The object of this study is Wieland's concept of irony. Wieland did not put forward a "theory of irony", but he has commented on irony in his works, in his correspondence, and in the footnotes to his translations of classical authors. This thesis consists of four parts, and the investigation proceeds as follows: Part One reviews the literature on Wieland's irony in order to establish a basis on which a contribution can be made to Wieland scholarship. No one denies that Wieland uses irony, but many disagree on its origin, its function, and its historical association. Part Two constitutes a detailed analysis of Wieland's most characteristic comments on irony as they occur in chronological order. Thus, an insight is gained into the development of the poet's theoretical understanding of irony which was conditioned by his attitude toward Socrates, the first historical eiron. As Wieland’s anti-Platonism gathered momentum, his use of the words Ironie and ironisch increased, and so did his attempts at defining irony. They are most numerous in Aristipp, Wieland's last novel, in which he also deals most extensively with Socrates. Part Three concerns itself with Wieland's manner of presentation. It is a study of the way in which the poet employs irony, and it investigates the stylistic devices in the service of this irony, with initial emphasis on his change from Platonist to Ironist. Part Four concludes the investigation by contrasting Wieland's irony with certain aspects of the romantic irony of Friedrich Schlegel and Ludwig Tieck. While it appears that Wieland uses stylistic techniques derived from literary models which also served the writers of the romantic generation, it also becomes evident that the intent of Wieland’s irony was more socially oriented than theirs. His central interest is in man himself, not in man's metaphysical concern. Wieland's irony is not irony for its own sake, but didactic irony for the purpose of enlightening the reader. As such, Wieland's irony serves as the means of characterization based on the contrast between eiron and alazon. In the light of his deep commitment to Reason (Natur), Wieland does not employ irony for the sake of suspending natural laws in the service of the wondrous. Basically, he establishes a constellation consisting of three human types: the misguided ethical and metaphysical idealist (Schwarmer), the cynical sensualist (Sophist), arid the representative of the graceful, Socratic golden mean (Philosoph). Whereas previous studies examine stylistic influences by other ironic writers on Wieland's manner, of presentation, this investigation reveals a by far greater influence of Socrates on Wieland's understanding and uses of irony. In this, the German author came to reject the characterizations of the eiron Socrates as presented in the works of Aristophanes and Plato, in preference to Xenophon’s description of the Greek philosopher as a pragmatist. / Arts, Faculty of / Central Eastern Northern European Studies, Department of / Graduate

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No description available.

This dissertation presents an in-depth analysis of Gotterdammerung. It provides information concerning: form, tonality, cadence, motive, text, harmony, meter, rhythm, tempo, and dynamics. This information is clearly detailed on a series of charts; the accompanying prose summarizes the charts and highlights selected topics and events. Tonality is the primary formal determinant in Gotterdammerung. The tonal plan operates at three hierarchical levels: foreground, middleground, and background. These terms are not employed in the linear/Schenkerian sense rather, they reflect harmonic/tonal implications within given structural parameters: foregound--the details of the surface level progressions; middleground--the tonal organization within the subdivisions of individual scenes; and background--the keys which govern entire scenes and the beginnings and endings of acts. Tonally, four distinct procedural techniques are employed at all three structural levels: traditional/tonic-dominant tonality, associative tonality, expressive tonality, and directional tonality. At the very core of the tonal process is associative tonality. Through its ability to represent characters, objects, events, emotions, and underlying dramatic themes it elevates the purely functional aspects of traditional/tonic-dominant, expressive, and directional tonalities to new heights. The musical forms of Gotterdammerung fall into four basic categories: traditional, symmetrical, form-within-form or "nested," and sectional. Forms and procedures from each of these categories are employed in some way at every structural level; frequently two or more are drawn upon simultaneously in the shaping of a musical unit. The one element that binds these diverse forms and procedures is tonality. Cadence, motive, and text are also consistent form-defining elements. Their affects are felt most frequently at the subsection and section levels but they also assist in the formal articulation of scenes and acts. The other musical elements play important roles in creating the superstructure but it is tonality which provides the framework and foundation throughout the music-drama.

Richard Wagner was appointed Hofkapellmeister to the Dresden Court in 1841. In conjunction with the duties of his office, he composed four works for male chorus, categorized by him as "occasional works". These works written during the first year-and-a-half of his Dresden tenure demonstrate Wagner's early assimilation of his artistic and philosophical ideals that would culminate in the composition of the opera-cycle, Der Ring des Nibelungen. Wagner's association with the male-voice choral unions of Dresden allowed him opportunity to express and define his compositional goals in his constant quest for a true and pure German art form. The "occasional works" influenced and affected his use of male chorus in the operas Lohengrin, Tannhauser and Die Meistersinger. Wagner, forced to flee Dresden after the May 1849 uprising, no longer had access to the Dresden male-voice choral unions. Consequently, the frequency of male choruses in his operas composed after this time diminishes assuming a different position, both musically and dramatically than in those operas composed prior to and during his Dresden tenure. The "occasional works" demonstrate more than a servial obligation, rather, they encapsulate the very essence of Wagner's compositional thought in a highly condensed and intensely focused form.

The study is an attempt to explore selected writings of Soren Kierkegaard in an effort to draw from these writings implications for counseling theory based on certain concepts central to his philosophy.

Die Arbeit befaßt sich mit den Entwicklungslinien des Strafgerichtswesens in Teilen des kurpfälzischen Territorialstaats in der Zeit des Spätmittelalters und der frühen Neuzeit. Die Untersuchung ist im Rahmen des DFG-Projektes "Entstehung des öffentlichen Strafrechts", Teilprojekt "Unrecht im ländlichen Raum" verfaßt worden. Als Grundlage dienen ihr ca. 800 Texte der Gruppe "Ländliche Rechtsquellen", insbesondere Weistümer und Dorfordnungen. Als geographischer Rahmen wurden die Gebiete der vier rechtsrheinisch gelegenen Zenten Schriesheim, Kirchheim, Eberbach und Mosbach im Kerngebiet der Kurpfalz gewählt. In einem ersten Teil befaßt sich die Arbeit mit den historischen und geographischen Besonderheiten des erforschten Gebietes; insbesondere wird die Entwicklungsgeschichte des kurpfälzischen Territoriums nachgezeichnet. Der zweite Teil der Untersuchung widmet sich den strafgerichtlichen Strukturen der vier Zenten. Einführend werden der Aufbau der Gerichtsbarkeit, Tagungsstätten, Tagungsmodalitäten, Gerichtspersonal usw. dargestellt. Den Hauptteil der Arbeit nimmt eine detaillierte Untersuchung der Entwicklungen des Strafgerichtswesens in den vier Zenten ein. Nachgezeichnet wird im Schwerpunkt die Zuständigkeit der Zentgerichte in Strafsachen, die in der schwereren Rügegerichtsbarkeit, vor allem aber in der Hochgerichtsbarkeit gegeben ist. Dabei wird unterschieden zwischen der Zeit vor 1582 und der Zeit nach 1582, dem Jahr des Erlasses einer umfassenden Malefizordnung für das kurpfälzische Territorium. Gerade bei der Beschäftigung mit der gerichtlichen Kompetenz wird sichtbar: Das Strafgerichtswesen, ja, jede Überlieferung des Strafgerichtswesens ist in außerordentlich hohem Maß von der territorialpolitischen Situation abhängig. Im Blick auf die Zuständigkeit der Gerichte offenbaren sich durchgehend die territorialen Konfliktfelder der untersuchten Zeit. Abgerundet wird die Darstellung des zentlichen Strafgerichtswesens durch Forschungen zu den Verfahrensgängen, den Sanktionen und den Appellationsmöglichkeiten. Der Hauptteil der Arbeit wird abgeschlossen mit Untersuchungen zur Dorfgerichtsbarkeit und einem Abschnitt über das System der Oberhöfe im Gebiet der vier rechtsrheinischen Zenten. Ein dritter Teil führt in das linksrheinische Gebiet der Oberämter Alzey (Kurpfalz) sowie Olm und Algesheim (Kurmainz). In einer knappen Gegenüberstellung werden hier sowohl die Unterschiede zentlicher und oberamtlicher Gerichtsbarkeit als auch zwischen kurpfälzischer und Kurmainzer Gerichtsherrschaft herausgearbeitet. Die Arbeit nimmt für sich in Anspruch, das Strafgerichtswesen der rechtsrheinischen Zenten Schriesheim, Kirchheim, Eberbach und Mosbach im Herzen der Kurpfalz für die Zeit des Spätmittelalters und der frühen Neuzeit auf der Grundlage ländlicher Rechtsquellen erschöpfend darzustellen und in den Kontext mit historischen, geographischen und juristischen Entwicklungen der Zeit zu stellen.

Hace algún tiempo ya, decidimos, con un grupo de amigos, formar un círculo de lectura sobre Kierkegaard. Elegimos, para nuestro propósito, El instante. La elección fue motivada por lo seductor del título que a unos evocaba reflexiones sobre la naturaleza de la temporalidad al estilo de Heidegger o Agustín y a otros, más familiarizados con el pensamiento del danés, prometía una discusión sobre la importancia de la acción presente -donde "instante" podía interpretarse como un "¡ya!"- articulada en alguna propuesta ética. En razón de estas expectativas, el libro resultó bastante desilusionante: si bien se tematizaban tanto la temporalidad como la acción, la discusión presentada se enmarcaba en el ámbito de la religión y valores cristianos, y parecía dirigirse al individuo sin ninguna mediación del ámbito social. / Tesis

Texte remanié de: Dissertation--Jüristische Fakultät--Göttingen--Georg-August-Universität, 2003. / Bibliogr. p. 187-204.

Richard Wagner's published writings present various topoi to which he returned repeatedly. Often he adopts a historiographic approach in his arguments, and this feature suggested the present study concerning the composer's concepts of history. Wagner's historiographic approach is reflected in his discussions of the Greek influence on music. The contents of his personal libraries, first in Dresden and then in Zurich/Bayreuth, are also considered as further resources for the composer's study of history. Along with these sources, his autobiography, letters, and the extensive diary of his wife Cosima provide further substance for the present discussion. The shifts in Wagner's theories under the influence of Arthur Schopenhauer are also examined as is the composer's eventual realization that much of what he was attempting to do in his own works had already been foreshadowed in the early Italian humanist experiments that led to the birth of opera. Examples from his works, particularly Die Meistersinger von Nürnberg, reveal his adoption of traits of various historical style periods in music history in his own compositions. Wagner's reverence for Palestrina and Bach are also highlighted. / text