Details

Autor(en) / Beteiligte

• Klibadze, Dali

Titel

“Alles ist wie nicht geschehen…” Das Moglichkeitsspielals der Ausdruck von Misstrauen gegen die Existenz in Max Frischs Roman “Mein Name sei Gantenbein”

Ort / Verlag

ProQuest Dissertations & Theses

Erscheinungsjahr

2006

Link zum Volltext

Quelle

ProQuest Dissertations & Theses A&I

Beschreibungen/Notizen

• This thesis investigates a selection of Romantic lyric poems by Lord Byron, John Thelwall, and Letitia Landon, focusing on the question of how paradoxical Romantic desire is expressed by poetic speakers who address themselves. My discussion centers on how self-reflexive speech is revealed through the rhetorical effect of repetition. The transformative properties of repetition have been studied by scholars, who note that its effects include altering the way speakers experience emotional or even material reality. When one's voice departs from the body to become embodied in sound, its resounding or redoubling affects its return to the ear; I explore this transformative quality of the acoustics of repetition in the selected poems of Byron, Thelwall, and Landon, as each author utilizes poetic voices, through the speakers of their poems, to extend his/her mobility in limiting circumstances: the act of speaking is a way of perpetuating desire, a vehicle for self-extension, self-projection, and/or self-displacement. Since "voicing" is bound up with the philosophical problem of what a "self" is, and also touches off the matter of authorial intention, my approach synthesizes the two perspectives without asserting one definitive standpoint, showing that, at times, the authors speak through their poems, and at others, the poems speak for themselves. Utilizing an approach inspired by Bakhtinian dialogism and drawn from music, each chapter combines a survey of the critical history and life of the poet with close readings of two lyrics. By understanding Byron through rubato, Thelwall through echo as musical refrain, and Landon through counterpoint, I demonstrate the need for close listening as combined with analysis. For in the end, the performative act of voicing desire is, for Byron, Thelwall, and Landon, a way of reaching out to a self-that-is-other that changes the very texture of poetry by reflecting upon reflection in sound.