This study will examine the phenomenon of the elevation of Wagner from relative obscurity under Bismarck to the symbol of German Nationalism under the Third Reich, and will attempt to ascertain the reasons for Mann's continuing dedication to Wagner despite his growing apprehension about Germany's destiny under Hitler.

Thesis (M.S.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2031-01-01

This thesis chronicles the development of Henri Fantin-Latour’s identity as a peintre-mélomane. Its purpose is to investigate how his multi-sensory impressions of music, particularly during performances of Richard Wagner’s operas and Hector Berlioz’s musical-dramatic works, would materialize into an aesthetic of vagueness. I examine the manner in which the scenic, acoustic, and acousmatic conditions in his physical environment heightened his awareness of a poetic and palpable sense of vagueness. I postulate that he aspired to simulate the sensorial aspects of his musical experiences in his operatic interpretations, lieder-inspired images, and allegorical fantasies. Through his inventive experimentation with lithography and his adaptation of painting techniques by his favorite old masters (most notably Eugène Delacroix), he developed a distinct facture that imbued his atmospheric prints, pastels, and paintings with an ineffable quality of vagueness. The correspondence between the auditory sensation, visual perception, and formal expression of the vague is also reflected in the picturesque language and musical nomenclature invoked by the contemporary criticism. The elusive sense of the musically vague in Fantin’s imaginative genre was a conspicuous leitmotif in the Salon reviews. An intertextual comparison between the musical discourse of the time and the critical reception of his artworks reveals absolute music to be a model of emulation. In light of music’s centrality in Fantin’s artistic enterprise, the conclusion explores the extent of Berlioz’s and Wagner’s aesthetic influence on his theory and practice.

This dissertation traces Richard Wagner’s influence on the twentieth century Western European novel. Through a close reading of three monumental works: Gabriele d’Annunzio’s Il fuoco (1900), Marcel Proust’s À la recherche du temps perdu (1913-1927), and Thomas Mann’s Doctor Faustus: The story of the German composer Adrian Leverkühn, as told by a friend (1947), I argue that Wagner’s artistic and theoretical legacy helps set the course for modernist prose. By investigating the vast webs of intertextual references present in these works, this project examines how novelists manipulate multimedia collage, autobiographical incursion, and narrative silence to replicate the ideal of the Gesamtkunstwerk, or “Total Work of Art” both championed by Richard Wagner in his early theoretical manifesti and deployed, in evolving ways, throughout the composer’s life. I argue that, rather than creating simple allusions to the Wagnerian ideal across media, d’Annunzio, Proust, and Mann strive to reproduce the full spectrum of Wagner’s biographical and operatic spectacle within the confines of the printed page. In so doing, they pioneer revolutionary prose techniques that bring Wagner’s innovations to an audience far beyond the walls of the opera house.

Aim.C. Peter Wagner is a well-known missiologist. In the late twentieth century Wagner became interested in the means by which the devil, as the enemy of God, obstructs the spread of the Gospel. Based on his reading of Daniel 10:13 [20-21], a passage referring to the prince of Persia, he concluded that the earth is ruled by Satan’s angels, whom he terms “territorial spirits.” The same chapter mentions other supernatural beings, Michael, one of the chief princes and the prince of Greece. In Wagner’s understanding Scripture reveals the existence of good and evil spirits having authority or control over specific geographical regions. Further, Wagner believed he had discovered why evangelism is ineffective in some locations - territorial spirits blind the minds of the populace and need to be bound spiritually to remove hindrances to the gospel’s reception. Wagner devised a prayer methodology called Strategic Level Spiritual Warfare (SLSW), to accelerate world evangelisation by strategically targeting designated cities or locations with aggressive prayer to disarm the spiritual powers of wickedness. SLSW depends for effectiveness on the associated practice of spiritual mapping,” entailing foundational research into an area’s historical and spiritual background preceding the prayer programme. Wagner believes SLSW to be both divinely revealed and empirically verifiable. The SLSW methodology spread with startling rapidity to many sectors of Christianity. SLSW became associated with Pentecostalism, and is now mistakenly assumed to be a Pentecostal teaching. This thesis aims to show this is inaccurate. Scope. C. Peter Wagner, an Evangelical, is associated with Third Wave groups who deliberately distance themselves from the Pentecostal label. Classical Pentecostalism is differentiated historically from the later Charismatic Renewal Movement. Third Wave groups are a separate more recent spiritual movement, sometimes known as neo-charismatics. Neither Wagner’s theological nor ecclesial location is Pentecostal, but this fact has not helped negate the mistaken assumption that his teaching originated within Pentecostalism. In order to demonstrate the difference between Wagner’s demonology and that of Pentecostalism, their respective interpretive methods need to be compared. This task was approached firstly by showing what comprises a Classical Pentecostal hermeneutic. Three distinctive principles were identified for a conventional Pentecostal reading of Scripture, namely: (1) the Protestant Reformation principle of Sola Scriptura, (2) a pneumatic approach to interpreting Scripture and (3) biblical revelation, not self-revelation, in the community of faith. In the past, Pentecostals depended on academic writings stemming from within Evangelicalism. This was a dependence of convenience, since historically Pentecostalism had no systematic theology, nor until comparatively recently a critically active academia. The disadvantage of this borrowing has been that Pentecostals have been obliged to filter out anti-Pentecostal bias evident in much Evangelical literature. The text Daniel 10:13 was then exegeted using these principles. This narrow focus is based on Wagner’s use of this text as the foundation of his demonology. Using a combined theological and literary approach, stances on reading the book of Daniel in general and Daniel 10:13 in particular were discussed. The relaxation of tensions between the factions which divided biblical scholarship for much of the twentieth century has allowed some cross-fertilization of ideas and methods, without reducing the ideological chasm separating the camps. The history of the text was recognised but meaning was sought more particularly from the form of the extant text. The results were tested against the principles of Pentecostal hermeneutics. Finally, Wagner’s writings on SLSW were appraised. His hermeneutical method was compared with the Pentecostal hermeneutical principles, the Pentecostal reading prepared from the exegesis, and the demonology of two Classical Pentecostal writers. Discussion of SLSW was confined to Wagner as the initiator of the concept. Wagner’s specific contribution has been in relating a hypothetical demonic hierarchy according to their perceived function (not simply the degree of power they may possess). He is well aware that his theory stands or falls on the issue of whether demonic spirits can legitimately be seen as occupying territories. Conclusions. Whilst some aspects of Wagner’s demonology and hermeneutic are held in common with that of Pentecostalism, the mistaken identification of SLSW as Pentecostal has led to confusion. Notwithstanding Wagner’s high view of Scripture and enthusiasm for evangelism, the hermeneutic employed in his interpretation of Dan 10:13 is not consistent with that of Classical Pentecostalism. The conclusion reached was that C. Peter Wagner’s teaching on SLSW should not be labelled Pentecostal.

<p>Diese Arbeit beschäftigt sich mit dem Übersetzen von literarischen Texten, und zwar Operntexten. Die Frage wird gestellt, in welchem Ausmaß die Form, Stilistik und der Inhalt des Originals in eine Übersetzung übertragen werden können, und auch wie kultur- und spracheigene Wörter und Ausdrücke übersetzt werden können. Der Gegenstand der Untersuchung sind zwei Übersetzungen von Richard Wagners Oper Die Meistersinger von Nürnberg, die mit dem Originaltext und auch mit einander verglichen werden.</p><p>Das Ergebnis zeigt, dass die Übersetzungen sehr formtreu sind, und dass sehr wenig vom Inhalt verloren geht. Die stilistischen Unterschiede sind größer, was vermutlich mit dem Bedarf nach einem moderneren Sprachgewand zusammenhängt. Fremde Wörter und Ausdrücke werden sehr unterschiedlich behandelt, manchmal durch bekannte ersetzt und manchmal beibehalten, aber eine deutliche Strategie lässt sich nicht finden.</p>

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Thesis (Ph.D.)--University of Wisconsin--Madison, 2009. / Advisor: Jeanne Swack. Includes bibliographical references (p. 299-311). Also available on the Internet.

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Zugl.: Osnabrück, Univ., Diss., 2007