University. Retrieved from http://hdl.handle.net/1813/58996

Chicago Manual of Style (16^th Edition):

Taylor, Nathan James. “The Value Form: Economies of Prose in Tieck, Keller, and Walser.” 2017. Doctoral Dissertation, Cornell University. Accessed January 16, 2021. http://hdl.handle.net/1813/58996.

MLA Handbook (7^th Edition):

Taylor, Nathan James. “The Value Form: Economies of Prose in Tieck, Keller, and Walser.” 2017. Web. 16 Jan 2021.

Vancouver:

Taylor NJ. The Value Form: Economies of Prose in Tieck, Keller, and Walser. [Internet] [Doctoral dissertation]. Cornell University; 2017. [cited 2021 Jan 16]. Available from: http://hdl.handle.net/1813/58996.

Council of Science Editors:

Taylor NJ. The Value Form: Economies of Prose in Tieck, Keller, and Walser. [Doctoral Dissertation]. Cornell University; 2017. Available from: http://hdl.handle.net/1813/58996

11. Pickle, Sarah. The Form Of Learning Is The Learning Of Forms: Models Of Socialist Aesthetic Education In Gorky, Hacks, And MüLler.

Degree: PhD, Comparative Literature, 2014, Cornell University

URL: http://hdl.handle.net/1813/36031

► Most readers of politically committed literature dismiss it either because they disagree with the content presented in it or because its ostensibly crass instrumentalization of… (more)

▼ Most readers of politically committed literature dismiss it either because they disagree with the content presented in it or because its ostensibly crass instrumentalization of art in the service of a socialist program negates its aesthetic value. In the 20th century, these views were more often than not borne of a prejudice against Socialist Realism, the official method for producing art in the Eastern Bloc, which relied on a didactic relationship between art and its message in order to communicate with and educate its audience. The socialist literary and theoretical works by Maxim Gorky (Russia/USSR), Peter Hacks (East Germany), and Heiner Müller (East Germany) stand in stark contrast to this didacticism of Socialist Realism, as they are underpinned by philosophical and aesthetic commitments drawn from romanticism, classicism, and avant-gardism, respectively. In the works I examine, artistic form is embraced as the quality that makes art a vehicle uniquely suited to the political education of its audience. The authors' depiction (Gorky), description (Hacks), and staging (Müller) of the aesthetic theories upon which their pedagogical artworks depend do not aim to reduce those literary works to the communication of a specific socialist message; rather, the audience arrives at a more general and truthful way of thinking principally by engaging with the form of the artwork. As in Socialist Realism, the radical education promoted by Gorky, Hacks, and Müller has political consequences, but for them, this education takes place both as readers and audiences assimilate the tendentious content of the texts and as they engage with the artworks' formal structures. For these authors, art has the capacity to inspire spiritual (Gorky), ontological (Hacks), and behavioral (Müller) exercises that in turn enable readers (Gorky), viewers (Hacks), and participants (Müller) to participate in and create new forms of thinking. In the process, they become agents, creative producers of thought who have received a more sustainable and liberating education than the didacticism of Socialist Realism could ever provide. What these works share is a commitment to teaching how to think over learning what to think. Advisors/Committee Members: Culler, Jonathan Dwight (chair), Banerjee, Anindita (committee member), Bathrick, David (committee member), McBride, Patrizia C. (committee member).

Subjects/Keywords: East Germany; Soviet Union; Socialist Realism

Record Details Similar Records Cite « Share

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Pickle, S. (2014). The Form Of Learning Is The Learning Of Forms: Models Of Socialist Aesthetic Education In Gorky, Hacks, And MüLler. (Doctoral Dissertation). Cornell University. Retrieved from http://hdl.handle.net/1813/36031

Chicago Manual of Style (16^th Edition):

Pickle, Sarah. “The Form Of Learning Is The Learning Of Forms: Models Of Socialist Aesthetic Education In Gorky, Hacks, And MüLler.” 2014. Doctoral Dissertation, Cornell University. Accessed January 16, 2021. http://hdl.handle.net/1813/36031.

MLA Handbook (7^th Edition):

Pickle, Sarah. “The Form Of Learning Is The Learning Of Forms: Models Of Socialist Aesthetic Education In Gorky, Hacks, And MüLler.” 2014. Web. 16 Jan 2021.

Vancouver:

Pickle S. The Form Of Learning Is The Learning Of Forms: Models Of Socialist Aesthetic Education In Gorky, Hacks, And MüLler. [Internet] [Doctoral dissertation]. Cornell University; 2014. [cited 2021 Jan 16]. Available from: http://hdl.handle.net/1813/36031.

Council of Science Editors:

Pickle S. The Form Of Learning Is The Learning Of Forms: Models Of Socialist Aesthetic Education In Gorky, Hacks, And MüLler. [Doctoral Dissertation]. Cornell University; 2014. Available from: http://hdl.handle.net/1813/36031

Open Access Theses and Dissertations