Until recently, Schubert's sonata forms have been treated as the partially successful products of a classicist who often misunderstood his models. The development of sonata form in his early string quartets, though, raises serious questions about such a view. The quartets (ca. 1810 to 1816), constitute the composer's first concentrated work in large-scale instrumental music and include some of his earliest compositions in any genre. The first sonata-form movements all lack the most basic features of the structure, specifically a clearly delineated subordinate theme and subordinate key in the exposition. The evolution of Schubert's sonata form from 1810 to 1816 consists of an expansion to encompass such necessary tonal and thematic contrast. This process, however, does not lead to a close imitation of the Classical prototype but rather to a highly original reinterpretation of the form. By the end of 1814, many of the distinctive tendencies in his writing are already evident. These include (1) unusual modulatory strategies dependant upon tonal ambiguity and surprise, (2) the first signs of an intensely lyrical quality in the thematic material, (3) complementary, as opposed to derivative, thematic relationships, in which the musical discourse is divided between two contrasting motivic regions connected by underlying harmonic links and (4) a widespread allusiveness in his handling of harmony, which allows an initial harmonic event or "sensitive sonority" to become increasingly significant as the music proceeds. Ultimately Schubert's innovative approach to sonata form, while weakening the Classical attributes of clarity and conciseness, infuses a new atmosphere into the structure, making it the perfect vehicle for the expression of Romantic sentiment.

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This creative project is the design and construction of costumes for the opera "Don Pasquale" using flat pattern, draping and fitting methods. This creative project enabled the author to gain an understanding of the methods and skills of the craft of costume construction with emphesis on short cuts for rapid construction and methods for making changes in costumes for future use.This project also involved a thorough study of the 18th century period costumes and textiles and the planning of each costume in relationship to the stage setting and lighting.

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The Sentimental/Gothic myth, which dominates much of English and American literature during the late eighteenth and nineteenth centuries, represents a cultural attempt to achieve unity, but the attempt is foredoomed because the essence of the myth is division. The myth's metaphor is sexual. The division that forms the acknowledged basis of the myth is that between two modes of being, seen as sexual modes: masculinity (power, aggression, violence, energy, dominance, etc.) and femininity (attraction, passivity, submissiveness, etc.). The unity sought by the myth on its acknowledged level is domestic harmony, the infusion of masculine strength into feminine passivity, the taming of masculine power by feminine submissiveness. Thus the myth regardsmarriage as the perfect state and the family as the perfect model of cultural unity. But the myth itself is flawed by a further division, of which the masculine/feminine division is actually a reflection: this is a division of the conscious, Sentimental myth from the largely unconscious Gothic myth. The Gothic, reversing the acknowledged direction of the myth (or carrying it full-circle to its inevitable conclusion), seeks the destruction of femininity by masculinity, the throwing off of feminine submissiveness by masculine violence. Thus it regards death(the "marriage" of murderer and victim) as the perfect state, and sterility, the blasted family, as the perfect model of unity.Mary Shelley's Frankenstein reflects both mythic divisions and their close interrelationship. Its hero seeks to establish his Sentimental masculinity and to achieve domestic unity, but in doing so creates the Gothic Monster who destroys the creator's beloved, his family, and finally drains life from the hero himself. Frankenstein, in form, themes, and characterization, reflects the ironies by which the Sentimental/Gothic myth is divided against itself, and shows the tragic consequences of its divisions.

The author's thesis, Berlin. / "Literaturverzeichnis": p. 177-178.

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The diploma thesis discusses the Piano Quintet "The Trout" by the Viennese composer Franz Schubert. It includes the circumstance of it?s origin, pieces which inspired the composer to creat this work, but also the pieces which were inspired by this particular one subsequently. It includes formal and interpretive analysis of the work. A special chapter deals with two dramatic pieces that were directly inspired by Schubert?s Piano Quintet in A major. Last but not least, it lists 18 other works of the same instrumentation, created between 1799-2011.

Orientador: Roberto Romano / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-07-22T21:10:02Z (GMT). No. of bitstreams: 1 Goncalves_PedroWagner_D.pdf: 13091114 bytes, checksum: a18d10b3c35a6c8bb28a4597dbdeee8a (MD5) Previous issue date: 1997 / Resumo: James Hutton, 1726-1797, pensador e naturalista britânico, contribuiu para diversificados assuntos de filosofia e ciência. Ele foi algumas vezes considerado apenas teórico e alheio aos problemas práticos de sua época. Nesta tese, defendo interpretação contrária: esse autor realizou uma cuidadosa reflexão sobre problemas práticos e teóricos de seu tempo e nunca lhe bastou a simplicidade, a explicação rápida ou desprovida de bases empíricas. Em todos os campos que seus escritos se referem, a análise das aparências é parte crucial de sua doutrina. Leitor atento de seus contemporâneos e da antigüidade clássica, reinterpretou o mundo baseado na síntese entre fórmulas gerais, correntes em sua época, e na coleta de dados nos campos natural e social. Quais foram os campos principais a que se dedicou, quais eram suas referências culturais e como Hutton se situa no cenário filosófico? Persegui equacionar estes problemas no desenrolar de minha pesquisa. Para tanto, levantei e descrevi as manifestações das imagens analógicas largamente usadas pelo mencionado autor principalmente em seus escritos cosmo lógicos e filosóficos. O emprego destas metáforas aclara que tais noções migram intensamente da análise moral para a natural e vice versa. Seu compromisso com o experimento conduziu-o à noção científica de virtude nos estudos morais e sociais. A virtude se baseou sobre a análise científica da sociedade e sua teoria da analogia projetou uma concepção otimista sobre o futuro da ciência, do homem e da filosofia. Por meio de sua linguagem, Hutton revelou os débitos com o pensamento moderno e com a antigüidade clássica / Abstract: In the second half of eighteenth century, James Hutton (1726-1797), a British naturalist, developed different subjects in science and philosophy and he has been recognized as a leader of modem geology. Although he was sometimes considered merely a theoretical philosopher and an alien man in front of the practical problems of his time. I defend opposite interpretation: he was a careful thinker conceming practical and theoretical questions and he never accepted the simplicity of quick answers or insufficient empirical data. AlI themes which he dedicated are references to analyse appearances as the crucial part of his doctrines. He was attentive reader of his contemporaries and of the classical antiquity and from them he lent many concepts but he made general formula with them to interpret his own epoch. These general formula were reunited with a large colIection of data in natural and social subjects. Which were his main subjects and intelIectual interests, which were his cultural references and how Hutton locate him .in philosophical scenery? I folIowed to enlighten these questions by means ofmetaphors which were presented by Hutton's original texts, I mainly explored the notion of ~alogy. I privileged the diversified use of the analogy in natural and cosmological subjects. I show up as some notions migrated from natural analysis to moral subjects and vice versa: there is a exchange of the concepts between these two fields. His compromise with the experiment leaded him to the scientific notion of virtue in social and moral studies. Hutton's theory of analogy was applied to base on the scientific analysis of society. He used his knowledge of natural history and chemistry and he projected the optimism of Enlightenment era. He simultaneously revealed his debts with JoOO Locke, David Hume and classical thinkers (mainly of the Stoics) / Doutorado / Doutor em Filosofia

The aim of this paper is to examine Horace Walpole's contribution to the reawakening taste for Gothic in the eighteenth century and to relate his curiously ephemeral art forms to the broad historical development of the Gothic. No attempt has been made, except in an incidental way, to treat the initial flourishing of Gothic architecture; that the reader has at least a passing acquaintance with the architecture of the Middle Ages is assumed. Instead, the emphasis has been placed upon the Gothic survival of the sixteenth and seventeenth centuries; as Gothic architecture was virtually eclipsed during this period, many readers may feel that this emphasis is unwarranted. However, some study of the Gothic architecture in these two centuries is necessary in order to understand how and why the Gothic took the turn it did in the eighteenth century. Chapter one is a collection of evidence to show that, despite opinion otherwise, Gothic architecture did survive as a potent force. Chapter two then proceeds to discuss Walpole's creation of Strawberry Hill and to show how the attitudes and skills of previous generations helped to mould its form. The conclusion reached is that Strawberry Hill, while Gothic in design, lacked most of the medieval Gothic spirit; that Walpole was in fact using the Gothic for a new purpose. Chapter three is again a collection of evidence, this time a survey of the prevailing trends in "Gothic" literature before Walpole. In a sense, chapter four is the culmination of this discussion of the Gothic, since here the attempt is made to show how Walpole's Gothic novel, The Castle of Otranto, was at once clearly in the earlier traditions of a classical interpretation of Gothic, and also a forerunner of an entirely new conception of Gothic. Walpole's influence upon later writers and his indebtedness to neo-Gothicizers is made clear by juxtaposing Walpole against the later school of Gothic novelists. To avoid a repetitious summary, some attempt has been made to characterize the essential differences existing between Walpole's Gothic and that of medieval artists by linking Walpole's creations with the rococo. An equation of eighteenth century Gothic with the rococo is of course foolish, and this was never contemplated; rather, the hope was to show that much of the spirit which stimulated Walpole's artistry is also endemic to the rococo. The eighteenth century Gothic, in particular Walpole's contribution, was actually a Gothic-rococo. / Arts, Faculty of / English, Department of / Graduate