Bibliography: leaves 253-262.

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In the early 1890s, Ingeborg von Bronsart (1840-1913) was hailed by the German musical press as the "first lady" of the German stage. Her first two extant dramatic works —Jery und Bately (Singspiel, 1873) and Hiarne (grosse Oper, 1891) — had captivated audiences and were met with enthusiasm from critics. By 1904, Arthur Elson noted that Bronsart was "one of the few really great women composers." Yet by the time her last opera, Die Siihne, premiered in 1909, the magic had faded. Critics rejected the work as unimaginative, while audiences stayed away. Bronsart and her works quickly disappeared from the repertoire and from history. Employing manuscript and contemporary published sources, Chapter One examines Bronsart's life and the rich artistic circles in which she lived and worked. Chapters Two, Three and Four are devoted to each of Bronsart's three extant operas. The individual works are considered with respect to their genesis as well as to more general matters of plot and dramatic structure. Because little is known about Bronsart's music, in order to obtain a better understanding of her style a substantial portion of my discussion concentrates on the musical analysis and dramatic interpretation of each opera. Focusing on the specific numbers and scenes that I consider to be of significant interest, I examine the vocal writing, harmonic language, formal structures, unity and continuity. The thesis concludes with an exploration of broader historiographical issues of reception, gender, genre and aesthetic value, laying the foundation for a renewed interest in this unique composer and her works.

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The work is a study of Thomas Hardy's novels and women. The focus centres upon five major Wessex novels and Hardy's treatment of female sexuality . An examination of early difficulties of style and characterisation is followed by textual analysis of the more complex structures and discourses developed by Hardy as, with increasing confidence and enhanced reputation the poetic voice successfully accommodates itself to a prose medium. Contemporary sexual ideologies - those to which Hardy was daily exposed through the vociferous medium of periodicals and journals - are drawn into the study. It is argued that Hardy was engaged with contemporary social issues, that the historical process enters into his fiction to shape both characterisation and event, and that contemporary dialogues upon the 'Woman Question' inform his characterisations. The argument is that Hardy was not a feminist as nineteenth century liberal feminism is understood. It is maintained that he developed a broader vision, which, augmented by both the eclecticism of his readings and his own keen perceptions, ranged beyond nineteenth century liberal feminist ideologies.

This is a study of the meaning of freedom in Thomas Hardy's fiction. The first section of the thesis is concerned with the influences in Hardy's thought and view of man and man's position in the universe. Attention will be given mainly to three sources of influence on Hardy's thought. Darwinian theories of evolution and the secular movement of the nineteenth century and the change they brought about in man's view of himself and his state in the world can be seen clearly in Hardy's personal writings as well as his fiction. His childhood contact with Dorset folk beliefs and superstitions can also be perceived to have a great influence not only on his art but on his thought and outlook as well. In the second section an investigation in detail of the meaning of freedom in four of Hardy's novels will be carried out. In the novels, man will be seen as essentially free and not an automaton or a plaything of necessity or nature or fate, for example. However, we shall see that man's freedom of action as well as of choice is severely limited but not annihilated by a number of factors working from within and from without man's character. In this, nature both as phenomena and as system plays a great part. Society with its standards, norms, laws and implied understandings is another contributing factor in constraining man's freedom. Man also has his freedom limited by chance happenings and coincidences that he cannot control. "Character is fate", quotes Hardy from Novalis, and everywhere in the novels we see characters' destinies linked tightly with their personal traits, unconscious urges and peculiarities of character either passed to them by heredity or formed by early life conditioning or both. Nevertheless, man is responsible in Hardy's view because he has that essential sense of freedom; and hence that tragic flavour that tinges Hardy's fiction which would have been impossible with machine-like people as characters.

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Orientador: Eliane Moura Silva / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-07-21T23:54:56Z (GMT). No. of bitstreams: 1 Silveira_GlauciaRegina_M.pdf: 2877241 bytes, checksum: a949f6f8c37d905e4caedd688badb6e2 (MD5) Previous issue date: 1997 / Resumo: Não informado / Abstract: Not informed. / Mestrado / Mestre em História