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Two representations of the criminal ...

Colosimo, Jennifer Driscoll.

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Two representations of the criminal in the works of Friedrich Schiller (Germany).

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Two representations of the criminal in the works of Friedrich Schiller (Germany)./
作者:	Colosimo, Jennifer Driscoll.
面頁冊數:	220 p.
附註:	Source: Dissertation Abstracts International, Volume: 64-03, Section: A, page: 0921.
Contained By:	Dissertation Abstracts International64-03A.
標題:	Literature, Germanic. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3084273

Two representations of the criminal in the works of Friedrich Schiller (Germany).
Colosimo, Jennifer Driscoll.

Two representations of the criminal in the works of Friedrich Schiller (Germany). - 220 p.

Source: Dissertation Abstracts International, Volume: 64-03, Section: A, page: 0921.

Thesis (Ph.D.)--Yale University, 2003.

This study addresses Schiller's problematic, yet lasting occupation with the figure of the criminal, and attempts to identify two main representations of this figure in his works: the criminal as outcast, and the criminal as artist. Part One focuses on the criminal as outcast and takes the character Moritz Spiegelberg from Schiller's first (extant) drama, The Robbers, as its main example. Spiegelberg's character is analyzed according to the various traits that allude to his outcast and criminal condition: his (putative) Jewishness, with all of its explicitly and implicitly criminal associations, his libertinism, his nomadic lifestyle, and his diabolical nature. Further, this character is interpreted as a manifest allegory for the outcast state generally, and, as such, is understood as mirroring certain truths about the two main criminals, Franz and Karl Moor. Part Two is devoted to the representation of the criminal as artist and focuses on his second drama, Fiesko, and its eponymous hero. Major areas of discussion include Schiller's lasting association of art, artificiality, and criminality with the court and political action; the underlying materialism that links the artist, the criminal, and the politician; and the resultant inhumanity and self-deification that lead to the downfall of the political and criminal artist. Each of these themes ties, moreover, into the larger issue of Schiller's conflicted understanding of his role in society as an artist.Subjects--Topical Terms:

1019072
Literature, Germanic.

Two representations of the criminal in the works of Friedrich Schiller (Germany).
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245 1 0 $a Two representations of the criminal in the works of Friedrich Schiller (Germany).
300 $a 220 p.
500 $a Source: Dissertation Abstracts International, Volume: 64-03, Section: A, page: 0921.
500 $a Director: Jeffrey L. Sammons.
502 $a Thesis (Ph.D.)--Yale University, 2003.
520 $a This study addresses Schiller's problematic, yet lasting occupation with the figure of the criminal, and attempts to identify two main representations of this figure in his works: the criminal as outcast, and the criminal as artist. Part One focuses on the criminal as outcast and takes the character Moritz Spiegelberg from Schiller's first (extant) drama, The Robbers, as its main example. Spiegelberg's character is analyzed according to the various traits that allude to his outcast and criminal condition: his (putative) Jewishness, with all of its explicitly and implicitly criminal associations, his libertinism, his nomadic lifestyle, and his diabolical nature. Further, this character is interpreted as a manifest allegory for the outcast state generally, and, as such, is understood as mirroring certain truths about the two main criminals, Franz and Karl Moor. Part Two is devoted to the representation of the criminal as artist and focuses on his second drama, Fiesko, and its eponymous hero. Major areas of discussion include Schiller's lasting association of art, artificiality, and criminality with the court and political action; the underlying materialism that links the artist, the criminal, and the politician; and the resultant inhumanity and self-deification that lead to the downfall of the political and criminal artist. Each of these themes ties, moreover, into the larger issue of Schiller's conflicted understanding of his role in society as an artist.
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856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3084273