Heinrich von Kleists Amphitryon. Lustspiel nach Molière unter dem Aspekt der Intertextualität im Gesamtwerk

Detta är en avhandling från Uppsala : Acta Universitatis Upsaliensis

Sammanfattning: The aim of this thesis is to study and typologize the different forms of intertextuality in the works of Heinrich von Kleist (1777-1811). The hypothesis is that Kleist did not set out to be superior in regard to earlier authors; instead he wanted to start a dialogical process with them and to become part of a dialogue. In the first main part Kleist´s own thoughts about an intertextuality avant la lettre are discussed. Based on different genres in Kleist´s oeuvre (letters, essays, lyrics, drama, short stories), Kleist´s methods of using already existing texts (and pictures) in relation to his own texts are analysed. The second main part focuses on Kleist´s drama "Amphitryon. Lustspiel nach Molière" (1807). In this play, Kleist "translates" parts of Molières comedy "Amphitryon" (1668). He also adds some new motifs and develops and expands upon other important motifs. In the end, Kleist´s play stands out as a drama in its own right and not as an imitation of Molière. The study shows that Kleist´s own metapoetical texts, for instance "Ein Satz aus der höheren Kritik" present a clear theory on intertextuality. In this essay he points out that texts can be transformed, they can be used as "catalysts" for new texts. On the whole, Kleist´s early intertextual theories correspond with modern intertextual theory.

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