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Semiotics of silence: A theory of Ge...

Hamilton, Andrew B. B.

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Semiotics of silence: A theory of German realism.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Semiotics of silence: A theory of German realism./
作者:	Hamilton, Andrew B. B.
面頁冊數:	269 p.
附註:	Source: Dissertation Abstracts International, Volume: 77-03(E), Section: A.
Contained By:	Dissertation Abstracts International77-03A(E).
標題:	German literature. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3728012
ISBN:	9781339133133

Semiotics of silence: A theory of German realism.
Hamilton, Andrew B. B.

Semiotics of silence: A theory of German realism. - 269 p.

Source: Dissertation Abstracts International, Volume: 77-03(E), Section: A.

Thesis (Ph.D.)--Indiana University, 2015.

This dissertation offers an intellectual history of the nineteenth century in German-speaking Europe that focuses on the semiotics of the landscape in realist literature, and the subsequent dissemination of the techniques and assumptions underlying that literature into political and social thought at the end of the century. Theodor Fontane---perhaps the most canonical German realist---wrote that realism always constitutes the "representation of an interest," a claim which sets my argument in motion by raising the question: whose interest?

ISBN: 9781339133133Subjects--Topical Terms:

699188
German literature.

Semiotics of silence: A theory of German realism.
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245 1 0 $a Semiotics of silence: A theory of German realism.
300 $a 269 p.
500 $a Source: Dissertation Abstracts International, Volume: 77-03(E), Section: A.
500 $a Adviser: Fritz Breithaupt.
502 $a Thesis (Ph.D.)--Indiana University, 2015.
520 $a This dissertation offers an intellectual history of the nineteenth century in German-speaking Europe that focuses on the semiotics of the landscape in realist literature, and the subsequent dissemination of the techniques and assumptions underlying that literature into political and social thought at the end of the century. Theodor Fontane---perhaps the most canonical German realist---wrote that realism always constitutes the "representation of an interest," a claim which sets my argument in motion by raising the question: whose interest?
520 $a According to the historical view of European, especially French, realism, one can answer: the interests of the ascendent bourgeouisie, whose particular reality at last finds artistic expression. A theory of realism in Germany, however, where such unity of political and class structure is absent, must find a different point of departure, one I locate in the attempt on the part of one author, Adalbert Stifter, to overcome an acute psychological and artistic crisis following the failure of the 1848 uprising in Vienna. Returning to work after the turmoil, Stifter could no longer find artistic inspiration in an animate nature; the landscape no longer spoke to him. The discovery of the silent landscape, which so frightened him, is the founding moment of German realism, the determining "interest" of which is to make of a silent landscape a fertile ground for human ambitions.
520 $a My argument moves from Stifter's pedagogical writings---texts that model the production of meaning and its imposition on the cipher of the landscape---to a theoretical semiotic outline of German realism's historical uniqueness, and from there to the generation of writers following Stifter, such as Wilhelm Raabe and Theodor Storm, for whom the silent landscape brought not crisis, but rather a profound opportunity to cultivate the power of fiction to constitute social structures. This last regard would prove particularly important in the wake of German unification, which saw the same structures of semiotic thought developed by Stifter employed in the construction of a new state, whose ambitions in the instrumentalization of the landscape represented an interest of an entirely different, and far more sinister, nature.
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