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- All Subjects: Germanic literature
- All Subjects: Romanian avant-garde
- Creators: Orlich, Ileana
- Member of: ASU Electronic Theses and Dissertations
Description
After being awarded the Nobel Prize for Literature in 2009, Herta Müller attained great prominence around the world. Commentators, especially in English-speaking countries, seemed shocked by the decision. One of the primary concerns was that Müller was relatively unknown. This thesis seeks to address this and other concerns by looking at reviews of her works in German- and English-language publications both before and after the Nobel Prize was awarded. This thesis analyses chronologically the reception of her books beginning with Niederungen in 1982 and ending with the reception of her novel Atemschaukel in 2009. It compares the reception of the original German text to that of the English translation; therefore only works which have been translated and published in English are discussed. The study also shows that while Müller's work did not top the bestseller charts, at least before the Nobel Prize, she was hardly the completely unknown author that some in the English-language media believed. This thesis seeks to present trends in the reception as well as provide a basis for further study of the reception of Herta Müller.
ContributorsStringham, Enikő (Author) / Horwath, Peter (Thesis advisor) / Orlich, Ileana (Committee member) / Alexander, John (Committee member) / Arizona State University (Publisher)
Created2011
Description
The dissertation focuses on several Romanian avant-garde magazines, such as Contimporanul, Integral, and 75HP, that Romanian artists and writers created in Romania in the 1920s, after Romanian Dadaists Tristan Tzara and Marcel Iancu disbanded from Zurich Dada in the 1910s. The Romanian avant-garde magazines launched the Romanian avant-garde movement—the most intense period of artistic production in the country. The Romanian avant-gardists established Integralism in an attempt to differentiate themselves from other European avant-garde groups and to capture the intense and innovative creative spirit of their modern era by uniting and condensing avant-garde and modern styles on the pages of their magazines. However, I argue that instead of Integralism, what the Romanian avant-garde magazines put forth were Romanian avant-garde versions of Constructivism and Cubism conveyed in the magazines’ constructivist prints and reproductions of cubist paintings. The originality of the Romanian avant-garde magazines, thus, is concentrated in their appropriation and reinterpretation of Constructivism and Cubism rather than in their Integralism. Moreover, in their rebellion and resistance to Romania’s social, political, and artistic status quo, the Romanian avant-garde magazines functioned as an instrument with which the Romanian avant-gardists expressed their complex relationship with their Jewish identity. The magazines were not on the periphery of artistic production, as art history discourse on modern and avant-garde art has situated them, but were an important player in the global network of avant-garde magazines that traversed across eastern and western Europe, South America, the United States, and Japan.
ContributorsMiholca, Amelia (Author) / Mesch, Claudia (Thesis advisor) / Orlich, Ileana (Committee member) / Holian, Anna (Committee member) / Navarro, Rudy (Committee member) / Arizona State University (Publisher)
Created2021