The relationship between Franz Liszt and Ludwig van Beethoven has always held a special position in the biographical tradition of Liszt. Liszt claimed that he received a consecration kiss (the Weihekuss) from Beethoven when he was eleven. However, the story probably was fabricated: in other words, the personal relationship between Liszt and Beethoven was never realized and never existed. Even though Beethoven and Liszt probably have never met, the Weihekuss still served as, in Liszt's words, "the palladium of my whole career as an artist." Liszt constructed a rather complicated relationship with Beethoven around this myth. In this study, I shall examine how the Weihekuss influenced both Liszt's life and his professional development as a performer and editor. In chapter one, I will analyze Liszt's psychological state through the anecdote and further examine the impact that Beethoven had inserted on both Liszt's life and career. On becoming a concert pianist, Liszt was the first person who performed Beethoven's piano sonatas in public and eventually elevated the genre of the sonata into the concert repertory. In chapter two, through eyewitness testimonies, Liszt will be viewed in a broader cultural and historical perspective. Meanwhile, Liszt's relationship with his audiences and his marketing strategies will also be included in this discussion. Liszt's "authority" on Beethoven led him to complete an edition of Beethoven's thirty-two piano sonatas in 1857. By examining Liszt's edition, particularly those sonatas that he performed, one can get a sense of how Liszt himself may have interpreted the music. According to Liszt himself, he performed ten Beethoven piano sonatas in public. These ten sonatas will be the primary focus in chapter three. Liszt both added and omitted articulation and pedal markings, creating different emphases and lines from those present in Beethoven's original manuscripts. The edition, in a sense, is Liszt's final tribute to Beethoven, but also reveals his constant disappointment in never having met the composer. To edit the sonatas was, for Liszt, a way to communicate with Beethoven spiritually, if not personally.

The dissertation examines Liszt's experimentation with harmonic, formal, and programmatic procedures in the piano works of his Weimar period (1848--1861). Liszt's music has often been criticized as "new wine in old bottles." His radical development of keyboard technique and harmonic vocabulary appears contained within, and constrained by, traditional forms. Here, however, it is argued that Liszt's "form" and "content" go hand in hand. A change in one compositional element (e.g., harmonic vocabulary) leads to changes in other elements (e.g., formal and tonal design), so that a kind of compositional "chain reaction" occurs. / Chapter one (introduction) establishes the plan of study and describes three organizational strategies ("conflict," "block," and "object") found in the selected works. Chapter two investigates the Etudes d'execution transcendante and focuses on harmonic innovations at the thematic level. In comparing different versions of the Etudes, the chapter shows how the composer's virtuoso keyboard idiom interacts with harmonic content and how surface harmonic procedures function as structural determinants. Chapter three concentrates on the smaller sets of "poetic" piano works. These include the Consolations , the Liebestraume, and the two Ballades as well as selections from the larger cyclical collections, the Annees de pelerinage and the Harmonies poetiques et religieuses. The analytical focus is on Liszt's manipulations of phrase- and section-level formal functions. The works display strophic and through-compositional tendencies that mirror developments in nineteenth-century lieder, and formal ambiguities that arise from the hybridization of traditional instrumental formal types. / Chapter four focuses exclusively on the B-minor Sonata. The composition, perhaps Liszt's most successful and complex work, engages us in a synthetic approach to harmony, form, and programme. The motivic and formal design of the Sonata may be accounted for in programmatic terms. Compositional similarities between the Sonata and the Faust Symphony suggest their shared programmatic subtext. The extensively developed "love interest" in Goethe's Faust invokes issues of gender and sexuality. The programme-related construction of gender as well as the arousal and channeling of desire can be connected with the Sonata's formal and tonal organization. Emphasizing the use of five motives and their various transformations, it is shown how Liszt portrays, through musical means, the three principal characters---Faust, Marguerite, and Mephistopheles---and how the work embodies a variety of narratological and interpretive paradigmsheroic, feminist, and psychological.

This thesis analyses the figure of the mythicized women as an attempt to escape the threat of time and death that is typical in Gautier's fictional narratives. In "La Cafetiere", "Omphale", "Le Pied de momie", "La Morte amoureuse" and "Arria Marcella", the feminine characters belong to both earthly and heavenly opposite realities. This study is based on several works such as Gilbert Durand's Structures anthropologiques de l'imaginaire, Georges Poulet's Etudes sur le temps humain and Mircea Eliade's Aspects du mythe. In the creation work part, nostalgia is introduced through characters that are overwhelmed by the death or the disappearance of a loved one.

The writing of the French architectural theorist and critic Cesar Daly (1811-1894), editor of the influential Parisian journal, the Revue generale de l'architecture et des travaux publics, may be considered to be representative of the ambivalence of the supposed 19th century dialectic between scientism and metaphysical idealism. For Daly the physical and representational needs of society expressed in architecture were always and forever inextricably linked by the universal and permanent pattern of History. Although it was his fundamental thesis that the human sensibility was more important than any other consideration in the creation of architecture, his theory is paradigmatic of the contemporary ideology which attempted to define and systemise the expressive role of architecture according to rational scientific principles, and resulted in the concept of architecture as a prescriptive and predictive process. / Given the separation of architectural form and content, presence and meaning, and the consequent challenge to the possibility of shared experience initiated in the Enlightenment which is still an inherent part of our contemporary architectural thought, it is crucial to re-examine the architectural theory of the 19th century as the origin of the modern condition. This thesis is a critical examination of Daly's collections of polemical articles from the Revue as artifacts of architectural knowledge, through an analysis of their form and content in relation to other significant 19th century architectural texts.

In mid nineteenth century, the Anglican Church witnessed an erosion of its authority over British society to the benefit of Protestant sects. William Palmer, a specialist in theology, believed the solution resided in Ecumenism. To him, the Roman-Catholic, Anglican and Orthodox Churches were branches of the same universal Church. Unlike the Tractarians who looked to Rome, Palmer saw in the Orthodox Church the essence of the primitive Church. He therefore spent his life attempting to convince religious authorities at home, in Russia, Scotland and Greece, that the Anglican faith was comprised in Orthodoxy and vice-versa. However, after years of research, analysis and numerous publication on the subject, Palmer realised that both the Anglican and Orthodox Churches had grave inconsistencies which were incompatible with his beliefs. Disillusioned, he converted to Catholicism although still committed to the reunification of Christianity.

This dissertation examines the representations of the body in the completed dramatic works of Heinrich von Kleist (1777--1811). While taking into account the psychoanalytical and philosophical approaches to Kleist, this project has Heiner Miller's words as its point of departure: that the theater represents the collision of ideas with the body. The forces of power, gender and authority leave their traces of this collision on the bodies of his characters, whose metaphorical and literal falls, wounds and recoveries speak their own gestural language. / This study is organized on the principle of Kleist's use of genre designation, the approximate chronological order of his plays, and the representation of the body. Chapter one focuses on Die Familie Schroffenstein, Der zerbrochne Krug, and Amphitryon and the notion of bodily authenticity and integrity; chapter two, on Die Hermannsschlacht and Penthesilea, looks at the spectacle of violence and its effect on the body mobilized by emotional extremity; the third chapter, on Kleist's most celebrated works, Prinz Friedrich von Homburg and Das Kathchen von Heilbronn, examines aspects of gender and vulnerability. The conclusion views his essay "Uber das Marionettentheater" not as a key to understanding his works, but rather as a culmination of them, and investigates Kleist's writing on the wounded body and its connection to grace.

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.

The topic of my master thesis is to introduce piano piece from Ferenc Liszt Totentanz, which is very rarely interpretated and not very well – known, as it could be.

Made available in DSpace on 2016-08-29T14:12:01Z (GMT). No. of bitstreams: 1 tese_4144_Diego_Gobo_Porto.pdf: 841460 bytes, checksum: ab9c0cb66d8277c8c25d35fa43ff2268 (MD5) Previous issue date: 2010-08-27 / Esta dissertação analisa as idéias de Sarmiento para a construção da Argentina. Ele acreditava que a Argentina, por estar dominada pela barbárie, deveria passar por uma série de reformas para alcançar o progresso moral e material. Os principais pontos dessa re(construção) nacional giravam em torno da criação de um sistema de ensino público que abarcasse toda a sociedade e do estímulo à imigração. Os Estados Unidos eram seu principal ponto de referência. Por essa razão, ele se encontrava junto aos americanistas (pensadores que propunham a via norte americana de modernização). As reformas que defendia, no entanto, deveriam ser conduzidas pelo Estado. Neste ponto específico, ele diferia dos americanistas. Na verdade, a defesa do Estado na condução dessas reformas resultava num paradoxo. Mesmo com a direção estatal, essas reformas não alcançaram o êxito que Sarmiento pretendia. Apesar de conseguir um relativo progresso econômico, não resultaram no desejado progresso civilizacional. Diante dessa constatação, Sarmiento se desiludiu quanto à possibilidade de se fundar uma república virtuosa, o que ficou patente nos seus últimos escritos. Este trabalho analisa justamente esse paradoxo e a desilusão que marcou o pensamento sarmientino no final da sua vida. Palavras-chave: americanismo, paradoxo, imigração, educação, raças, desilusão.

Dissertação (mestrado)—Universidade de Brasília, Departamento de História, 2011. / Submitted by Jaqueline Ferreira de Souza (jaquefs.braz@gmail.com) on 2012-09-05T11:31:54Z No. of bitstreams: 1 2011_PauloCezarVargasFreire.pdf: 12073476 bytes, checksum: b82b7ff7515062c508a990b0c90975d2 (MD5) / Approved for entry into archive by Jaqueline Ferreira de Souza(jaquefs.braz@gmail.com) on 2012-09-05T11:32:11Z (GMT) No. of bitstreams: 1 2011_PauloCezarVargasFreire.pdf: 12073476 bytes, checksum: b82b7ff7515062c508a990b0c90975d2 (MD5) / Made available in DSpace on 2012-09-05T11:32:11Z (GMT). No. of bitstreams: 1 2011_PauloCezarVargasFreire.pdf: 12073476 bytes, checksum: b82b7ff7515062c508a990b0c90975d2 (MD5) / Esta dissertação estuda o processo de formação de fronteiras na região em que predominou a produção ervateira, durante o período colonial do Paraguai (1534-1811). Analisa a sobreposição dessas fronteiras e dos domínios políticos, identificando-os no espaço geográfico e temporal. Investiga também a inter-relação entre a inserção social e econômica da atividade ervateira no mercado colonial e as mudanças ocorridas na apropriação do trabalho, em um contexto de migrações regionais e sociais. Por último, discute as conseqüências da pressão portuguesa sobre os conflitos de interesses na região. _________________________________________________________________________________ ABSTRACT / This dissertation studies the process of boundaries formation in the region where the yerba mate production prevailed during the colonial period in Paraguay (1534-1811). It examines the overlapping of this boundaries and political domains, identifying the time and geographic space. It also investigates the interrelation between the social insertion and the economical activity of yerbales (yerba forests) in the colonial market and the changes that occurred in the labor appropriation in a context of social and regional migration. Finally, it discusses the consequences of Portuguese pressure on conflicts of interests in the region.