Home > Dictionaries & Language > Language: reference & general > Ästhetik des Bösen in der phantastischen Gegenwartsliteratur: Am Beispiel von Cornelia Funkes Tintenherz, W. und H. Hohlbeins Das Buch und Walter Moers Die Stadt der Träumenden Bücher
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Ästhetik des Bösen in der phantastischen Gegenwartsliteratur: Am Beispiel von Cornelia Funkes Tintenherz, W. und H. Hohlbeins Das Buch und Walter Moers Die Stadt der Träumenden Bücher

Ästhetik des Bösen in der phantastischen Gegenwartsliteratur: Am Beispiel von Cornelia Funkes Tintenherz, W. und H. Hohlbeins Das Buch und Walter Moers Die Stadt der Träumenden Bücher

          
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About the Book

Magisterarbeit aus dem Jahr 2008 im Fachbereich Germanistik - Neuere Deutsche Literatur, Note: 2,0, Universität Rostock (Germanistik), Sprache: Deutsch, Abstract: Im alltäglichen Leben folgt uns das Böse auf Schritt und Tritt. Sieht, liest oder hört man Nachrichten und wird dort von einem Gewaltverbrechen gesprochen, verursacht dies bei den meisten Menschen Mitleid mit dem Opfer. Geschieht das gleiche Verbrechen allerdings in einem literarischen Werk, bewirkt es eine ganz gegenteilige Reaktion, nämlich die der Faszination. Das in der realen Welt verpönte Böse, welches Gewalt, Leiden und letztendlich auch Mord beinhaltet, erstrahlt in der fiktionalen Welt plötzlich in einem völlig anderen Licht. Es scheint uns zu begeistern und anzuziehen, so dass man sagen kann "das Böse [dient] also als literarischer und ästhetischer Genuß" (Daecke 1992, 27). Jede Zeit bringt ihre eigenen schrecklichen Ereignisse mit sich, welche das Zeitgeschehen und das Denken der Menschen beeinflussen. Erfahrungen des Bösen sind jedoch nicht nur historisch geprägt, sondern auch individuell verschieden. Die Erlebnisse mit dem Bösen sind nicht nur kollektiver, sondern auch subjektiver Natur. Menschen werden von anderen als böse bezeichnet, wenn sie sich normwidrig verhalten, zu Aggression, Gewalt und Sadismus neigen. Symbolisch wird das Böse durch den Teufel, Hexen, Kain, der Sinnflut, dem Turmbau zu Babel und in vielen weiteren Bildern dargestellt. Auch Feindbilder werden konzipiert, wie zum Beispiel Fremden- und Judenfeindlichkeit, oftmals ist das Böse aber auch gesichtslos. Was im Einzelnen als böse oder auch gut bezeichnet wird, variiert, wie erwähnt, historisch, aber auch kulturell, somit ist das Böse nicht wirklich greifbar. Daher stellt sich die Frage, woher kommt nun das Böse und was genau ist darunter zu verstehen? Die Bezeichnung, das ein Geschehen bzw. eine Handlung böse ist, setzt voraus, dass diese Ereignisse nicht gut sind. Doch ist das Böse immer nur eine Negierung des Guten?


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Product Details
  • ISBN-13: 9783638951777
  • Publisher: Grin Publishing
  • Binding: Paperback
  • Language: German
  • Returnable: N
  • Spine Width: 6 mm
  • Weight: 140 gr
  • ISBN-10: 3638951774
  • Publisher Date: 22 Jun 2008
  • Height: 210 mm
  • No of Pages: 100
  • Series Title: German
  • Sub Title: Am Beispiel von Cornelia Funkes Tintenherz, W. und H. Hohlbeins Das Buch und Walter Moers Die Stadt der Träumenden Bücher
  • Width: 148 mm


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Ästhetik des Bösen in der phantastischen Gegenwartsliteratur: Am Beispiel von Cornelia Funkes Tintenherz, W. und H. Hohlbeins Das Buch und Walter Moers Die Stadt der Träumenden Bücher
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Ästhetik des Bösen in der phantastischen Gegenwartsliteratur: Am Beispiel von Cornelia Funkes Tintenherz, W. und H. Hohlbeins Das Buch und Walter Moers Die Stadt der Träumenden Bücher
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Ästhetik des Bösen in der phantastischen Gegenwartsliteratur: Am Beispiel von Cornelia Funkes Tintenherz, W. und H. Hohlbeins Das Buch und Walter Moers Die Stadt der Träumenden Bücher

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