The present work seeks to explain the process by which anxiety was transformed from a trope of nineteenth-century existential theology into the medicalized conception we have today. The dissertation begins in the 1840s with the Danish philosopher Søren Kierkegaard. In his attempt to resolve a series of debates within German idealist philosophy regarding the nature of evil and its impact on human freedom, Kierkegaard argued that anxiety was an intermediate stage between the awakening of man's potential for freedom and its manifestation in the form of sin. On the basis of this reading, Kierkegaard concluded that anxiety was the psychological manifestation of humanity's collective guilt for original sin. Despite the psychological idiom of his account, then, anxiety remained remained for Kierkegaard an irreducibly theological category. Chapter two of the dissertation examines two very different approaches to anxiety in the early twentieth century. For Sigmund Freud, anxiety was nothing more than the expression of libidinal conflicts, especially the Oedipal complex/fear of castration. Although it is commonly believed that Freud's understanding of anxiety underwent a dramatic shift toward the end of his career, I demonstrate that little of substance changed. Martin Heidegger, by contrast, applied Kierkegaard's existential understanding of anxiety to his ontological analysis of being. For Heidegger, anxiety was a "mood" that guided human beings to authenticity. Heidegger's phenomenological approach to human being strongly influenced the Swiss-German psychiatrist Ludwig Binswanger. On the basis of his clinical experience at Bellevue, his family owned sanatorium, Binswanger came to believe that there was a somatic reality to the subjective accounts of anxiety advanced by the philosophers. More than just a mood, anxiety was a concrete medical disorder with an array of psychosomatic symptoms that required diagnosis and treatment. In this way, Binswanger played a significant role in transforming anxiety from an abstract philosophical idea into material medical reality. Chapter four examines examines the work of the German-Jewish neurologist Kurt Goldstein, whose 1935 work The Organism drew extensively on Heidegger and Binswanger to develop a fully realized medical account of anxiety. Drawing on his treatment and rehabilitation of brain-injured soldiers in World War I, Goldstein observed that severe neurological injuries were accompanied by especially acute bouts of anxiety. Alongside the traditional understanding of anxiety as "objectless," Goldstein argued that it was also a somatic process than could be observed and quantified like any other. Goldstein's conclusions placed anxiety at the heart of a comprehensive account of the meaning and significance of biological life. In the years during and immediately after World War II, anxiety became a privileged mode of expression in American medicine and culture. The final two chapters of my dissertation explain how the medical conception of anxiety proliferated across multiple disciplines in postwar America, including theology, literature, and psychotherapy. I then demonstate the way in which anxiety was co-opted into the Cold War struggle against the Soviet Union. Figures like Arthur Schlesinger, Jr., Reinhold Niebuhr, and, especially, Rollo May argued that anxiety was the price Americans had to pay for many of the values they held most dear - above all, freedom and creativity. If Americans appeared vulnerable in comparison to the Soviet Union, he asserted, that was only because Soviet society was fundamentally unfree. Rather than trying to eliminate anxiety, Americans should aim to harness its creative potentiality and channel it toward productive ends. Anxiety thus became part of the Cold War armory, another weapon in the struggle for liberty and prosperity.

From the 1970s through the early 1990s numerous critics commented on an apparent “rebirth” of American opera. Subsequent scholarship has increasingly sanctioned a consensus view holding up Philip Glass and John Adams as the central figures in this opera resurgence. Although I do not dispute the importance of (post-)minimalism in these decades, my gambit in this dissertation is to reframe the idea of a late twentieth-century operatic renaissance by tracing a long relationship between jazz and the concept of American opera. The jazz genealogy of American opera that I develop in this study is intended not only to draw attention to a body of work that has been largely ignored but also to unfold antinomies of postmodern historical consciousness that were manifest in the operatic resurgence more generally. Although my inquiry extends as far back as the 1920s, this dissertation by no means presents a continuous history of opera from 1924 to 1994, as the subtitle might imply. The weight is squarely placed on the 1970s through the early 1990s. Chapter 1 explores racial dimensions of the concept of “modernity” through a study of Harlem Renaissance composer H. Lawrence Freeman’s never-performed “jazz opera” American Romance (1924-1929). Chapter 2 chronicles the Harlem Opera Society’s abandonment of its former European repertory and subsequent reinvention as the Afro-American Singing Theater/Jazz Opera Ensemble during the late 1960s and 1970s. Chapter 3 tracks the transformation of jazz in the 1980s into an increasingly historicist—or possibly posthistoricist—music through a series of works that I call “jazz-historical operas.” Chapter 4 works through a tension between “actuality” and allegory in Robert Ashley’s television opera trilogy (1978-1994) about American history. The name of Duke Ellington winds through the four chapters as a kind of red thread. “Ellington” functions as a multivalent trope, alternatively signifying hypermodern America, the black cultural tradition, composition, and improvisational “actuality.” In a brief epilogue I identify another figure whose name has somewhat more furtively shadowed my study: Richard Wagner. I suggest that the idea of an “Ellington-Wagner matrix” in American opera both symbolizes a tradition of cultural hybridity and identifies a problematic concerning history and sonic materiality (roughly, the distinction between “event” and “representation”) expounded in the preceding chapters. In some ways, my analysis of the deeply ambiguous status of historicity and modernity in twentieth century American culture will prove consonant with many previous discussions of the topic. But I hope that in certain fundamental respects my study may also be understood as a novel, even interventionist foray into historical theory. Race has scarcely been an overlooked topic in critical inquiry and cultural theory of the last three decades, but it is hard to ignore the Eurocentric—or Euro-American—thrust of much of the canonical discourse on postmodernity and historicity, some of which was surveyed above. My attempts to interpret transformations in historical consciousness through shifting relationships between two culturally and racially supercharged signifiers—“jazz” and “opera”—might be taken as a challenge to this tendency.

Understanding the Present examines the thematization of the historical present in nineteenth-century German literary texts. In theorizations of political literature, such as Jean-Paul Sartre’s writings on “committed literature,” an emphatic concept of the present is a given. Of course, the present is a notoriously elusive temporality. The texts discussed in this dissertation, rather than focusing on accurate sociological representations of the present or an intensive rhetorical engagement in its political discourse, interrogate how the present can be evoked in literature in the first place. Understanding the Present discusses the forms privileged by certain authors in the representation of the present – prose, periodicals, drama – as well as the paradoxes such approaches posed. Rather than discussing these texts in terms of “operative literature” or “committed literature,” which has been a trend in scholarship since the 1960s, this dissertation approaches the nineteenth century from the perspective of so-called Gegenwartsliteratur. It does not claim the successful or unsuccessful political intervention of these texts, but rather shows how their authors imagined a literary intervention in the political present could occur at all. Chapter one shows Ludwig Börne’s popular magazine Die Wage: Eine Zeitschrift für Bürgerleben, Wissenschaft und Kunst, not only as surreptitiously carrying barbs against state-sanctioned censorship, as is most common in studies of the periodical, but as following a program of political historiography. Börne’s text is therefore subversive at a structural level and presents a poetics of representing the present. Chapter two shows how Heinrich Heine used the republication of his political journalism to reflect on the essential dynamic of understanding the present whereby one can only comprehend contemporary events with reference to the past and future. Georg Büchner’s drama, Dantons Tod, the subject of chapter three, presents a paradox similar to Heine’s, but through a little observed aspect of his citational practice, which I call “internal citation.” By showing his characters wittingly and unwittingly quoting each other in the play and repeating certain gestures, Büchner draws out ambiguities of authorship in political discourse and raises important questions about the experience of the present. Together, these three texts contribute to the study of political literature by interrogating the central notion of the emphatic present in it.

Made available in DSpace on 2016-04-27T17:26:51Z (GMT). No. of bitstreams: 1 Marcos da Silva e Silva.pdf: 710909 bytes, checksum: 92ca90ea9142bcb4e247d2806a4d2ffe (MD5) Previous issue date: 2010-05-17 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / La dissertation a par Sujet le concept de Pathos dans la philosophie de Kierkegaard. Nous rejaillirons l'importance de la passion (pathos) par l'Absolu rapportée à la souffrance (pathos) dans les différentes manières d'existence esthétique morale et religieuses. La souffrance, vive dans profondeur est comprise par le Danois mange de la condition nécessaire pour que l'homme se devienne une Personne et puisse, ainsi, se rapporter au «Entièrement D'autre / A dissertação tem por tema o conceito de Pathos na filosofia de Kierkegaard. Ressalta a importância da paixão (pathos) pelo Absoluto relacionado ao sofrimento (pathos) nos diferentes modos de existência: estético, ético e religioso. O sofrimento, vivido em profundidade, é entendido pelo dinamarquês como condição necessária para que o homem se torne um indivíduo e possa, assim, relacionar-se ao Inteiramente Outro

<p>This essay concerns itself with the historical background to what it refers to as <em>existential pedagogy</em>, which designates the way in which existential literature presumably seeks to affect the reader so that he experiences his existence as isolated, and how this is done through the employment of harsh and uncompromising language and rhetorical devices. The assumption underlying this project is that there is a pedagogical purpose to the existential manner of de-livery, and this essay traces this purpose back to how in the 18th century certain thinkers – Johann Georg Hamann and Friedrich Schlegel – came to look back at Socrates rhetorical en-deavour in order to perfect their own desire to place the question of ‘meaning’, ‘knowledge’ or ‘truth’ into the hands of the receiving individual – the reader of a text or the student of a teacher. By studying the manner in which Hamann and Schlegel used this Socratic rhetoric in their own authorship, I seek to establish how they considered it vital that the recipient experi-enced himself as thoroughly alone in order to cultivate his ability to infuse meaning into the world. The essay continues to examine how Sören Kierkegaard – in his capacity as the mythi-cal ‘father of existentialism’ – conceived of the Socratic rhetoric as lacking in sufficiently accounting for the despair and sinfulness he saw as being intertwined with experiencing one-self as lonely and ignorant. By studying how Kierkegaard approached the reader in his pseu-donymous and existential literature, the essay makes it clear that the existential pedagogy util-ized by Kierkegaard works in order to simultaneously infuse the reader with a feeling of isola-tion and ignorance, as it, through repeatedly focusing on the despair involved in that condi-tion, provoked the reader into taking action, despite (or, existentially, because he was) being taught that he, on account of his inevitable loneliness and ignorance, could not.</p>

This essay concerns itself with the historical background to what it refers to as existential pedagogy, which designates the way in which existential literature presumably seeks to affect the reader so that he experiences his existence as isolated, and how this is done through the employment of harsh and uncompromising language and rhetorical devices. The assumption underlying this project is that there is a pedagogical purpose to the existential manner of de-livery, and this essay traces this purpose back to how in the 18th century certain thinkers – Johann Georg Hamann and Friedrich Schlegel – came to look back at Socrates rhetorical en-deavour in order to perfect their own desire to place the question of ‘meaning’, ‘knowledge’ or ‘truth’ into the hands of the receiving individual – the reader of a text or the student of a teacher. By studying the manner in which Hamann and Schlegel used this Socratic rhetoric in their own authorship, I seek to establish how they considered it vital that the recipient experi-enced himself as thoroughly alone in order to cultivate his ability to infuse meaning into the world. The essay continues to examine how Sören Kierkegaard – in his capacity as the mythi-cal ‘father of existentialism’ – conceived of the Socratic rhetoric as lacking in sufficiently accounting for the despair and sinfulness he saw as being intertwined with experiencing one-self as lonely and ignorant. By studying how Kierkegaard approached the reader in his pseu-donymous and existential literature, the essay makes it clear that the existential pedagogy util-ized by Kierkegaard works in order to simultaneously infuse the reader with a feeling of isola-tion and ignorance, as it, through repeatedly focusing on the despair involved in that condi-tion, provoked the reader into taking action, despite (or, existentially, because he was) being taught that he, on account of his inevitable loneliness and ignorance, could not.

Scanned copy of Taulman's dissertation as part of our digitization on demand service.

Le laboratoire Woyzeck propose une approche de l'oeuvre de Büchner en trois temps, ordonnée autour de la métaphore anatomique. L'écriture de Woyzeck prend la forme d'une autopsie, indissociable des travaux scientifiques de Büchner réalisés à la même période. Le premier chapitre évoque ce geste d'écriture incisif et sa réception. Un état des recherches permet de considérer les analyses philologiques et herméneutiques de l'oeuvre qui font aujourd'hui autorité. Sont ici rappelés les lieux communs de la critique et les interprétations marquantes de la pièce. Si leur validité est ensuite interrogée, leur valeur symptomatique est aussi prise en compte sur un autre plan. Le deuxième chapitre prend la forme d'un essai portant sur les personnages et les corps, objets de l'autopsie. Il explore autrement des hypothèses formulées dans le premier chapitre autour du langage et du fragment. Le lieu de cette autopsie, la scène, est abordé dans le troisième chapitre à travers les mises à l'épreuve scéniques. Les trois spectacles choisis adoptent des partis pris dramaturgiques distincts. Celui de Thomas Ostermeier se présente comme un atelier social; « le cirque des travailleurs » d'Àrpàd Schilling est une machine à jouer qui semble relever le pari du théâtre de la cruauté artaudien; Robert Wilson travaille de pair avec Tom Waits pour créer un spectacle musical qui fait figure de conte populaire universel et autoréférentiel. Parmi les enjeux de ces mises à l'épreuve figurent notamment le rapport au réel et au présent, ainsi que le regard porté sur les corps que le texte de Georg Büchner invite à questionner. Dans un esprit d'ouverture et de confluence, en adéquation avec les travaux de Büchner, cette réflexion puise autant dans des notions d'analyse théâtrale que dans l'esthétique et l'histoire de la médecine. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Woyzeck, Regard, Fragment, Mise en scène.

Un parcours au coeur des écrits et des témoignages détaillant les divers processus des répétitions orchestrés par les metteurs en scène a permis d'en arriver à situer la pratique de Peter Sellars. La présente étude se base sur l'observation des répétitions de Tristan und Isolde qu'il a mis en scène au printemps 2005 à l'Opéra de Paris. L'analyse de la génétique de ce spectacle s'est effectuée par la tenue détaillée d'un journal de bord ainsi que des entretiens exclusifs avec les principaux créateurs de la production. Dans ce mémoire, il s'agit d'abord de développer les spécificités du parcours de Sellars dans la mise en scène d'opéra ainsi que la résolution des problèmes posés par Tristan et l'inspiration du travail de ses prédécesseurs. Dans un deuxième temps, les collaborations de Sellars issues de relations de longue date sont analysées: celles avec Gérard Mortier, directeur artistique de l'Opéra de Paris (2005-2009), James F. Ingalls, éclairagiste qui l'accompagne depuis trente ans, ainsi qu'avec Bill Viola, vidéaste. Pour terminer, le noyau du mémoire, celui de la direction des chanteurs par Sellars, est présenté à travers diverses méthodes de travail employées. De surcroît, il est question de sa collaboration significative avec le chef d'orchestre Esa-Pekka Salonen et du contexte de la reprise du spectacle. Comme au théâtre, les représentations d'opéra naissent d'un processus de création où les observateurs sont rarement admis, car la nature de leur présence peut perturber le déroulement à caractère intime des répétitions. Dans ce mémoire sont réunis les éléments substantiels du déroulement des répétitions chez Sellars. Son contenu tente de décrire avec le plus d'objectivité et de justesse possible un processus où, bien souvent, les intentions se dissimulent et se manifestent à l'intérieur de sous-entendus et de non-dits. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Peter Sellars, Répétitions, Tristan und Isolde, Spectacle vivant, Opéra, Théâtre, Wagner.

Zürich, Univ., Phil. Fak. I, Diss. von 1976. / Vollst. Ausg.: Europäische Hochschulschriften; Reihe XVIII. 9.