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Perspectives from the edge: The str...

Norland, Susan Kay Brown.

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Perspectives from the edge: The structure of perception and deception in the literary frame (Heinrich von Kleist, Ludwig Tieck, Germany).

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Perspectives from the edge: The structure of perception and deception in the literary frame (Heinrich von Kleist, Ludwig Tieck, Germany)./
作者:	Norland, Susan Kay Brown.
面頁冊數:	223 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=3083068

Perspectives from the edge: The structure of perception and deception in the literary frame (Heinrich von Kleist, Ludwig Tieck, Germany).
Norland, Susan Kay Brown.

Perspectives from the edge: The structure of perception and deception in the literary frame (Heinrich von Kleist, Ludwig Tieck, Germany). - 223 p.

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

Thesis (Ph.D.)--University of Virginia, 2003.

Every reader brings his or her own “frame” to a text. Social, cultural, and ideological points of view, prejudices regarding historical background, knowledge of scientific or artistic applications, and personal obsessions may produce as many interpretations of a text as there are individual readers. Narrative theory contributes the essential context for talking about frames, but the scope of this work focuses specifically on the metadiegetic level, i.e., narrative stories one level removed from the diegesis, as they appear—or appear not to appear—in connection with the German <italic> Novelle</italic>. Exploration of historical parallels in the development of the picture frame, from which the narrative frame borrows its nomenclature, and socio-cultural developments in the German-speaking world of the eighteenth and nineteenth century help explain why it took the narrative frame four hundred years after Boccaccio's <underline>The Decameron</underline> to make a meaningful debut in German-language literature.Subjects--Topical Terms:

1019072
Literature, Germanic.

Perspectives from the edge: The structure of perception and deception in the literary frame (Heinrich von Kleist, Ludwig Tieck, Germany).
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245 1 0 $a Perspectives from the edge: The structure of perception and deception in the literary frame (Heinrich von Kleist, Ludwig Tieck, Germany).
300 $a 223 p.
500 $a Source: Dissertation Abstracts International, Volume: 64-03, Section: A, page: 0921.
500 $a Adviser: Beth Bjorklund.
502 $a Thesis (Ph.D.)--University of Virginia, 2003.
520 $a Every reader brings his or her own “frame” to a text. Social, cultural, and ideological points of view, prejudices regarding historical background, knowledge of scientific or artistic applications, and personal obsessions may produce as many interpretations of a text as there are individual readers. Narrative theory contributes the essential context for talking about frames, but the scope of this work focuses specifically on the metadiegetic level, i.e., narrative stories one level removed from the diegesis, as they appear—or appear not to appear—in connection with the German <italic> Novelle</italic>. Exploration of historical parallels in the development of the picture frame, from which the narrative frame borrows its nomenclature, and socio-cultural developments in the German-speaking world of the eighteenth and nineteenth century help explain why it took the narrative frame four hundred years after Boccaccio's <underline>The Decameron</underline> to make a meaningful debut in German-language literature.
520 $a The prototypical frame, passed down from the Boccaccian tradition through Goethe, was meant literally to decrease any sense of disorder, menace, and chaos by superimposing an explicit structure. Theoretical discussions of the prototypical frame raised two questions that this study sought to address: First, what does one make of a framed <italic>Novelle</italic> whose frame malfunctions, i.e., the construction seems to frame the wrong story, or alternatively, the inner story seems to wrap itself around the frame? Second, what is the possibility that a frame could emerge and support itself with no <italic>Novelle</italic>? Ludwig Tieck's “Der blonde Eckbert,” with its apparently traditional story-within-a story structure, and Heinrich von Kleist's “Michael Kohlhaas,” with its apparent lack of a frame, afford opportunity respectively to speculate on these hypothetical frame configurations. Likewise, diagrams of the texts drawn after models in the visual arts, Alexander Calder's <underline>Red Frame Construction</underline> and Art and Language's <underline> Secret Painting (Ghost)</underline>, help create a visual image of these frame configurations and substantiate their viability. Whereas previous scholarship focused on the frame as a structural feature of the traditional <italic>Novelle </italic>, this study investigates the evolution of the frame into a stand-alone structure.
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