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Description
Wolfgang Haas is an award-winning Austrian author known primarily for his entertaining and quirky detective novels which follow the misadventures of Simon Brenner, an Austrian private investigator. These novels are notable for their subtle and not-so-subtle critiques of contemporary Austrian society and culture, their sometimes grisly content, and their unique and colloquial use of the Austrian variety of the German language. Haas has received numerous literary awards in the German-speaking world and attributes his success to the unique way he tells his stories, rather than the stories themselves. Of the seven Brenner novels that have been published thus far, only one is available in English translation, and he remains virtually unknown in the English-speaking world. This thesis includes a brief biography of Haas and an overview of his career, an analysis of his unique writing style and the problems they pose for a translator, and an English translation of the first two chapters of the novel Silentium! (1999).
ContributorsGeisler, Paul (Author) / Gilfillan, Daniel (Thesis advisor) / Ghanem, Carla (Committee member) / Hogue, Cynthia (Committee member) / Arizona State University (Publisher)
Created2013
Description
ABSTRACT (English)
Heinrich Hoffmann`s renowned Struwwelpeter and the famous Grimm brothers' fairy tales have been the subject of exhaustive pedagogical and psychological scrutiny. By means of shocking and fascinating literary elements Struwwelpeter's revolutionary didactic horror-comedy as well as the instructive horror-fantasy inherent in fairy tales are able to cast an enchanting, enlightening spell on their audience. However, both Hoffmann's and the Grimm's adventurous stories have suffered harsh criticism particularly owing to their often gruesome, macabre and unrealistic subject matter. Notwithstanding the barrage of denunciating objections, the remarkable longevity of Fidgety Philip, Little Red Riding Hood and Co appears to know no bounds, as their ingenious formula for success comprising captivatingly shocking, spine-tingling elements of both entertaining and educational value continues to inspire contemporary adaptations. Several German dialects have also discovered and devoted themselves to the magical world of Hoffmann's chaotic rascals and the Grimm's fascinating fairy tale characters in furtherance of enlivening them with the identity, culture and local flavor of their respective region.
The current study aims to demonstrate the extent to which dialectal adaptations of the aforesaid tales succeed in not only revitalizing the original narratives including their pedagogical and psychodynamic quintessence but also in capturing the readers' hearts by virtue of their intimate parlance/phraseology. This particular philological approach illustrates the symbiotic interaction between regional German dialects and well-known (children's) Horror-stories.
ABSTRACT (German)
Bisher waren sowohl der renommierte Struwwelpeter Heinrich Hoffmanns als auch die berühmten Märchen der Brüder Grimm Objekte erschöpfender pädagogischer und psychologischer Betrachtungen. Die revolutionäre didaktische Gruselkomik der struwwelpetrigen Abenteuer sowie die lehrhafte Gruselphantastik der Märchen vermögen vermittels ihrer schockierenden und zugleich faszinierenden Elemente Menschen jeden Alters in ihren verzaubernden, lebenserhellenden Bann zu ziehen. Allerdings mussten die hoffmannschen und grimmschen Geschichten insbesondere auf Grund grausamer, wirklichkeitsfremder Inhalte auch als Zielscheibe heftigster Kritik fungieren. Nichtsdestotrotz scheint der steilen Karriere von Zappelphilipp, Rotkäppchen und Co keine Grenzen gesetzt, denn ihre raffinierte Erfolgsformel bestehend aus unterhaltsam-belehrenden Schock- und Zaubermotiven inspiriert stets neue Adaptionen. So haben auch die deutschsprachigen Mundarten längst das skurille sowie zauberhafte Reich der chaotischen Lausbuben und Märchencharaktere für sich entdeckt, um diese mit der jeweils eigenen regionalkolorierten Identität und Kultur zu beseelen.
Im Rahmen dieser Arbeit gilt es nun zu demonstrieren, inwiefern es den dialektalen Petriaden und Märchenversionen gelingt, nicht nur die Erzählungen samt ihrer pädagogisch sowie psychodynamisch wertvollen Kerngehalte zu neuem Leben zu erwecken, sondern sich darüber hinaus in anheimelnder Weise die Herzen der Leserschaft zu erobern. Diese einzigartige philologische Perspektive beleuchtet die Erfolg versprechende Wechselwirkung zwischen den ortsspezifischen Sprachgeflechten und den (Kinder)-Gruselklassikern.
Heinrich Hoffmann`s renowned Struwwelpeter and the famous Grimm brothers' fairy tales have been the subject of exhaustive pedagogical and psychological scrutiny. By means of shocking and fascinating literary elements Struwwelpeter's revolutionary didactic horror-comedy as well as the instructive horror-fantasy inherent in fairy tales are able to cast an enchanting, enlightening spell on their audience. However, both Hoffmann's and the Grimm's adventurous stories have suffered harsh criticism particularly owing to their often gruesome, macabre and unrealistic subject matter. Notwithstanding the barrage of denunciating objections, the remarkable longevity of Fidgety Philip, Little Red Riding Hood and Co appears to know no bounds, as their ingenious formula for success comprising captivatingly shocking, spine-tingling elements of both entertaining and educational value continues to inspire contemporary adaptations. Several German dialects have also discovered and devoted themselves to the magical world of Hoffmann's chaotic rascals and the Grimm's fascinating fairy tale characters in furtherance of enlivening them with the identity, culture and local flavor of their respective region.
The current study aims to demonstrate the extent to which dialectal adaptations of the aforesaid tales succeed in not only revitalizing the original narratives including their pedagogical and psychodynamic quintessence but also in capturing the readers' hearts by virtue of their intimate parlance/phraseology. This particular philological approach illustrates the symbiotic interaction between regional German dialects and well-known (children's) Horror-stories.
ABSTRACT (German)
Bisher waren sowohl der renommierte Struwwelpeter Heinrich Hoffmanns als auch die berühmten Märchen der Brüder Grimm Objekte erschöpfender pädagogischer und psychologischer Betrachtungen. Die revolutionäre didaktische Gruselkomik der struwwelpetrigen Abenteuer sowie die lehrhafte Gruselphantastik der Märchen vermögen vermittels ihrer schockierenden und zugleich faszinierenden Elemente Menschen jeden Alters in ihren verzaubernden, lebenserhellenden Bann zu ziehen. Allerdings mussten die hoffmannschen und grimmschen Geschichten insbesondere auf Grund grausamer, wirklichkeitsfremder Inhalte auch als Zielscheibe heftigster Kritik fungieren. Nichtsdestotrotz scheint der steilen Karriere von Zappelphilipp, Rotkäppchen und Co keine Grenzen gesetzt, denn ihre raffinierte Erfolgsformel bestehend aus unterhaltsam-belehrenden Schock- und Zaubermotiven inspiriert stets neue Adaptionen. So haben auch die deutschsprachigen Mundarten längst das skurille sowie zauberhafte Reich der chaotischen Lausbuben und Märchencharaktere für sich entdeckt, um diese mit der jeweils eigenen regionalkolorierten Identität und Kultur zu beseelen.
Im Rahmen dieser Arbeit gilt es nun zu demonstrieren, inwiefern es den dialektalen Petriaden und Märchenversionen gelingt, nicht nur die Erzählungen samt ihrer pädagogisch sowie psychodynamisch wertvollen Kerngehalte zu neuem Leben zu erwecken, sondern sich darüber hinaus in anheimelnder Weise die Herzen der Leserschaft zu erobern. Diese einzigartige philologische Perspektive beleuchtet die Erfolg versprechende Wechselwirkung zwischen den ortsspezifischen Sprachgeflechten und den (Kinder)-Gruselklassikern.
ContributorsGerber, Michelle (Author) / Alexander, John (Thesis advisor) / Ghanem, Carla (Committee member) / Gilfillan, Daniel (Committee member) / Arizona State University (Publisher)
Created2015
Description
Experimentation is as vital to literature as it is to the sciences. Experimentation through narrative is an evolutionary process that develops the art of storytelling through changing mediums, formats and forms of linearity. Challenging conceptual norms of narrative has resulted in a new genre characterized by interactive nonconventional structures, and the necessity of reading with nontrivial effort. The term ergodic was applied to literature first in Espen J. Aarseths 1997 study Cybertext: Perspectives on Ergodic Literature. In its simplest terms, ergodic literature requires nontrivial effort to transverse the text, as opposed to nonergodic literature, which would be the majority of traditionally formatted and conventionally read literature that requires no extraneous responsibilities of the reader (Aarseth, 1997). The qualities that necessitate a heightened requirement of nontrivial effort vary widely. Literary works like Doug Dorst’s Ship of Theseus (2013) integrates supplemental materials, and notes transcribed in the margins connected to the multiple narratives within the actual pages of the book. Some books such as Mark Z. Danielewski’s House of Leaves (2000) utilize coded messages and hidden information that contribute to the atmosphere of the narrative. These intricacies enclose information that constructs a veritable labyrinth, containing details and material not easily found but ultimately pivotal to the comprehension of the text. And while completion may be a goal of the standard text, it may never even be intended for works such as these. Throughout this discussion I intend to contest that House of Leaves is an apex of literature and experimental narrative. Furthermore, I will highlight the importance of experimentation in narratives and its role in the development of various modes and mediums while analyzing prominent works and themes that fall under the category of experimental narrative or ergodic literature.
ContributorsGalvan, Joshua Paul (Author) / Gilfillan, Daniel (Thesis director) / Rigoni, Adam (Committee member) / School of Criminology and Criminal Justice (Contributor) / School of Politics and Global Studies (Contributor, Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
Description
This study was designed to test a new method of instruction for Japanese language students' re-acquisition of the Japanese relative clause structure. 10 Japanese language students who had already been exposed to the Japanese relative clause in their previous semester were asked to take a pretest that assessed their (a) knowledge of basic grammar concepts such as a "subject" and "predicate," (b) their ability to apply those basic grammar concepts to the Japanese language, and (c) their grasp of the rules applying to the formation of the Japanese relative clause. Students were then placed into a control group containing 6 students and an experimental group containing four students. The experimental group received additional lessons consisting of explicit instruction of basic grammar in both Japanese and English, as well as basic noun relativization rules in each language. The study found that the explicit instruction helped student comprehension of the relative clause structure, although some difficulties remain in identifying the relative clause and in constructing it on their own.
ContributorsHinojosa, Katie Crystine (Author) / Tomoko, Shimomura (Thesis director) / Ghanem, Carla (Committee member) / Chambers, Anthony (Committee member) / Barrett, The Honors College (Contributor) / School of International Letters and Cultures (Contributor)
Created2013-05
Description
With this thesis, I have set out to answer two fundamental questions within music: does music mean anything, and should music mean anything? In answering those questions, I also set out to create a creative project that would implement these ideas: an original concept album of music that is programmatic in nature and incorporates motivic composition, jazz improvisation, lyrics, extra-musical audio and more all in the service of telling a narrative, a story, through music. I have done research into understanding music as a language, finding that this language is primarily communicative and recreational, rather than representational, of meaning. As well, I discuss the various different ways that music composers from Wagner to Williams have created narrative meaning in their works, using examples of leitmotif and other devices, as well as tracing the contextual associations of meaning that occurs when music is perceived in certain contexts. Furthermore, I discuss the dialogue between absolute and programmatic music, and also talk about the role of jazz improvisation in adding meaning to works.
For the second part of my thesis I talk about how I came to create the creative project aspect. I discuss how and why I designed the narrative that I did, and also analyzed the music I have created to illustrate how I implemented the various methods of musical storytelling that I detail in the first part of the paper. Lastly, I discuss my plans for publication and release of the creative project.
The third part of this thesis is a sample of the creative project. There is a version of the narrative that goes along with the creative project, as well as one of the eight pieces of original music on the creative project, entitled Journey.
Overall, I found that music does have meaning, it is just meaning that society ascribes to it based off of artistic intent and context, and as to whether music should mean anything, I believe that this is a question best left to be answered on an individual basis. Music can be whatever it wants to be.
For the second part of my thesis I talk about how I came to create the creative project aspect. I discuss how and why I designed the narrative that I did, and also analyzed the music I have created to illustrate how I implemented the various methods of musical storytelling that I detail in the first part of the paper. Lastly, I discuss my plans for publication and release of the creative project.
The third part of this thesis is a sample of the creative project. There is a version of the narrative that goes along with the creative project, as well as one of the eight pieces of original music on the creative project, entitled Journey.
Overall, I found that music does have meaning, it is just meaning that society ascribes to it based off of artistic intent and context, and as to whether music should mean anything, I believe that this is a question best left to be answered on an individual basis. Music can be whatever it wants to be.
ContributorsPrice, Alexander (Author) / Gilfillan, Daniel (Thesis director) / Kocour, Michael (Committee member) / Libman, Jeffrey (Committee member) / Department of English (Contributor) / School of Music (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05