Esta dissertação, cujo enfoque central é a novela \"Michael Kohlhaas\", do escritor alemão Heinrich von Kleist (1777-1811), procura identificar o mecanismo que permite à prosa do autor trafegar pelos mais diferentes espaços e assuntos sem, aparentemente, esfacelar-se. No primeiro capítulo, apresenta-se um breve panorama da crítica kleistiana, identificando-lhe alguns percalços. No segundo, analisam-se com mais atenção os mecanismos formais utilizados pelo narrador para compor o texto com que acompanha a trajetória do protagonista. No terceiro, analisam-se os móveis da ação de Kohlhaas. Ao final da dissertação, conclui-se que a novela traça um perfil da subjetividade moderna, revelando-lhe o caráter alienado. / This dissertation, whose main object is the novella \"Michael Kohlhaas\", written by the German author Heinrich von Kleist (1777-1811), tries to identify the mechanism which allows the writer\'s prose to inhabit the most diversified spaces and to present the most diversified subjects without apparently falling to pieces. The first chapter presents a short overview of the Kleistian literary criticism pointing to some of its problems. The second one analises the formal mechanisms used by the narrator to build the text with which he will present the path opened by the main character of the novella. The third one will analise the motives of Kohlhaas\' actions. At its final part, this paper concludes that this Kleistian novella presents the profile of the modern subjectivity revealing its alienation.

No description available.

Esta dissertação, cujo enfoque central é a novela \"Michael Kohlhaas\", do escritor alemão Heinrich von Kleist (1777-1811), procura identificar o mecanismo que permite à prosa do autor trafegar pelos mais diferentes espaços e assuntos sem, aparentemente, esfacelar-se. No primeiro capítulo, apresenta-se um breve panorama da crítica kleistiana, identificando-lhe alguns percalços. No segundo, analisam-se com mais atenção os mecanismos formais utilizados pelo narrador para compor o texto com que acompanha a trajetória do protagonista. No terceiro, analisam-se os móveis da ação de Kohlhaas. Ao final da dissertação, conclui-se que a novela traça um perfil da subjetividade moderna, revelando-lhe o caráter alienado. / This dissertation, whose main object is the novella \"Michael Kohlhaas\", written by the German author Heinrich von Kleist (1777-1811), tries to identify the mechanism which allows the writer\'s prose to inhabit the most diversified spaces and to present the most diversified subjects without apparently falling to pieces. The first chapter presents a short overview of the Kleistian literary criticism pointing to some of its problems. The second one analises the formal mechanisms used by the narrator to build the text with which he will present the path opened by the main character of the novella. The third one will analise the motives of Kohlhaas\' actions. At its final part, this paper concludes that this Kleistian novella presents the profile of the modern subjectivity revealing its alienation.

No description available.

This study of Franz Liszt presents the Hungarian master as a figure of conflicting forces, a sort of conflicting forces, a sort of Dr. Jekyl and Mr. Hyde of music. In other words, Liszt was a dual personality. In this study of Liszt's major piano works, it will become evident that several factors were vital in the ultimate realization of these works.

Jenny Liu Ng Mui. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1994. / Includes bibliographical references (leaves 123-128). / INTRODUCTION --- p.1 / PART I LISZT'S RELIGIOUS DEVELOPMENT AND HIS POSITION IN 19TH-CENTURY CHURCH MUSIC REFORM / Chapter Chapter 1 --- Liszt's religious development --- p.5 / The influence of Adam Liszt / The first religious outburst / The influence of the Saint-Simonians / The influence of the Abbe de Lammenais / The influence of Princess Wittgenstein / The Abbe Liszt / Chapter Chapter 2 --- Liszt's position in 19th-century church music reform --- p.13 / The Cecilian Movement / Liszt's ideal of church music / Liszt's sacred choral works / The evolution of Liszt's church music reform / The reception of Liszt's sacred choral works / "PART II LISZT'S VIA CRUCIS: COMPOSITIONAL BACKGROUND, RECEPTION AND TEXT" / Chapter Chapter 3 --- The compositional background and reception of Via Crucis --- p.26 / Liszt's late years / Date and place of composition / The influence of artworks on the composition / The reception of Via Crucis / Chapter Chapter 4 --- The text of Via Crucis --- p.32 / Biblical excerpts / Verses from Latin hymns / The German chorales / The text of Via Crucis as compared with traditional Passions / PART III UNITY AND CONTRAST IN VIA CRUCIS / Chapter Chapter 5 --- Thematic design in Via Crucis --- p.42 / Thematic cross-reference / The Cross motif / Jesus' theme / Veronica's theme / Large-scale repetition / The Prelude and Station XIV / The theme of the procession / Stations III， VII and IX / Stations IV and XIII / Chapter Chapter 6 --- Harmonic design in Via Crucis --- p.54 / The structural importance of the tritone / Station V / Station XI / The six monologues / The broad layout / The emphasis on the use of symmetric structures / Station II / Station IV / Station VIII / Station X / Station XII / Chapter Chapter 7 --- Stylistic contrast in Via Crucis --- p.67 / The adoption of Palestrina style / Texture / Rhythmic design / Melodic design / Harmonic design / Text setting / The adopt ion of Bach chorale style / O Haupt voll Blut und Wunden / O Traurigkeit / The coexistence of German chorales and Latin hymns / CONCLUSION --- p.78 / EXAMPLES --- p.80 / BIBLIOGRAPHY --- p.123

No description available.

In 1970, the Hungarian publishing firm Editio Musica Budapest began a long term project, ending in 2005, that endeavored to compile and publish all Liszt's works in a complete edition titled, The New Liszt Edition (NLE). Through the efforts of this firm, Liszt's Technical Studies were published in the way that he had originally intended for the first time in 1983. Yet, although the eminent Liszt-scholar Michael Saffle has stated that 'Pedagogy is one of the most thoroughly-mined veins of Liszt material ever uncovered', academic discussions on Liszt's Technical Studies (Walker, 2005), his definitive pedagogical work for piano, are scarce. What it was that Liszt set out as being fundamental to the acquisition of pianistic virtuosity in the Technical Studies and the nature of its trajectory is generally unknown. Through an examination of the didactic instruction Liszt supplied in the Preface of the autograph manuscript to the Technical Studies and specific technical commentaries written by Mme. Auguste Boissier in her Liszt pedagogue, I will argue that the Technical Studies are built on six artistic and mechanical principles, exemplified by Liszt in the exercises, written to help the pianist acquire technical virtuosity. The methodical divisions of the work into sections that deal with specific mechanical objectives are illustrated with musical examples and their technical trajectory defined.

Texte remanié de: Doktorarb.--Fakultät 8--Universität Stuttgart, 1997. / Liste des publications des professeurs et étudiants de Breslau. Bibliogr. p. 547-565. Index.

Habilitationsschrift--Universität Bonn, 2001. / Bibliogr. p. 613-652. Index.