CM. Wieland created a style of writing which was new for the German novel of the late 18th century. It is the aim of this thesis to show the various means Wieland used in order to present to the reader works of psychological, educational and political content which would be read, not only for that content, but also for pleasure. Mainly on the basis of two of his major works, Die Geschichte des Agathon, (1767), and Der goldene Spiegel, (1772), but also on some theoretical and critical works by other authors, some of the more important features of Wieland's narrative style are analysed and illustrated with examples. The first work to be dealt with, Die Geschichte des Agathon, was written for the upper and upper middle classes. Turning directly to the reader, Wieland, following the trends of his times, often addresses the female reader endeavouring to further her education. Moreover, in order to be pedagigical without being pedantic, Wieland assumes many roles beside that of author. We find him donning the mask of editor, translator, commentator and sometimes even that of an imaginary reader engaged in dialogue with the author. Asking rhetorical questions and voicing different opinions according to the role he plays at the moment, he taunts the reader, who is thus forced not only to take a position toward the action presented by the author, but also to pass critical judgement on and give thoughtful appraisal to ideas which underlie it. Innumerable humourous references to works of other writers entice the reader to read these works and thereby broaden his knowledge, round out his education, making reading more enjoyable. The other novel, Der goldene Spiegel, addresses itself to another class, that of princes and other rulers, since it deals with government. Its aim is the education of princes. Instead of conversing directly with readers, as in Agathon, Wieland has here chosen for his medium a narrative within a narrative. The characters of the various narrators serve for the most part, the functions which Wieland elsewhere discharged in his many disguises. So here, also, questions are asked and commentaries given in the form of conversation between the narrators, but in fact aimed at the reader, who may resemble the characters of either narrative. Wieland himself plays several roles. The most important is that of the philosopher Danischmend in the introductory narrative. He also gives comments and explanations, often of a humourous nature, by introducing various translators who in the course of centuries have translated the 'work' into several languages and commented on it. Each novel is of a different tenor. In the Agathon, where he is speaking to his own class, Wieland seems to be less restrained, whereas in the goldene Spiegel, since it pertains to matters of the great of this world, he uses a more subtle approach to make his own ideas more palatable without being offensive. The enjoyable and intelligent alternation among the disguises of his didacticisms serves to bring the reader closer to the problems which Wieland has at heart without presenting mere facts. The reader is so skilfully coaxed that the conclusions at which he will arrive will be at least similar to those aimed at by Wieland. That the reader may reach a high level of insight and humanity is the immanent goal of the novels. Added to his pedagogical purpose are his fluent style and mastery of language which give Wieland's novels an air of freshness and liveliness unknown to other German novels of his time. / Arts, Faculty of / Central Eastern Northern European Studies, Department of / Graduate

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The purpose of this thesis is to contrast Wagner's usages of the ninth, eleventh, and thirteenth intervals and chords, as found in Die Walküre, Act I and Götterdämmerung, Act I.

Le présent travail aborde l'oeuvre de Kierkegaard sous l'angle de deux notions qui y sont présentes, la primitivité et la subjectivité. Pour ce faire, une analyse de l'imagination et de la passion, de leurs diverses fonctions et de leurs rapports mutuels s'avère nécessaire dans la mesure où la primitivité et la subjectivité sont reliées dans le corpus kierkegaardien à ces deux facultés humaines. Prenant pour point d'appui notre analyse de ces deux notions, nous chercherons à rendre compte de leur présence dans trois facettes complémentaires de la création philosophique de Kierkegaard : sa conception des stades de l'existence, sa théorie de la communication et la mise en oeuvre de cette théorie dans ses écrits. Puisque la primitivité et la subjectivité sont « possibilités de l'esprit », qu'elles rendent possible l'existence spirituelle, notre travail se veut donc une analyse du discours kierkegaardien dans sa manière de comprendre l'être humain comme un être à la fois cognitif et affectif, ces deux dimensions de l'être humain étant cruciaux pour comprendre comment celui-ci atteint l'existence humaine et chrétienne authentiques. / The present work addresses Kierkegaard's oeuvre from the angle of two notions present in it, primitivity and subjectivity. To do so, an analysis of imagination and passion, of their various functions and of their mutual relations proves itself necessary to the extent that primitivity and subjectivity are linked in the kierkegaardian corpus to these two human faculties. Taking as fulcrum our analysis of these two notions, we shall seek to give an account of their presence in three complementary facets of Kierkegaard's philosophical creation : his conception of the stages of existence, his theory of communication and the application of this theory in his writings. Since primitivity and subjectivity are "possibilities of spirit", since they make spiritual existence possible, our work seeks to be an analysis of the kierkegaardian discourse in its way of understanding humans as both cognitive and affective, these two dimensions of humans being crucial for understanding how they access authentic human and Christian existence.

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The story of Parsifal is presented in two manners: through action and through narrative. Using the formalist theories of Vladimir Propp, the overall narrative is articulated in three narrative episodes. This thesis interprets the structure of narrative episodes in Parsifal on the basis of expectation. Propp's theory of functions provides labels for an interpretive analysis. Levi-Strauss' reconstruction of Propp's functions into paired structures identifies key points in the drama as moments of "functional" saturation. This "functional" saturation coincides with Wagner's practice of Leitmotivic saturation. The semiotic theories of Charles Sanders Peirce, specifically his notion of sign, clarify the dense accumulation of meanings accrued by the Leitmotifs. Finally, Parsifal, as a "quest" for the unobtainable object, fits into the matrix of desire as formulated in the theories of Jacques Lacan.

Informe de Seminario para optar al grado de Licenciado en Filosofía / Se intenta en el presente escrito dar cuenta del tránsito que hay en el pensamiento de Kierkegaard desde la postura polémica de su pensamiento, que se aparta enteramente de las convicciones masivas y masificantes, hacia la interioridad, esto es, hacia la determinación individual. De ese modo se busca dar cuenta de la postura ética del autor desde su polémica con la filosofía y sus contemporáneos. Para ello se hará uso de la doble acepción del concepto de interesse para marcar un primer tránsito desde la argumentación metafísica hacia la ética, esto es, desde la dialéctica de Hegel hacia su propia dialéctica que, aún cuando se desarrolle con conceptos similares, funda una dirección propia en su aplicación. De ese modo surge el interés infinito por la propia existencia y la interioridad como punto de referencia de lo real. El desarrollo posterior del concepto de verdad no es más que un reflejo de este vuelco, en tanto es la verdad cierta apropiación que se apoya en un apasionamiento individual. Desde aquí se erigen las categorías existenciales de Kierkegaard, especialmente la seriedad, que es la que determina finalmente el carácter ético de su pensamiento. Tal seriedad, en tanto se expresa como un interés en la propia existencia que busca desencallar de la concepción estética de la existencia (que es básicamente corporal e inmediata) se propone un fin absoluto para el cual ha de persistir por decisión propia y por el cual pondrá todo en riesgo, pues en su cumplimiento reside su salvación eterna. Sólo entonces ha de acaecer el salto, que aparece aquí como un límite del planteamiento ético y desde el cual ha iniciarse la problemática religiosa, a saber, la fe. Por tanto, lo aquí realizado es un intento de acercamiento a la fe, mas no una inmersión en la misma.

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This dissertation traces Richard Wagner’s influence on the twentieth century Western European novel. Through a close reading of three monumental works: Gabriele d’Annunzio’s Il fuoco (1900), Marcel Proust’s À la recherche du temps perdu (1913-1927), and Thomas Mann’s Doctor Faustus: The story of the German composer Adrian Leverkühn, as told by a friend (1947), I argue that Wagner’s artistic and theoretical legacy helps set the course for modernist prose. By investigating the vast webs of intertextual references present in these works, this project examines how novelists manipulate multimedia collage, autobiographical incursion, and narrative silence to replicate the ideal of the Gesamtkunstwerk, or “Total Work of Art” both championed by Richard Wagner in his early theoretical manifesti and deployed, in evolving ways, throughout the composer’s life. I argue that, rather than creating simple allusions to the Wagnerian ideal across media, d’Annunzio, Proust, and Mann strive to reproduce the full spectrum of Wagner’s biographical and operatic spectacle within the confines of the printed page. In so doing, they pioneer revolutionary prose techniques that bring Wagner’s innovations to an audience far beyond the walls of the opera house.