Thesis (MPhil(R)) - University of Glasgow, 2007. / MPhil(R) thesis submitted to the Department of German, Faculty of Arts, University of Glasgow, 2007. Includes bibliographical references. Print version also available.

Zugl.: Hochschule für Musik und Theater Hannover, Diss., 2008.

Thesis--Copenhagen. / "Bogfortegnelse": p. [216] 219. "Henvisninger"; p. [250] 261.

This master's thesis deals with the play Don Carlos by Friedrich Schiller. It tries to capture all the inspirational sources that preceded the forming of the resulting concept. These are not only historical sources, offering a different view on characters and events, but also other sources that have gradually led to an understanding of the overall atmosphere. There’s also an analysis of plays that offer different views on the subject. The second half of the thesis is devoted solely to my own concept and inspirations to individual characters. It includes an analysis of the key moments of selected situations, and characters contained in five acts. The final part deals with the analysis of all the characters and the presentation of a concrete solution for their costumes. In the pictorial annex, these solutions are presented in the form of the sketches.

The topic of this thesis is the theater play „Mary Stuart“ written by F. Schiller. Theoretical part is divided into four chapters. First chapter briefly describes the life of author and his body of work. The second chapter analyzes his play “Mary Stuart”. The third chapter describes three contemporary theater productions of plays dating to the Renaissance period with focus on costume design. The fourth chapter deals with Renaissance in Europe and clothing of that period. The practical part presents the costume design itself for the play Mary Stuart. An analysis of scenes and figures of the play is carried out and the process and artistic decisions made during the design of costumes is described. The practical part closes off with sketches and pictures of the final costume design.

A presente dissertação investiga o conceito de educação estética – como prática educativa propositiva – depreendida da análise (comparativa) da relação entre a concepção schilleriana e habermasiana da razão estética e do elemento estético, respectivamente. Nesse sentido, opera sob a forma do ensaio, de tal modo a recolher, a captar desses autores o que neles há de essencial para a proposição, justificação e viabilidade de uma prática educativa genuinamente estética. O centro da argumentação é o estético em face do mundo da vida e da educação, situado no contexto histórico-filosófico de Jürgen Habermas e de Friedrich Schiller. / The following dissertation discuss the concept of aesthetic education. It intends to make the concept of aesthetic education a real practice of education, which is based on Schiller´s and Habermas´s theories. However, the writing is an essay that intends to get the core of those theories to justify and to make possible the purpose of an aesthetic education. Aesthetic here is understood as life and form, situated in a historical and philosohical context: the romantism of Friedrich Schiller and the critical theory of Habermas.

Dissertação (mestrado) - Pontifícia Universidade Católica do Paraná, Curitiba, 2008 / Bibliografia: p.130-135 / Esta dissertação tem por objetivo investigar como Schiller recebe o conceito de sublime kantiano e como ele desenvolve para fundamentar esteticamente a compreensão que tem a respeito do teatro. Inicialmente, o conceito de sublime schilleriano é construído / The purpose dissertation is to research the way Schiller understands the concept of the Kantian sublime and how it develops it to aesthetically base his own comprehension about teatre. Initially, Schiller's concept is based on Kant's one, However as the

Made available in DSpace on 2015-08-20T17:10:04Z (GMT). No. of bitstreams: 0 Previous issue date: 2015-03-20. Added 1 bitstream(s) on 2015-08-20T17:25:56Z : No. of bitstreams: 1 000841172.pdf: 1126715 bytes, checksum: 74d1263162a94bdea5f2edde140e168b (MD5) / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / O presente estudo tem como objetivo discutir as teorias de Friedrich Schiller (1759-1805) e Heinrich von Kleist (1777-1811) sobre a graça, a dignidade, o belo e o sublime, comparando-as, a fim de mostrar as divergências e as confluências dessas concepções estéticas, que foram desenvolvidas nos períodos clássico (com Schiller) e romântico (com Kleist). Tendo como referencial principal para a análise dessas categorias os ensaios Sobre graça e dignidade (Über Anmut und Würde), de Schiller, e Sobre o teatro de marionetes (Über das Marionettentheater), de Kleist, procuramos mostrar na dissertação como as teorias estéticas dos dois autores refletem as tensões existentes entre Classicismo e Romantismo na Alemanha, e como essas tensões estabelecem diferenças entre a ideia de forma em Schiller e Kleist, tendo em vista que a harmonia clássica e a desarticulação dessa harmonia são temas frequentes. Schiller preza pela manutenção da harmonia e busca na arte o caminho para que o homem alcance o equilíbrio; Kleist, pela via da desconstrução do modelo clássico, joga com a forma, de maneira a desarticulá-la, transformando-a em palco para o advento do ritual dionisíaco; não mais a serenidade e harmonia de Apolo que imperam, mas sim o frenesi de Dionísio, que domina e se expande de maneira extraordinária. Dessa maneira, as categorias do belo, da graça e do sublime ganham em Schiller e Kleist dimensões díspares e afins, abrindo espaço para a comparação de suas obras. Aproveitando-nos dos apontamentos feitos por Friedrich Schiller sobre a tragédia como instância que proporciona ao homem o entretenimento e a liberdade através de meios morais, utilizamos as peças Die Jungfrau von Orleans (Friedrich Schiller, 1801) e Penthesilea (Heinrich von Kleist, 1808) como via de exemplificação prática de como estes autores usaram as concepções estéticas apontadas acima para a construção da ação de suas heroínas... / This study has the objective to discuss the theories of Friedrich Schiller (1759-1805) and Heinrich von Kleist (1777-1811) about grace, dignity, beauty and sublime, comparing them in order to show the differences and the confluences of these aesthetic concepts that were developed in the classical period (with Schiller) and romantic (with Kleist).Using as a basis for the analysis of these categories the essays On Grace and Dignity (Über Anmut und Würde), by Schiller and On the Marionette Theatre (Über das Marionettentheater), by Kleist, we are showing as the aesthetic theories of the two authors reflect the tensions between Classicism and Romanticism in Germany, and how these tensions establish differences between the idea of form in Schiller and Kleist, considering that classical harmony and the dismantling of this harmony are common themes. Schiller values the maintenance of harmony and search in the art a way for men to achieve balance; Kleist, through the deconstruction of the classical model, play with form, dismantling it, turning it into a stage for the advent of the Dionysian ritual; no more serenity and harmony of Apollo that reign, but the frenzy of Dionysus, which dominates and expands in an extraordinary way. Therefore, the categories of beauty, grace and sublime acquire in Schiller and Kleist different and similar dimensions, making possible the comparison of their works. Utilizing the notes made by Friedrich Schiller about the tragedy as an instance that provides entertainment to man and freedom through moral means, we are using the plays Die Jungfrau von Orleans (Friedrich Schiller, 1801) and Penthesilea (Heinrich von Kleist, 1808) as a form of practical exemplification of how these authors used the aesthetic conceptions mentioned above for the construction of the action of his heroines, characterizing them to attend these aesthetic assumptions

A presente dissertação investiga o conceito de educação estética – como prática educativa propositiva – depreendida da análise (comparativa) da relação entre a concepção schilleriana e habermasiana da razão estética e do elemento estético, respectivamente. Nesse sentido, opera sob a forma do ensaio, de tal modo a recolher, a captar desses autores o que neles há de essencial para a proposição, justificação e viabilidade de uma prática educativa genuinamente estética. O centro da argumentação é o estético em face do mundo da vida e da educação, situado no contexto histórico-filosófico de Jürgen Habermas e de Friedrich Schiller. / The following dissertation discuss the concept of aesthetic education. It intends to make the concept of aesthetic education a real practice of education, which is based on Schiller´s and Habermas´s theories. However, the writing is an essay that intends to get the core of those theories to justify and to make possible the purpose of an aesthetic education. Aesthetic here is understood as life and form, situated in a historical and philosohical context: the romantism of Friedrich Schiller and the critical theory of Habermas.

A presente dissertação investiga o conceito de educação estética – como prática educativa propositiva – depreendida da análise (comparativa) da relação entre a concepção schilleriana e habermasiana da razão estética e do elemento estético, respectivamente. Nesse sentido, opera sob a forma do ensaio, de tal modo a recolher, a captar desses autores o que neles há de essencial para a proposição, justificação e viabilidade de uma prática educativa genuinamente estética. O centro da argumentação é o estético em face do mundo da vida e da educação, situado no contexto histórico-filosófico de Jürgen Habermas e de Friedrich Schiller. / The following dissertation discuss the concept of aesthetic education. It intends to make the concept of aesthetic education a real practice of education, which is based on Schiller´s and Habermas´s theories. However, the writing is an essay that intends to get the core of those theories to justify and to make possible the purpose of an aesthetic education. Aesthetic here is understood as life and form, situated in a historical and philosohical context: the romantism of Friedrich Schiller and the critical theory of Habermas.