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Taschenbuch. Condizione: Neu. Druck auf Anfrage Neuware - Printed after ordering - Seminar paper from the year 2003 in the subject English Language and Literature Studies - Literature, grade: 2,7, University of Frankfurt (Main), course: Englische Prosa des 17. Jahrhunderts: Robert Burton und Sir Thomas Browne, language: English, abstract: The word 'imagination' has and had various meanings as this extract from The Oxford English Dictionary illustrates: 1. The action of imagining, or forming a mental concept of what is not actually present to the senses [.]; the result of this process, a mental image or idea (often with implication that the conception does not correspond to the reality of things, hence freq. vain (false, etc.) imagination [.] 2. The mental consideration of actions or events not yet in existence a. Scheming or devising; a device, contrivance, plan, scheme, plot, a fancyful project [.] b. Impression as to what is likely; expectation, anticipation. [.]These are the definitions that existed in the Renaissance period. But as I am going to show in my essay with the example of Robert Burton's The Anatomy of Melancholy (1621), imagination played a more influential role during that period and was believed to have and had a big impact on different spheres of life. Of course, there was no homogeneous opinion about its influence. As Katherine Park notes, the debate over the force of imagination 'was complicated by the fact that the most ardent defenders of the power of imagination included both the most credulous - writers like Paracelsus who would believe any story - as well as the least superstitious - writers like Pomponazzi and Montaigne for whom the imagination provided a credible and natural explanation for some of the more far-fetched claims of popular magic and religion.' (Huet 14)So I will point out to what extent Burton's ideas about it correspond to the views of his contemporaries and also how far they are more influenced by tradition. I am going to start with a passage about the contemporary development of the scientific method and an introduction to the circulating thoughts about imagination. Based on this, I will show how some trends of thinking are reflected and I will take a closer look at the contexts in which imagination or fancy appear in The Anatomy of Melancholy. Apart from the part entitled 'Of the Force of Imagination', this mental power resonates in many other sections, too. It is connected to the medical sphere where it influences the unborn child and the health, as well as to dreams and to the supernatural - not just in the sense that demons and witches are the monstrous products of fantasy. They were also thought to have a strong influence on the imagination itself.…

Taschenbuch. Condizione: Neu. Druck auf Anfrage Neuware - Printed after ordering - Seminar paper from the year 2002 in the subject American Studies - Literature, grade: 2,7, University of Frankfurt (Main), course: Women Writers in the 19th century, language: English, abstract: I. IntroductionIn the conclusion to Feminist Fiction, Anne Cranny-Francis (compare to 201-202) brings up the question: How can a feminist use the genre of detective fiction which seems superficially to be about detection and revelation, but which is ideologically about concealment and mystification Charlotte Perkins Gilman made one of the earliest attempts in 1929 out of 'feminist despair at what had become of her society and the movements to build a new one from it' (Robinson 276). 'She wrote a novel, a spirited novel in a popular genre, the murder mystery, that would encapsulate her vision of feminism for the new times. The idea, this time, was not so much to hurl feminism into the jaws of post-feminism as to pry open those jaws and slip in a sugar-coated pill' (Robinson 277).On the one hand, Unpunished has a feminist message about domestic abuse and marital rape. On the other hand, it contains a husband-wife detective team, common stock characters since 1913 (compare to G & K 101/103), not a single woman detective or at least a professional partnership as one could have expected. Creating this unequal couple, it could be said that Gilman adopted the conventions of detective fiction. First of all, I am going to summarize the history of detective fiction and fictional detectives created by women writers to demonstrate the prevailing conventions of the genre and the way these are converted in the book. I shall confine myself to a consideration of the detective couple Bessie and Jim Hunt disregarding their rival sleuth Gus Crasher. According to William Aydelotte, conventions are the elements that make detective stories popular because they correspond to wish-fulfillment fantasies and therefore describe the readers and their unmotivational drives (compare to 307-308). This theory appears interesting to me with regard to the fact that Gilman's mystery was not published until 1997. Its underlying fantasies seem to have produced certain sensations that the publishers and the readership were not ready for yet. My thesis is that Gilman used the detective couple to make fun of the conventions of the genre and to show that little has changed for women. In the next section, taking the usage of (nick)names and the partnership presented in the book as examples, I will try to prove this against the background of the society and the gender relations in the nineteenth century and in the 1920s.…

Taschenbuch. Condizione: Neu. Druck auf Anfrage Neuware - Printed after ordering - Seminar paper from the year 2003 in the subject American Studies - Literature, grade: 1,7, University of Frankfurt (Main), course: Decadence and Moderism in the Late 20th Century American Cinema, language: English, abstract: Jonathan Veitch asserts in the preface of his book American Superrealism that critics have had problems in placing Nathanael West within the literature of the 1930s and American literature in general. They understood him for example as 'a poet of darkness', as 'an apocalyptic writer', as 'a homegrown surrealist', as 'a writer of the left' , as a 'universal satirist' , in a way as 'the prototype of the contemporary Jewish-American novelist' (Wisker 1-2) or as a realistic writer (Martin, see Roberts). Although some of these characterizations are contradictory, they all fit because they reflect different facets of the author, or rather his work. West combined all these elements and probably even several others in his writings. His 'style was never constant. At times his pictorial technique closely resembles collage [but also] cartoon strips, movies, and several different schools of painting, as well as such non-graphic visual arts as the tableau and the dance.' (Reid 9) Taking the (though not planned) final result of his development as a writer, his last book The Day of the Locust (1939) as an example, I want to show in my essay that at least one of West's books does not 'fall between the different schools of writing' (Wisker 2), as he once noted. He is certainly a representative of modernism, the 'literary movement' and 'point of view' of his time (see O'Conner) not only because a 'struggle for definition is part of what those years are about' (Wisker 121). Nathanael West was influenced by the same historical events and used many of the strategies other contemporary writers employed to express his way of seeing the world. I will point out the features of modernism in the novel because, as Randall Reid states,'[i]n a century which has made experimental writing almost an absolute value, he is one of the more interesting innovators. [.]' First of all, it will be useful to look at the historical background to understand modernism before defining it with emphasis on decadence as a special characteristic. In the next part of my essay, I am going to show how modernism, that is surrealism, Dada and the typical modernist themes, is reflected in the novel. Finally, I will summarize the resulting main points in the conclusion. …

Taschenbuch. Condizione: Neu. Druck auf Anfrage Neuware - Printed after ordering - Thesis (M.A.) from the year 2005 in the subject American Studies - Literature, grade: 2,7, University of Frankfurt (Main), 74 entries in the bibliography, language: English, abstract: [.] Starting with the realistic short fiction, I will show Gilman's main ideas to resolve typical problems of women with the example of some selected stories. I resolved to treat them not in chronological order but to delineate the structural changes in the different levels of social organization that are to be discerned. Moreover I decided to use two narratives in each subdivision because choosing only one would not do justice to the scope of Gilman's imagination and would reduce the findings to be made. So, for example, in both writings of each partition, changes take place in varying degrees and are initiated by different types of characters. The first stories, 'Making a Change' and 'A Garden of Babies,' illustrate the imagined transformation of middle-class women and the betterment of their situation by gainful employment. In addition, 'Martha's Mother' and 'Forsythe & Forsythe' promote changed living conditions as well. Whereas the next two stories, 'Three Thanksgivings' and 'Mrs. Hines' Money,' describe possibilities of human intercourse and the influence of reform clubs on society, the last pair, 'Aunt Mary's Pie Plant' and 'Bee Wise,' take women's united power to a more utopian extreme and most fully fictionalize the author's theories as short stories.Similarly, in the fifth chapter, there will be an intensification of Gilman's utopian thinking that is curiously more analogous to the year of publication. The selected pragmatopian novels, The Crux and What Diantha Did, are followed up by the two utopian works, Moving the Mountain and Herland. The sequel of the latter and her last published novel, With H.…

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Taschenbuch. Condizione: Neu. Druck auf Anfrage Neuware - Printed after ordering - Studienarbeit aus dem Jahr 2002 im Fachbereich Psychologie - Sozialpsychologie, Note: 1,7, Johann Wolfgang Goethe-Universität Frankfurt am Main, Veranstaltung: Grundlagen psychoanalytischer Sozialpsychologie, Sprache: Deutsch, Abstract: Sigmund Freud konfrontiert sich in seiner Schrift Die Zukunft einer Illusion (1927) mit der Frage nach dem Schicksal der Kultur. Dabei stellt er sich bescheiden als 'ein Psychologe [dar], der sich nicht darüber täuscht, wie schwer es ist, sich in dieser Welt zurechtzufinden [und bemüht ist] die Entwicklung der Menschheit nach dem bisschen Einsicht zu beurteilen, das er sich durch das Studium der seelischen Vorgänge beim Einzelmenschen während dessen Entwicklung vom Kind zum Erwachsenen erworben hat.' (S. 154)Da sich der Autor über das Problem der Subjektivität und über die allgemeine Unsicherheit von Vorhersagen bewusst ist, beschränkt er sich auf das Teilgebiet der Psychoanalyse, sein Spezialgebiet (vgl. S. 109), und behauptet keineswegs, dass die von ihm entwickelte These allgemeingültig sei. Auch schreckt er nicht davor zurück in Form von fiktiven Dialogen immer wieder Kritik an seinen eigenen Ausführungen zu üben. Mit der Veröffentlichung seiner, wie ich später zeigen werde, kultur- und religionskritischen Schrift riskierte Freud zwar nicht mehr sein Leben, sondern Vorwürfe 'wegen Seichtheit, Borniertheit, Mangel an Idealismus und an Verständnis für die höchsten Interessen der Menschheit' (S.139), sowie eine eingeschränkte Verbreitung und weiteres Misstrauen gegenüber der Psychoanalyse (vgl. S. 139). Es ist ihm völlig klar, dass seine Argumente weder die Glaubenden, die sich zärtlich an die religiösen Lehrsätze gebunden fühlen, noch diejenigen beeinflussen werden, die sich nur anpassen, weil sie die Drohungen der Religion fürchten (vgl. S. 148-9). Obwohl Die Zukunft einer Illusion also niemandem den Glauben nehmen würde, wollte er der Religionskritik eine psychologische Begründung hinzufügen (vgl. S. 138). …

Taschenbuch. Condizione: Neu. Neuware - Studienarbeit aus dem Jahr 2002 im Fachbereich Psychologie - Sonstiges, Note: 1, Johann Wolfgang Goethe-Universität Frankfurt am Main, Veranstaltung: Zur psychischen Wirkungsweise des Nationalsozialismus in der ersten, der zweiten und der dritten Generation der Opfer und Täter, Sprache: Deutsch, Abstract: Mit der Kapitulation Deutschlands am 8. Mai 1945 endete der Zweite Weltkrieg und zunächst auch der Staat Deutschland, der in vier Besatzungszonen unter Leitung des Alliierten Kontrollrats und im Jahr 1949 in die beiden Teilstaaten Bundesrepublik Deutschland und Deutsche Demokratische Republik geteilt wurde. (vgl. Meyers Lexikonredaktion 1988, S. 151) Die DDR verstand sich als ein antifaschistischer Staat (vgl. Rosenthal 1997, S. 29) und errichtete ein volksdemokratisches Regierungssystem unter Führung der Sozialistischen Einheitspartei Deutschlands, die BRD wurde zu einem Bundesstaat mit förderativem, demokratischem, sozialem und rechtsstaatlichem Charakter. (vgl. Meyers Lexikonredaktion 1988, S. 114/147) Diese beiden recht verschiedenen Regierungsformen und Selbstverständnisse brachten nicht nur eine unterschiedliche Entwicklung, sondern auch einen anderen Umgang mit der nationalsozialistischen Vergangenheit mit sich. (vgl. Rosenthal 1997, S. 29 ff) Ziel dieser Hausarbeit ist es die dadurch bedingten Unterschiede, aber auch die Gemeinsamkeiten der psychischen Wirkungsweise in den Familien der Täter und Opfer in Ost- und Westdeutschland aufzuzeigen. Zwar gibt es analoge Phänomene, sie gleichen sich aber nicht in jeder Hinsicht. (vgl. Rüsen 1998 in: Opher-Cohen et al. 2000, S. 73) Zuerst werde ich auf den öffentlichen Diskurs in den beiden Staaten eingehen und dann dessen Einfluss auf die Verarbeitung der Vergangenheit in den Familien herausarbeiten. Da die Anzahl der veröffentlichten Untersuchungen auf diesem Gebiet noch recht gering ist, ist es schwer bei den Opfern zwischen den Verfolgten, den Überlebenden von Konzentrationslagern und Ghettos oder den nach Deutschland zurückgekehrten Emigranten, und zwischen den Tätern oder den Mitläufern in der BRD und der DDR zu differenzieren. Ich werde trotzdem versuchen, insofern es mir das Material erlaubt, darauf einzugehen und mich hauptsächlich auf Gabriele Rosenthals Buch Der Holocaust im Leben von drei Generationen: Familien von Überlebenden der Shoah und von Nazi-Tätern (1997) beziehen. Da Juden mit 6 Millionen gegenüber 500.000 Nicht-Juden (politische Gefangene und andere Minderheiten) den Großteil der ermordeten KZ-Häftlinge, und der Verfolgten, darstellen (vgl. Meyers Lexikonredaktion 1988, S. 373), werde ich mich auf sie als Opfer konzentrieren.…

Taschenbuch. Condizione: Neu. This item is printed on demand - it takes 3-4 days longer - Neuware -Seminar paper from the year 2002 in the subject American Studies - Literature, grade: 2,7, University of Frankfurt (Main), course: Women Writers in the 19th century, language: English, abstract: I. IntroductionIn the conclusion to Feminist Fiction, Anne Cranny-Francis (compare to 201-202) brings up the question: How can a feminist use the genre of detective fiction which seems superficially to be about detection and revelation, but which is ideologically about concealment and mystification Charlotte Perkins Gilman made one of the earliest attempts in 1929 out of 'feminist despair at what had become of her society and the movements to build a new one from it' (Robinson 276). 'She wrote a novel, a spirited novel in a popular genre, the murder mystery, that would encapsulate her vision of feminism for the new times. The idea, this time, was not so much to hurl feminism into the jaws of post-feminism as to pry open those jaws and slip in a sugar-coated pill' (Robinson 277).On the one hand, Unpunished has a feminist message about domestic abuse and marital rape. On the other hand, it contains a husband-wife detective team, common stock characters since 1913 (compare to G & K 101/103), not a single woman detective or at least a professional partnership as one could have expected. Creating this unequal couple, it could be said that Gilman adopted the conventions of detective fiction. First of all, I am going to summarize the history of detective fiction and fictional detectives created by women writers to demonstrate the prevailing conventions of the genre and the way these are converted in the book. I shall confine myself to a consideration of the detective couple Bessie and Jim Hunt disregarding their rival sleuth Gus Crasher. According to William Aydelotte, conventions are the elements that make detective stories popular because they correspond to wish-fulfillment fantasies and therefore describe the readers and their unmotivational drives (compare to 307-308). This theory appears interesting to me with regard to the fact that Gilman's mystery was not published until 1997. Its underlying fantasies seem to have produced certain sensations that the publishers and the readership were not ready for yet. My thesis is that Gilman used the detective couple to make fun of the conventions of the genre and to show that little has changed for women. In the next section, taking the usage of (nick)names and the partnership presented in the book as examples, I will try to prove this against the background of the society and the gender relations in the nineteenth century and in the 1920s. 28 pp. Englisch. …

Taschenbuch. Condizione: Neu. This item is printed on demand - it takes 3-4 days longer - Neuware -Seminar paper from the year 2003 in the subject English Language and Literature Studies - Literature, grade: 2,7, University of Frankfurt (Main), course: Englische Prosa des 17. Jahrhunderts: Robert Burton und Sir Thomas Browne, language: English, abstract: The word 'imagination' has and had various meanings as this extract from The Oxford English Dictionary illustrates: 1. The action of imagining, or forming a mental concept of what is not actually present to the senses [.]; the result of this process, a mental image or idea (often with implication that the conception does not correspond to the reality of things, hence freq. vain (false, etc.) imagination [.] 2. The mental consideration of actions or events not yet in existence a. Scheming or devising; a device, contrivance, plan, scheme, plot, a fancyful project [.] b. Impression as to what is likely; expectation, anticipation. [.]These are the definitions that existed in the Renaissance period. But as I am going to show in my essay with the example of Robert Burton's The Anatomy of Melancholy (1621), imagination played a more influential role during that period and was believed to have and had a big impact on different spheres of life. Of course, there was no homogeneous opinion about its influence. As Katherine Park notes, the debate over the force of imagination 'was complicated by the fact that the most ardent defenders of the power of imagination included both the most credulous - writers like Paracelsus who would believe any story - as well as the least superstitious - writers like Pomponazzi and Montaigne for whom the imagination provided a credible and natural explanation for some of the more far-fetched claims of popular magic and religion.' (Huet 14)So I will point out to what extent Burton's ideas about it correspond to the views of his contemporaries and also how far they are more influenced by tradition. I am going to start with a passage about the contemporary development of the scientific method and an introduction to the circulating thoughts about imagination. Based on this, I will show how some trends of thinking are reflected and I will take a closer look at the contexts in which imagination or fancy appear in The Anatomy of Melancholy. Apart from the part entitled 'Of the Force of Imagination', this mental power resonates in many other sections, too. It is connected to the medical sphere where it influences the unborn child and the health, as well as to dreams and to the supernatural - not just in the sense that demons and witches are the monstrous products of fantasy. They were also thought to have a strong influence on the imagination itself. 28 pp. Englisch.…

Taschenbuch. Condizione: Neu. This item is printed on demand - it takes 3-4 days longer - Neuware -Seminar paper from the year 2003 in the subject American Studies - Literature, grade: 1,7, University of Frankfurt (Main), course: Decadence and Moderism in the Late 20th Century American Cinema, language: English, abstract: Jonathan Veitch asserts in the preface of his book American Superrealism that critics have had problems in placing Nathanael West within the literature of the 1930s and American literature in general. They understood him for example as 'a poet of darkness', as 'an apocalyptic writer', as 'a homegrown surrealist', as 'a writer of the left' , as a 'universal satirist' , in a way as 'the prototype of the contemporary Jewish-American novelist' (Wisker 1-2) or as a realistic writer (Martin, see Roberts). Although some of these characterizations are contradictory, they all fit because they reflect different facets of the author, or rather his work. West combined all these elements and probably even several others in his writings. His 'style was never constant. At times his pictorial technique closely resembles collage [but also] cartoon strips, movies, and several different schools of painting, as well as such non-graphic visual arts as the tableau and the dance.' (Reid 9) Taking the (though not planned) final result of his development as a writer, his last book The Day of the Locust (1939) as an example, I want to show in my essay that at least one of West's books does not 'fall between the different schools of writing' (Wisker 2), as he once noted. He is certainly a representative of modernism, the 'literary movement' and 'point of view' of his time (see O'Conner) not only because a 'struggle for definition is part of what those years are about' (Wisker 121). Nathanael West was influenced by the same historical events and used many of the strategies other contemporary writers employed to express his way of seeing the world. I will point out the features of modernism in the novel because, as Randall Reid states,'[i]n a century which has made experimental writing almost an absolute value, he is one of the more interesting innovators. [.]' First of all, it will be useful to look at the historical background to understand modernism before defining it with emphasis on decadence as a special characteristic. In the next part of my essay, I am going to show how modernism, that is surrealism, Dada and the typical modernist themes, is reflected in the novel. Finally, I will summarize the resulting main points in the conclusion. 32 pp. Englisch. …

Taschenbuch. Condizione: Neu. This item is printed on demand - it takes 3-4 days longer - Neuware -Studienarbeit aus dem Jahr 2002 im Fachbereich Psychologie - Sozialpsychologie, Note: 1,7, Johann Wolfgang Goethe-Universität Frankfurt am Main, Veranstaltung: Grundlagen psychoanalytischer Sozialpsychologie, Sprache: Deutsch, Abstract: Sigmund Freud konfrontiert sich in seiner Schrift Die Zukunft einer Illusion (1927) mit der Frage nach dem Schicksal der Kultur. Dabei stellt er sich bescheiden als 'ein Psychologe [dar], der sich nicht darüber täuscht, wie schwer es ist, sich in dieser Welt zurechtzufinden [und bemüht ist] die Entwicklung der Menschheit nach dem bisschen Einsicht zu beurteilen, das er sich durch das Studium der seelischen Vorgänge beim Einzelmenschen während dessen Entwicklung vom Kind zum Erwachsenen erworben hat.' (S. 154)Da sich der Autor über das Problem der Subjektivität und über die allgemeine Unsicherheit von Vorhersagen bewusst ist, beschränkt er sich auf das Teilgebiet der Psychoanalyse, sein Spezialgebiet (vgl. S. 109), und behauptet keineswegs, dass die von ihm entwickelte These allgemeingültig sei. Auch schreckt er nicht davor zurück in Form von fiktiven Dialogen immer wieder Kritik an seinen eigenen Ausführungen zu üben. Mit der Veröffentlichung seiner, wie ich später zeigen werde, kultur- und religionskritischen Schrift riskierte Freud zwar nicht mehr sein Leben, sondern Vorwürfe 'wegen Seichtheit, Borniertheit, Mangel an Idealismus und an Verständnis für die höchsten Interessen der Menschheit' (S.139), sowie eine eingeschränkte Verbreitung und weiteres Misstrauen gegenüber der Psychoanalyse (vgl. S. 139). Es ist ihm völlig klar, dass seine Argumente weder die Glaubenden, die sich zärtlich an die religiösen Lehrsätze gebunden fühlen, noch diejenigen beeinflussen werden, die sich nur anpassen, weil sie die Drohungen der Religion fürchten (vgl. S. 148-9). Obwohl Die Zukunft einer Illusion also niemandem den Glauben nehmen würde, wollte er der Religionskritik eine psychologische Begründung hinzufügen (vgl. S. 138). 16 pp. Deutsch.…

Taschenbuch. Condizione: Neu. This item is printed on demand - it takes 3-4 days longer - Neuware -Studienarbeit aus dem Jahr 2002 im Fachbereich Psychologie - Sonstiges, Note: 1, Johann Wolfgang Goethe-Universität Frankfurt am Main, Veranstaltung: Zur psychischen Wirkungsweise des Nationalsozialismus in der ersten, der zweiten und der dritten Generation der Opfer und Täter, Sprache: Deutsch, Abstract: Mit der Kapitulation Deutschlands am 8. Mai 1945 endete der Zweite Weltkrieg und zunächst auch der Staat Deutschland, der in vier Besatzungszonen unter Leitung des Alliierten Kontrollrats und im Jahr 1949 in die beiden Teilstaaten Bundesrepublik Deutschland und Deutsche Demokratische Republik geteilt wurde. (vgl. Meyers Lexikonredaktion 1988, S. 151) Die DDR verstand sich als ein antifaschistischer Staat (vgl. Rosenthal 1997, S. 29) und errichtete ein volksdemokratisches Regierungssystem unter Führung der Sozialistischen Einheitspartei Deutschlands, die BRD wurde zu einem Bundesstaat mit förderativem, demokratischem, sozialem und rechtsstaatlichem Charakter. (vgl. Meyers Lexikonredaktion 1988, S. 114/147) Diese beiden recht verschiedenen Regierungsformen und Selbstverständnisse brachten nicht nur eine unterschiedliche Entwicklung, sondern auch einen anderen Umgang mit der nationalsozialistischen Vergangenheit mit sich. (vgl. Rosenthal 1997, S. 29 ff) Ziel dieser Hausarbeit ist es die dadurch bedingten Unterschiede, aber auch die Gemeinsamkeiten der psychischen Wirkungsweise in den Familien der Täter und Opfer in Ost- und Westdeutschland aufzuzeigen. Zwar gibt es analoge Phänomene, sie gleichen sich aber nicht in jeder Hinsicht. (vgl. Rüsen 1998 in: Opher-Cohen et al. 2000, S. 73) Zuerst werde ich auf den öffentlichen Diskurs in den beiden Staaten eingehen und dann dessen Einfluss auf die Verarbeitung der Vergangenheit in den Familien herausarbeiten. Da die Anzahl der veröffentlichten Untersuchungen auf diesem Gebiet noch recht gering ist, ist es schwer bei den Opfern zwischen den Verfolgten, den Überlebenden von Konzentrationslagern und Ghettos oder den nach Deutschland zurückgekehrten Emigranten, und zwischen den Tätern oder den Mitläufern in der BRD und der DDR zu differenzieren. Ich werde trotzdem versuchen, insofern es mir das Material erlaubt, darauf einzugehen und mich hauptsächlich auf Gabriele Rosenthals Buch Der Holocaust im Leben von drei Generationen: Familien von Überlebenden der Shoah und von Nazi-Tätern (1997) beziehen. Da Juden mit 6 Millionen gegenüber 500.000 Nicht-Juden (politische Gefangene und andere Minderheiten) den Großteil der ermordeten KZ-Häftlinge, und der Verfolgten, darstellen (vgl. Meyers Lexikonredaktion 1988, S. 373), werde ich mich auf sie als Opfer konzentrieren. 20 pp. Deutsch.…

Taschenbuch. Condizione: Neu. This item is printed on demand - it takes 3-4 days longer - Neuware -Thesis (M.A.) from the year 2005 in the subject American Studies - Literature, grade: 2,7, University of Frankfurt (Main), 74 entries in the bibliography, language: English, abstract: [.] Starting with the realistic short fiction, I will show Gilman's main ideas to resolve typical problems of women with the example of some selected stories. I resolved to treat them not in chronological order but to delineate the structural changes in the different levels of social organization that are to be discerned. Moreover I decided to use two narratives in each subdivision because choosing only one would not do justice to the scope of Gilman's imagination and would reduce the findings to be made. So, for example, in both writings of each partition, changes take place in varying degrees and are initiated by different types of characters. The first stories, 'Making a Change' and 'A Garden of Babies,' illustrate the imagined transformation of middle-class women and the betterment of their situation by gainful employment. In addition, 'Martha's Mother' and 'Forsythe & Forsythe' promote changed living conditions as well. Whereas the next two stories, 'Three Thanksgivings' and 'Mrs. Hines' Money,' describe possibilities of human intercourse and the influence of reform clubs on society, the last pair, 'Aunt Mary's Pie Plant' and 'Bee Wise,' take women's united power to a more utopian extreme and most fully fictionalize the author's theories as short stories.Similarly, in the fifth chapter, there will be an intensification of Gilman's utopian thinking that is curiously more analogous to the year of publication. The selected pragmatopian novels, The Crux and What Diantha Did, are followed up by the two utopian works, Moving the Mountain and Herland. The sequel of the latter and her last published novel, With H 104 pp. Englisch.…

Taschenbuch. Condizione: Neu. This item is printed on demand - Print on Demand Titel. Neuware -Seminar paper from the year 2003 in the subject English Language and Literature Studies - Literature, grade: 2,7, University of Frankfurt (Main), course: Englische Prosa des 17. Jahrhunderts: Robert Burton und Sir Thomas Browne, language: English, abstract: The word 'imagination' has and had various meanings as this extract from The Oxford English Dictionary illustrates: 1. The action of imagining, or forming a mental concept of what is not actually present to the senses [.]; the result of this process, a mental image or idea (often with implication that the conception does not correspond to the reality of things, hence freq. vain (false, etc.) imagination [.] 2. The mental consideration of actions or events not yet in existence a. Scheming or devising; a device, contrivance, plan, scheme, plot, a fancyful project [.] b. Impression as to what is likely; expectation, anticipation. [.] These are the definitions that existed in the Renaissance period. But as I am going to show in my essay with the example of Robert Burton's The Anatomy of Melancholy (1621), imagination played a more influential role during that period and was believed to have and had a big impact on different spheres of life. Of course, there was no homogeneous opinion about its influence. As Katherine Park notes, the debate over the force of imagination 'was complicated by the fact that the most ardent defenders of the power of imagination included both the most credulous - writers like Paracelsus who would believe any story - as well as the least superstitious - writers like Pomponazzi and Montaigne for whom the imagination provided a credible and natural explanation for some of the more far-fetched claims of popular magic and religion.' (Huet 14) So I will point out to what extent Burton's ideas about it correspond to the views of his contemporaries and also how far they are more influenced by tradition. I am going to start with a passage about the contemporary development of the scientific method and an introduction to the circulating thoughts about imagination. Based on this, I will show how some trends of thinking are reflected and I will take a closer look at the contexts in which imagination or fancy appear in The Anatomy of Melancholy. Apart from the part entitled 'Of the Force of Imagination', this mental power resonates in many other sections, too. It is connected to the medical sphere where it influences the unborn child and the health, as well as to dreams and to the supernatural - not just in the sense that demons and witches are the monstrous products of fantasy. They were also thought to have a strong influence on the imagination itself.Books on Demand GmbH, Überseering 33, 22297 Hamburg 28 pp. Englisch.…

Taschenbuch. Condizione: Neu. This item is printed on demand - Print on Demand Titel. Neuware -Seminar paper from the year 2002 in the subject American Studies - Literature, grade: 2,7, University of Frankfurt (Main), course: Women Writers in the 19th century, language: English, abstract: I. IntroductionIn the conclusion to Feminist Fiction, Anne Cranny-Francis (compare to 201-202) brings up the question: How can a feminist use the genre of detective fiction which seems superficially to be about detection and revelation, but which is ideologically about concealment and mystification Charlotte Perkins Gilman made one of the earliest attempts in 1929 out of 'feminist despair at what had become of her society and the movements to build a new one from it' (Robinson 276). 'She wrote a novel, a spirited novel in a popular genre, the murder mystery, that would encapsulate her vision of feminism for the new times. The idea, this time, was not so much to hurl feminism into the jaws of post-feminism as to pry open those jaws and slip in a sugar-coated pill' (Robinson 277).On the one hand, Unpunished has a feminist message about domestic abuse and marital rape. On the other hand, it contains a husband-wife detective team, common stock characters since 1913 (compare to G & K 101/103), not a single woman detective or at least a professional partnership as one could have expected. Creating this unequal couple, it could be said that Gilman adopted the conventions of detective fiction. First of all, I am going to summarize the history of detective fiction and fictional detectives created by women writers to demonstrate the prevailing conventions of the genre and the way these are converted in the book. I shall confine myself to a consideration of the detective couple Bessie and Jim Hunt disregarding their rival sleuth Gus Crasher. According to William Aydelotte, conventions are the elements that make detective stories popular because they correspond to wish-fulfillment fantasies and therefore describe the readers and their unmotivational drives (compare to 307-308). This theory appears interesting to me with regard to the fact that Gilman¿s mystery was not published until 1997. Its underlying fantasies seem to have produced certain sensations that the publishers and the readership were not ready for yet. My thesis is that Gilman used the detective couple to make fun of the conventions of the genre and to show that little has changed for women. In the next section, taking the usage of (nick)names and the partnership presented in the book as examples, I will try to prove this against the background of the society and the gender relations in the nineteenth century and in the 1920s.GRIN Publishing GmbH, Waltherstraße 23, 80337 München 28 pp. Englisch. …

Taschenbuch. Condizione: Neu. This item is printed on demand - Print on Demand Titel. Neuware -Seminar paper from the year 2003 in the subject American Studies - Literature, grade: 1,7, University of Frankfurt (Main), course: Decadence and Moderism in the Late 20th Century American Cinema, language: English, abstract: Jonathan Veitch asserts in the preface of his book American Superrealism that critics have had problems in placing Nathanael West within the literature of the 1930s and American literature in general. They understood him for example as 'a poet of darkness', as 'an apocalyptic writer', as 'a homegrown surrealist', as 'a writer of the left' , as a 'universal satirist' , in a way as 'the prototype of the contemporary Jewish-American novelist' (Wisker 1-2) or as a realistic writer (Martin, see Roberts). Although some of these characterizations are contradictory, they all fit because they reflect different facets of the author, or rather his work. West combined all these elements and probably even several others in his writings. His 'style was never constant. At times his pictorial technique closely resembles collage [but also] cartoon strips, movies, and several different schools of painting, as well as such non-graphic visual arts as the tableau and the dance.' (Reid 9)Taking the (though not planned) final result of his development as a writer, his last book The Day of the Locust (1939) as an example, I want to show in my essay that at least one of West's books does not 'fall between the different schools of writing' (Wisker 2), as he once noted. He is certainly a representative of modernism, the 'literary movement' and 'point of view' of his time (see O'Conner) not only because a 'struggle for definition is part of what those years are about' (Wisker 121). Nathanael West was influenced by the same historical events and used many of the strategies other contemporary writers employed to express his way of seeing the world. I will point out the features of modernism in the novel because, as Randall Reid states'[i]n a century which has made experimental writing almost an absolute value, he is one of the more interesting innovators. [¿]'First of all, it will be useful to look at the historical background to understand modernism before defining it with emphasis on decadence as a special characteristic. In the next part of my essay, I am going to show how modernism, that is surrealism, Dada and the typical modernist themes, is reflected in the novel. Finally, I will summarize the resulting main points in the conclusion.Books on Demand GmbH, Überseering 33, 22297 Hamburg 32 pp. Englisch. …

Taschenbuch. Condizione: Neu. Modernism in "The Day of the Locust" (1939) by Nathanael West | Linda Schug | Taschenbuch | 32 S. | Englisch | 2009 | GRIN Verlag | EAN 9783640237937 | Verantwortliche Person für die EU: GRIN Publishing GmbH, Waltherstr. 23, 80337 München, info[at]grin[dot]com | Anbieter: preigu Print on Demand.…

Taschenbuch. Condizione: Neu. Imagination in Robert Burton's "Anatomy of Melancholy" (1621) and in Renaissance Thought | Linda Schug | Taschenbuch | 28 S. | Englisch | 2009 | GRIN Verlag | EAN 9783640237944 | Verantwortliche Person für die EU: GRIN Publishing GmbH, Waltherstr. 23, 80337 München, info[at]grin[dot]com | Anbieter: preigu Print on Demand. …

Taschenbuch. Condizione: Neu. Why the Hunts' marriage is not perfect - or why Gilman created this kind of partnership in the mystery novel 'Unpunished' | Linda Schug | Taschenbuch | 28 S. | Englisch | 2008 | GRIN Verlag | EAN 9783638882781 | Verantwortliche Person für die EU: GRIN Publishing GmbH, Waltherstr. 23, 80337 München, info[at]grin[dot]com | Anbieter: preigu Print on Demand. …

Taschenbuch. Condizione: Neu. Women in Charlotte Perkins Gilman's Theoretical and Utopian Writings | Linda Schug | Taschenbuch | 104 S. | Englisch | 2009 | GRIN Verlag | EAN 9783640237975 | Verantwortliche Person für die EU: GRIN Publishing GmbH, Waltherstr. 23, 80337 München, info[at]grin[dot]com | Anbieter: preigu Print on Demand.…

Taschenbuch. Condizione: Neu. This item is printed on demand - Print on Demand Titel. Neuware -Studienarbeit aus dem Jahr 2002 im Fachbereich Psychologie - Sozialpsychologie, Note: 1,7, Johann Wolfgang Goethe-Universität Frankfurt am Main, Veranstaltung: Grundlagen psychoanalytischer Sozialpsychologie, Sprache: Deutsch, Abstract: Sigmund Freud konfrontiert sich in seiner Schrift Die Zukunft einer Illusion (1927) mit der Frage nach dem Schicksal der Kultur. Dabei stellt er sich bescheiden als 'ein Psychologe [dar], der sich nicht darüber täuscht, wie schwer es ist, sich in dieser Welt zurechtzufinden [und bemüht ist] die Entwicklung der Menschheit nach dem bisschen Einsicht zu beurteilen, das er sich durch das Studium der seelischen Vorgänge beim Einzelmenschen während dessen Entwicklung vom Kind zum Erwachsenen erworben hat.' (S. 154) Da sich der Autor über das Problem der Subjektivität und über die allgemeine Unsicherheit von Vorhersagen bewusst ist, beschränkt er sich auf das Teilgebiet der Psychoanalyse, sein Spezialgebiet (vgl. S. 109), und behauptet keineswegs, dass die von ihm entwickelte These allgemeingültig sei. Auch schreckt er nicht davor zurück in Form von fiktiven Dialogen immer wieder Kritik an seinen eigenen Ausführungen zu üben. Mit der Veröffentlichung seiner, wie ich später zeigen werde, kultur- und religionskritischen Schrift riskierte Freud zwar nicht mehr sein Leben, sondern Vorwürfe 'wegen Seichtheit, Borniertheit, Mangel an Idealismus und an Verständnis für die höchsten Interessen der Menschheit' (S.139), sowie eine eingeschränkte Verbreitung und weiteres Misstrauen gegenüber der Psychoanalyse (vgl. S. 139). Es ist ihm völlig klar, dass seine Argumente weder die Glaubenden, die sich zärtlich an die religiösen Lehrsätze gebunden fühlen, noch diejenigen beeinflussen werden, die sich nur anpassen, weil sie die Drohungen der Religion fürchten (vgl. S. 148-9). Obwohl Die Zukunft einer Illusion also niemandem den Glauben nehmen würde, wollte er der Religionskritik eine psychologische Begründung hinzufügen (vgl. S. 138).Books on Demand GmbH, Überseering 33, 22297 Hamburg 16 pp. Deutsch.…

Taschenbuch. Condizione: Neu. This item is printed on demand - Print on Demand Titel. Neuware -Studienarbeit aus dem Jahr 2002 im Fachbereich Psychologie - Sonstiges, Note: 1, Johann Wolfgang Goethe-Universität Frankfurt am Main, Veranstaltung: Zur psychischen Wirkungsweise des Nationalsozialismus in der ersten, der zweiten und der dritten Generation der Opfer und Täter, Sprache: Deutsch, Abstract: Mit der Kapitulation Deutschlands am 8. Mai 1945 endete der Zweite Weltkrieg und zunächst auch der Staat Deutschland, der in vier Besatzungszonen unter Leitung des Alliierten Kontrollrats und im Jahr 1949 in die beiden Teilstaaten Bundesrepublik Deutschland und Deutsche Demokratische Republik geteilt wurde. (vgl. Meyers Lexikonredaktion 1988, S. 151) Die DDR verstand sich als ein antifaschistischer Staat (vgl. Rosenthal 1997, S. 29) und errichtete ein volksdemokratisches Regierungssystem unter Führung der Sozialistischen Einheitspartei Deutschlands, die BRD wurde zu einem Bundesstaat mit förderativem, demokratischem, sozialem und rechtsstaatlichem Charakter. (vgl. Meyers Lexikonredaktion 1988, S. 114/147) Diese beiden recht verschiedenen Regierungsformen und Selbstverständnisse brachten nicht nur eine unterschiedliche Entwicklung, sondern auch einen anderen Umgang mit der nationalsozialistischen Vergangenheit mit sich. (vgl. Rosenthal 1997, S. 29 ff) Ziel dieser Hausarbeit ist es die dadurch bedingten Unterschiede, aber auch die Gemeinsamkeiten der psychischen Wirkungsweise in den Familien der Täter und Opfer in Ost- und Westdeutschland aufzuzeigen. Zwar gibt es analoge Phänomene, sie gleichen sich aber nicht in jeder Hinsicht. (vgl. Rüsen 1998 in: Opher-Cohen et al. 2000, S. 73) Zuerst werde ich auf den öffentlichen Diskurs in den beiden Staaten eingehen und dann dessen Einfluss auf die Verarbeitung der Vergangenheit in den Familien herausarbeiten. Da die Anzahl der veröffentlichten Untersuchungen auf diesem Gebiet noch recht gering ist, ist es schwer bei den Opfern zwischen den Verfolgten, den Überlebenden von Konzentrationslagern und Ghettos oder den nach Deutschland zurückgekehrten Emigranten, und zwischen den Tätern oder den Mitläufern in der BRD und der DDR zu differenzieren. Ich werde trotzdem versuchen, insofern es mir das Material erlaubt, darauf einzugehen und mich hauptsächlich auf Gabriele Rosenthals Buch Der Holocaust im Leben von drei Generationen: Familien von Überlebenden der Shoah und von Nazi-Tätern (1997) beziehen. Da Juden mit 6 Millionen gegenüber 500.000 Nicht-Juden (politische Gefangene und andere Minderheiten) den Großteil der ermordeten KZ-Häftlinge, und der Verfolgten, darstellen (vgl. Meyers Lexikonredaktion 1988, S. 373), werde ich mich auf sie als Opfer konzentrieren.GRIN Publishing GmbH, Waltherstraße 23, 80337 München 20 pp. Deutsch.…

Taschenbuch. Condizione: Neu. Freud - Zunkunft einer Illusion | Linda Schug | Taschenbuch | 16 S. | Deutsch | 2009 | GRIN Verlag | EAN 9783640237968 | Verantwortliche Person für die EU: GRIN Publishing GmbH, Waltherstr. 23, 80337 München, info[at]grin[dot]com | Anbieter: preigu Print on Demand.

Taschenbuch. Condizione: Neu. Nationalsozialismus und Holocaust. Der Umgang mit der Vergangenheit und die Folgen für spätere Generationen | Ost- und Westdeutschland im Vergleich | Linda Schug | Taschenbuch | 20 S. | Deutsch | 2009 | GRIN Verlag | EAN 9783640237951 | Verantwortliche Person für die EU: GRIN Publishing GmbH, Waltherstr. 23, 80337 München, info[at]grin[dot]com | Anbieter: preigu Print on Demand.…