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Thomas Bernhards philosophische Affinitaeten: Zum an-spielerischen Umgang mit Heidegger, Schopenhauer und F. Schlegel in 'Korrektur', 'Der Untergeher', und 'Alte Meister' (German text, Martin Heidegger, Friedrich Schlegel, Arthur Schopenhauer, Austria).

机译:托马斯·伯恩哈德(Thomas Bernhard)的哲学亲和力:与海德格尔(Heidegger),叔本华(Schopenhauer)和F.施莱格尔(F. Schlegel)在“矫正”,“德尔·安特盖赫(Der Untergeher)”和“阿尔特·迈斯特(Alte Meister)”中的有趣互动(德国文字,马丁·海德格尔,弗里德里希·施莱格尔,亚瑟·叔本华,奥地利)。

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摘要

This dissertation investigates the function of the philosophical in three novels by Thomas Bernhard. Specifically, the playful evocation of ideas and terminology of Heidegger, Schopenhauer and Friedrich Schlegel is examined in the novels Korrektur, Der Untergeher, and Alte Meister. It is the basic assumption of this work that Bernhard's literary strategy attempts to undermine any credibility of epistemic certainty by making the paradox the most distinctive feature of his prose.; This concept is referred to here as the principle of the "on the one hand and on the other hand" ("Einerseits und Andererseits"). By constantly contradicting his own protagonists' statements and actions, especially regarding philosophical topics and terminology, Bernhard ironizes these very ideas.; The first essay of this dissertation contrasts Heidegger's texts "Bauen, Wohnen, Denken" and "Was heisst Denken?" with Bernhard's novel Korrektur. While Bernhard deals with the problems of original thinking and building as well as the concept of autonomy, a comparison with Heidegger's texts, whose terminology Bernhard seems to allude to, shows, that Bernhard is critical of the concept of being as presented in Heidegger's ontology.; Chapter II offers a critical reading of Der Untergeher with regard to the idea of genius. Bernhard focuses on this central aspect of Western philosophy in order to question traditional notions of the creative process and the concept of originality in artistic production. Bernhard's position is contrasted with Schopenhauer's description of genius and Glenn Gould's writings on art and technology.; The final chapter attempts to situate Bernhard's writing in the discussion of theories of the romantic and the postmodern by examining the function of irony and the fragment in his last novel Alte Meister. By contrasting Bernhard's views with the writings of Friedrich Schlegel on the one hand and postmodern critics like Linda Hutcheon and Maurice Blanchot on the other hand, Bernhard again emerges as a sceptic of the idea of perfection or completion. Yet, he is also considerably less radical than postmodern writers such as Blanchot and his attempts to step "beyond language itself".
机译:本文研究了托马斯·伯恩哈德(Thomas Bernhard)的三本小说中的哲学功能。具体来说,海德格尔,叔本华和弗里德里希·施莱格尔对思想和术语的玩味唤起在小说《 Korrektur》,《 Der Untergeher》和《 Alte Meister》中得到了检验。这项工作的基本假设是,伯纳德的文学策略试图通过使悖论成为其散文最鲜明的特征来破坏任何认识论确定性的可信度。这个概念在这里被称为“一方面”(“ Einerseits und Andererseits”)的原理。通过不断地与自己的主角的言论和行动相矛盾,特别是在哲学主题和术语方面,伯恩哈德讽刺了这些想法。本论文的第一篇论文将海德格尔的著作“鲍恩,沃恩,丹肯”和“最黑的丹肯?”作了对比。与伯恩哈德的小说《 Korrektur》。虽然伯恩哈德(Bernhard)处理原始思想和建构以及自治概念的问题,但与海德格尔(Berhard)似乎暗示其术语的海德格尔经文的比较表明,伯恩哈德(Bernhard)对海德格尔本体论中提出的存在这一概念持批评态度。 ;第二章对天才的概念进行了批判性的解读。伯恩哈德(Bernhard)专注于西方哲学的这一中心方面,以质疑传统的创作过程概念和艺术作品中的原创性概念。伯恩哈德的立场与叔本华对天才的描述和格伦·古尔德关于艺术与技术的著作形成鲜明对比。最后一章试图通过研究讽刺和片段在其上一部小说《老迈斯特》中的作用,将伯恩哈德的作品置于浪漫主义和后现代主义理论的讨论中。通过一方面将伯恩哈德的观点与弗雷德里希·施莱格尔的著作进行对比,另一方面将后现代评论家如琳达·哈钦(Linda Hutcheon)和莫里斯·布兰科特(Maurice Blanchot)的著作进行对比,伯恩哈德再次成为对完美或完成思想的怀疑者。然而,他也远不及后现代作家(例如Blanchot)及其试图超越“语言本身”的尝试那么激进。

著录项

  • 作者单位

    State University of New York at Buffalo.;

  • 授予单位 State University of New York at Buffalo.;
  • 学科 Literature Germanic.; Philosophy.
  • 学位 Ph.D.
  • 年度 1997
  • 页码 173 p.
  • 总页数 173
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类 I516;B0;
  • 关键词

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