Mysterium Cosmographicum is a musical chronicle of an astronomy treatise by the German astronomer Johannes Kepler (1571-1630). Kepler's Mysterium cosmographicum (Tubingen, 1596), or "Secret of the Universe," was a means by which he justified the existence of the six planets discovered during his lifetime. Kepler, through flawless a priori reasoning, goes to great lengths to explain that the reason there are six and only six planets (Mercury, Venus, Earth, Mars, Jupiter, and Saturn) is because God had placed one of the five regular solids (tetrahedron, cube, octa-, dodeca-, and icosahedron) around each orbiting body. Needless to say, the publication was not very successful, nor did it gain much comment from Kepler's peers, Galileo Galilei (1564-1642) and Tycho Brahe (1546-1601). But hidden within the Mysterium cosmographicum. almost like a new planet waiting to be discovered, is one of Kepler's three laws of planetary motion, a law that held true for planets discovered long after Kepler's life-time. Mysterium Cosmographicum is a monologue with music in three parts for orchestra, narrator/actor, and computer music on tape. All musical data structures ape generated via an interactive Pascal computer program that computes latitudinal and longitudinal coordinates For each of the nine planets as seen From a Fixed point on Earth For any given time Frame. These coordinates are then mapped onto selected musical parameters as determined by the composer. Whenever Kepler reads From his treatise or From a lecture or correspondence, the monologue is supported by orchestral planetary data generated From the exact place, date, and time oF the treatise, lecture, or correspondence. To the best oF my knowledge, Mysterium Cosmographicum is the First composition ever written that employs planetary data as a supporting chronology to action and monologue.

The nine volumes of the "Romanian Music Chronicle", printed by the Music Publishing Hause, Bucharest, in 20 years (1973-1991) are the fruit of an extremely elaborated investigation, that broke all the walls that tried to hide this real patrimony of spirituality. The author, Octavian Lazar Cosma, shouldered the responsibility of a difficult cultural mission to establish the main points of the Romanian music evolution during these two millennia.

En el presente trabajo se realiza un análisis de características narrativas y técnicas de reporteo presentes en las crónicas de maestros de la Fundación Gabo (antes Fundación Gabriel García Márquez para el Nuevo Periodismo Iberoamericano). Los maestros seleccionados están antalogados en dos antologías de crónica (Antología de crónica latinoamericana actual, de Darío Jaramillo; y Mejor que ficción, de Jorge Carrión) y forman parte del movimiento del Nuevo Periodismo Latinoamericano. De este grupo de autores, se seleccionan crónicas publicadas en libros entre el 2000 y 2012. Para definir los indicadores literarios, se utiliza como referencia determinadas características narrativas desarrolladas por Mario Vargas Llosa en su obra Cartas a un joven novelista y para establecer los indicadores periodísticas se usa como referencia artículos desarrollados por cronistas representativos del Nuevo Periodismo Latinoamericano. A partir del análisis, se concluye que existen características narrativas y de reporteo similares entre el grupo de cronistas escogidos. / This thesis describes the narrative characteristics and reporting techniques of non-fiction texts written by Gabo Foundation’s teachers. Authors selected are part of two anthologies focused in New Journalism non-fiction texts (Antología de crónica latinoamericana actual, by Darío Jaramillo; y Mejor que ficción, by Jorge Carrión); and also are part of New Latin American Journalism movement. From this group of authors, this thesis choose non-fiction texts published between 2000 and 2012. To define the narrative characteristics, a book of Mario Vargas Llosa, named Cartas a un joven novelista, is used. To define the reporting techniques, articles of recognized authors of New Latin American Journalism are used. From the analysis, it is concluded that there are similar literary and journalistic characteristics among the group of selected authors. / Tesis

Where I Come From - Velké Březno and the surrounding area The aim of this work is to create an educational project for pupils of the fourth and fifth grades to help them understand the connections between countryside, natural resources, population density, economic use of resources and development of transportation networks in the 19th and 20th centuries. The scope of this thesis is determined by the area encompassed by the school district of Velké Březno, that is, the right bank of the Elbe from Ústi nad Labem to Těchlovice. The theoretical part describes the area for which the project has been proposed from the socio- geographic point of view, and includes methods and lesson formats. The practical part contains work material meant as didactic inspiration for teaching local history.

My dissertation examines mass movement and dancing choruses as forms that proliferated across national, political, and artistic boundaries during the interwar period. Bringing together diverse professional and amateur dance practices such as German movement choirs, American and Soviet pageantry, Busby Berkeley films, and early Martha Graham, I analyze how concepts of unity, precision, and futurity operated within the shared mass movement aesthetics but divergent politics of the United States, Germany, and Soviet Russia. While these forms have been examined by dance scholars as individual phenomena or in their national settings, there has been no full-length comparative study that encompasses this range of forms of dance and national and political ideologies. I argue that form does not predetermine a politics; rather, forms gain political significance through use and interpretation by artists and spectators with political and ideological perspectives—sometimes overt, sometimes implicit. Furthermore, the relationship among the individuals within a group and whether and how they relate to a leader is indicative of how the group participates in politics. I examine the development of German movement choirs and their association with political movements in Weimar and Nazi Germany; I pay special attention to the leftist movement choir activity of Martin Gleisner and Jenny Gertz, figures not well-known in English-language scholarship. I compare Soviet mass spectacles and American leftist dance, both of which were influenced by the Pageantry Movement, and argue that the artists’ political relation to the state impacted what kinds of futurity they could imagine. To argue that the precision chorus line was a site that produced and contested ideals of American womanhood, I bring together the Radio City Rockettes, the chorus in the all-Black film Harlem is Heaven (1932), and Busby Berkeley’s Dames (1934). Finally, I analyze Martha Graham’s all-female 1930s company alongside her political work Chronicle (1936) to discover connections between the company’s social visions and how the choreographed work implicated spectators in a collective future. My project contributes to the dance historical field by bringing together a broad range of artistic and cultural phenomena that are more often found within their national or genre boundaries. By connecting these sites of inquiry through archival research and analysis of textual and visual materials, I show that the political identity of a mass or chorus develops from the particular way that the individuals within the group relate to one another, to any leader present or imagined, and to the constituted outside of the group. In making these arguments, I seek to make dance history part of a larger social history of aesthetics and politics.

No description available.

No description available.

essay deals with Josef Jedlička’s family chronicle Krev není voda (‘Blood is no water’), regarding the genealogical figures of thought which structure the text and organize the narration of family history. It examines how the Czech author adapts and redefines the traditional genre of the family chronicle for his writing purposes, as well as to what extent the reconstruction of one’s own family history and the narrative about social origin interlock. The thesis is that Krev není voda is an interesting example of a Central European family chronicle that works with a deterministic concept of origin and distinguishes itself from nostalgic, mythologizing, representations of one’s own family history.

This diploma thesis covers the individual citizens' perception of suburban events in order to discuss the point of view of the early modern Czech citizen and their ability to gain information of the world around through the analysis of such suburban events that were registered in the chosen chronicles, originating between the years 1575-1600, a period that is considered "a golden age of the Czech cities". First, the background of the chroniclers is outlined, because it might have influenced the choice of events they decided to include in their works, i.e. the position of the concrete city, the level of education in the said period or the author's personal life. Second, the general knowledge of the authors is described in the thesis through the means of analysis of the type of recorded information (e.g. Turkish wars, the deaths of famous persons, wildfires, councils and the like). In other words, the thesis is to point out what type of information was considered to be the most interesting or extraordinary to the wider public, and which circles were usually covered by the chroniclers. Therefore, the reader is to discover the world of thought of the early modern citizen, which has been restricted to us because of the lack of other than administrative materials, and the impulses that influenced and...

The master thesis presents and analyses a range of different ways in which the motif of the forest was treated in late-medieval literary sources as an element of thematic and compositional construction of the text. At the theoretical basis of the thesis is the concept of diachronic text reception and adaptations which bring along the transmission and simultaneous transformation of the use of topoi, while this process is being related to the development of the literary chronotopos signalizing a change in the public's horizon of expectation. The majority of sources for analysis are drawn from Czech sources of the long 14th century - courtly and chivalric romance, the Old Czech verse legend of St. Procopius and the Dalimil Chronicle - while a shorter part of the thesis is devoted to the presentation of individual tendencies in the development of the use of the forest topos in English and French literary allegory of the 14th and 15th centuries. In detailed comparison of specific passages from Old Czech texts with their actual models in other languages (Old Middle German, Latin), the thesis demonstrates, upon the example of the forest topos, that topoi do not represent fixed, inalterable clichés, but actually exhibit intense shifts in function, content and theme.