https://www.um.edu.mt/library/oar/handle/123456789/57573 Sat, 18 Apr 2026 23:29:47 GMT 2026-04-18T23:29:47Z https://www.um.edu.mt/library/oar/handle/123456789/123260 Title: Die darstellung der weiblichen figuren in einem roman der Weimarer Republik : Vicki Baum – Menschen im hotel Abstract: Das Thema der vorliegenden Arbeit ist die Darstellung der weiblichen Figuren im Roman Menschen im Hotel von Vicki Baum. Dabei werden die beiden weiblichen Hauptfiguren, Flämmchen und Grusinskaja, ins Zentrum gestellt, aber einige weibliche Nebenfiguren werden auch in dieser Untersuchung betrachtet. Die Analyse konzentriert sich auf die Frage, inwiefern die weiblichen Figuren die Frauen in der Zeit der Weimarer Republik widerspiegeln. Zur Bearbeitung dieses Themas wird die Weimarer Republik als Zeitabschnitt aus der deutschen Geschichte in Verbindung mit der Darstellung von Berlin in den 1920er Jahren im Roman als Hintergrund der Figurenanalyse behandelt. Die Betrachtung der weiblichen Figuren im Roman umfasst verschiedene zentrale Aspekte, insbesondere das Konzept der neuen Frau, Prostitution, das Thema der Liebe und zuletzt die Arbeit in den 1920er Jahren in Deutschland mit besonderem Hinblick auf die Angestelltenarbeit, die Künstler und die Arbeiterklasse. Bei der Entwicklung dieser Analyse wird auf verschiedene Perspektiven der Forschung Bezug genommen. Die Arbeit ist wie folgt gegliedert: Das erste Kapitel beschäftigt sich mit der Biographie der Autorin Vicki Baum und versucht Baum selbst als Verkörperung des Konzepts der neuen Frau zu erläutern. Als nächstes wird der Roman Menschen im Hotel beschrieben. Im Hauptteil dieser Arbeit liegt die Schwerpunkt auf den weiblichen Figuren aus dem Roman, die in Verbindung mit dem historischen Hintergrund analysiert werden. Schließlich werden in einem Fazit die zentralen Ergebnisse dieser Arbeit zusammengefasst und ein kurzer Ausblick auf die Forschungslage beschließt diese Arbeit. Description: B.A.(HONS)GERMAN Wed, 01 Jan 2020 00:00:00 GMT https://www.um.edu.mt/library/oar/handle/123456789/123260 2020-01-01T00:00:00Z https://www.um.edu.mt/library/oar/handle/123456789/100918 Title: Women’s clothing and identity in nineteenth-century heritage film Abstract: Historical cinema, through its several demeanours – namely literary adaptations, period drama, costume film, or what is more commonly known as heritage film, amongst others – has prevailed in film history especially with the dawn of the heritage industry in the 1980s in Britain. History is, indeed, incorporated in heritage film in considerable ways through aural and visual qualities like soundtracks, landscapes and greenery, language and dialogue, and costume respectively. According to Julianne Pidduck, the term ‘costume drama’ may be broken down and defined as follows: the first word, ‘costume,’ implies the body’s structure, constraint, and representation through clothes. Moreover, clothes in heritage film act as part of the historical discourse while giving the character an identity through its style and colour. Costumes, thus, form part of the mise-en-scène of the film in determining the setting of the story. Pidduck goes on to quote Peter Brooks in order to define the second term, ‘drama’, as an intensified version of everyday life. In such a way, costume film/drama is an illustration of colourful episodes of the past. Throughout the years, the heritage genre has been consistently dismissed by critics as an ‘ideologically conservative mirror of glorious national pasts’. According to Robert R. Rosenstone, for instance, the historical fiction which directly employs the issues, arguments, and ideas of the current discourse in history should have more significance than costume drama which adopts the past as a peculiar setting for adventure and romance. In spite of such criticism, however, heritage film – or costume drama – has been perceived by several scholars as a form of escapism from the contemporary chaos. Indeed, Pidduck suggests that all kinds of entertainment ‘involve[s] a flight from everyday’. Nevertheless, heritage cinema stands out through invoking a sense of nostalgia to its audience. Nostalgia – that wistful feeling of longing for a past and a place that no longer exist and perhaps never really existed; that crepuscular sentiment elicited by the loss of an object of desire that is seductively elusive; that languid emotion which mourns that irreversibility of time and yearns not only for the repetition of unrepeatable past experiences, but also for the fulfilment of dreams that were always destined to remain unfulfilled.8 In reference to the ‘heritage-detailed’ film adaptations of E.M. Forster’s novels, Gloria Lauri-Lucente claims that they conjure a ‘much-maligned feeling of nostalgia’ which is commonly identified by a number of scholars as an ‘anaesthetised and deceptively inauthentic form of history’. Lauri-Lucente, thus, suggests that the yearning and longing feeling which is evoked through the experience of heritage cinema bewilders the audience’s relationship with the past. This is because, she writes, the negative side of history is moderated and, often, obliterated.12 As a consequence, the past is consequently perceived by the heritage film audience as a fascinating place to which they wish to visit, a flawless past which is incorporated of lavish clothes, magnificent estates and landscapes, as well as elaborate discourses and language. Moreover, several re-enactors endeavour to authentically recreate and commemorate the lives of our ancestors by organising period events or festivals and by creating authentic costumes of that particular time. Thus, a large part of history, including the constraints of minorities, is for the most part omitted. […] Description: M.A.(Melit.) Wed, 01 Jan 2020 00:00:00 GMT https://www.um.edu.mt/library/oar/handle/123456789/100918 2020-01-01T00:00:00Z https://www.um.edu.mt/library/oar/handle/123456789/100228 Title: Drug rehabilitation : intersectionality between law, medicine and the self Abstract: This research explores and analyses the lived experience of persons who are undergoing rehabilitation for hard drug dependence, mainly heroin and cocaine, under Malta’s Drug Court through the Drug Offenders Rehabilitation Board (DORB). By adopting an Interpretative Phenomenological Approach (IPA), this qualitive research sought to investigate how drug addicts in rehabilitation relate and deal with their addiction during DORBs rehabilitation treatment and whether and how this impacts their identity as law, medicine and the self intersect. The findings, analyses and discussion revolve around the participants’ challenges arising from drug dependence and their trajectories in overcoming them through rehabilitation. A number of main findings led to the discussion about the transition from biographical disruption to biographical reconstruction, as well as the importance and significance of the intersectionality of law, medicine and the self through the Drug Dependence (Treatment not Imprisonment) Act (Cap. 537) which law stipulates DORBs functions. This Act primarily filled in the gap for this intersectional approach and provided a guidance and supervisory role for legal, medical and social services. Recommendations for service provision (including legal amendments) and for further research arising from this study, shall inform policymakers and practitioners on intersectional prevention and intervention, particularly on how to enhance the effectiveness of the Drug Court system. Description: M.A.HEALTH,MEDICINE&SOCIETY Wed, 01 Jan 2020 00:00:00 GMT https://www.um.edu.mt/library/oar/handle/123456789/100228 2020-01-01T00:00:00Z https://www.um.edu.mt/library/oar/handle/123456789/94682 Title: L'incomunicabilità nella trilogia di Michelangelo Antonioni : tra prassi cinematografica e psicologia femminile Abstract: Michelangelo Antonioni, nei tre film conosciuti come la «trilogia dei sentimenti», «dell’incomunicabilità» oppure «esistenziale», indaga con modalità differenti la psicologia dei personaggi. In queste tre produzioni cinematografiche, i cui i protagonisti non riescono a trovare un equilibrio nelle loro relazioni sentimentali, è centrale il tema dell’incomunicabilità. Ne L’avventura la gita di una comitiva fa da sfondo all’avventura psicologica che i protagonisti si ritrovano a vivere. Il personaggio maschile non si fa scrupoli a tradire la sua ragazza, che, avendo pietà di lui, finisce per perdonarlo ugualmente. Analoga è la situazione rappresentata ne La notte. Tra il lavoro e la vita matrimoniale, l’uomo si sente insoddisfatto. Nel terzo e ultimo film della trilogia, alla solitudine e alla fine di una relazione sentimentale si aggiunge il tema della fuga da parte della protagonista in un mondo culturalmente diverso da quello in cui vive e si è formato. Nelle tre pellicole si affronta anche il tema dell’eros malato, che impedisce ai personaggi il raggiungimento di un equilibrio nella vita privata. Description: B.A.(HONS)ITALIAN Wed, 01 Jan 2020 00:00:00 GMT https://www.um.edu.mt/library/oar/handle/123456789/94682 2020-01-01T00:00:00Z