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The aims of this thesis are to show that dialogue in Gide's correspondences is of primordial importance in helping Gide to establish and develop his artistic position and to provide adequate proof of the fact that artistic discussion in the correspondences hears fruit in Gide's literary work. Before undertaking this task, certain preliminary steps are taken in my Introduction and in Chapter One. The former contains a definition of dialogue which stresses the fact that, for Gide, it is essentially artistically orientated and most useful when it entails opposition. My choice of Gide's correspondences with Paul Valéry, Francis Jammes, Paul Claudel and Roger Martin du Gard is explained and justified. These correspondences are representative of Gide's development as a "being of dialogue" and cover Gide's literary career chronologically. In Chapter One, Gide's attitude to correspondence is explored in order to prove that the correspondences deserve closer study since they held an important and specific place in Gide's life, being intended for publication. The possible reasons for this are investigated and the conclusion is drawn that Gide wanted his public to participate in the moral and artistic dialogue which takes place in the most important of his correspondences. The purpose of such a study was to show that my decision to deal only with dialogue upon art was not an arbitrary one. Chapters Two, Three and Four concern the course of dialogue in the chosen correspondences. Chapter Two snows now dialogue with Valery helps Gide to build the foundations of his artistic position, Chapter Three now dialogue with Jammes and Claudel encourages Gide to establish and strengthen it, while Chapter Pour is witness to the fact that dialogue with Martin du Gard is Gide's insurance against artistic complacency. Chapter Five studies the relationship between Gide's correspondences and certain of his works ( Le Traité du Narcisse, Le Retour de l'Enfant prodigue and Les Faux- Monnayeurs ). Images and artistic preoccupations which appear in the correspondences studied are given parallel expression in Gide's literature. In addition, the nature of Gide's dialogue with his correspondents is also apparent in the manner in which he presents ideas in his literature. Chapter Five is intended as proof of my conclusion not only that dialogue in Gide's correspondences is, as much as his Journal, a bridge to his work but also that, for a fuller understanding of the artistic reflection which is the fundamental basis of Gide's work, his correspondences are essential reading.

Orientador: Silvia Hunold Lara / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-07-20T12:11:04Z (GMT). No. of bitstreams: 1 Queiroz_JonasMarcalde_M.pdf: 12419327 bytes, checksum: 70b1580678cbc128621d0dea4b0a8f82 (MD5) Previous issue date: 1995 / Resumo: Não informado / Abstract: Not informed / Mestrado / Mestre em História

This thesis [written in German] is the first known study to analyze the writings of the Austrian, Franz Michael Felder, as an educative device, which the author himself utilized to enlighten and instruct his country folk in Bregenzerwald, Vorarlberg. An attempt is made to uncover the basic message inherent in all of Felder’s works: close family relationship, high moral standards and diligence are important to him; he fights petty prejudice, meaningless tradition and hypocrisy. The many native customs peculiar to the region are, of course, immanent in his literary production and, what is particularly significant, he stages a continuous battle against the social and political pressures of the time. He sees the need for community action in pooling meager resources to combat influential outside monopolies which stifle the economy of his remote alpine region. Franz Michael Felder’s message is somber. It lacks the folksy homespun qualities observed in similar writers, such as Rosegger, Gotthelf, Hansjacob , Huggenberger, Löns, Schönherr and Ludwig Thoma. Felder educates his people to a better understanding of themselves and a greater tolerance of others. He seeks equality of rights and equal justice for everyone. With a seriously discerning attitude he probes local problems confronting his people; these he portrays in true to life situations, attempting to search the causes. While Felder does not advocate to change customs and established ways of life, he wants to better his people’s situation for their own welfare and self-improvement. Felder’s literary importance is manifold: he writes from true experience, which he incorporates into beneficial teaching for his people; Austria in its entirety and much of Europe is quite akin to the style of rural living described by Felder for the Vorarlberg. Thus he captures a true picture of nineteen-century village life with its economic and social implications. This study treats of Felder’s literary achievements only. It casually mentions his other, more visible accomplishments, such as the foundation of a dairy association, an agricultural produce co-op, a cattle insurance company, a weaving co-op. He established a library and a reading club. This he did in a relatively brief span of time for he died at the age of twenty-nine. Not only did Felder make material life easier for his countrymen, he freed them spiritually as well. The research of this thesis concludes that Felder, though relatively unknown in literature is possibly the most influential and lasting of all Vorarlberg writers. His description does not have the pastoral serenity usually peculiar to village tales; there is little to see of the pretty mountain landscapes, or the cool green meadows with rustling brooks and cowbells ringing. Felder does not indulge the reader – instead he describes reality, actual people and their problems – the reader gets what he needs. This, then, is the universality of Felder’s work: in essence, he reflects truth.

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Die Geburtsstunde der Stadtbibliothek fiel in die Zeit, als sich Chemnitz zur führenden Fabrik- und Handelsstadt im Königreich Sachsen entwickelte. Der Zschopauer Unternehmer und Philanthrop Jacob Georg Bodemer stiftete eine Reihe wertvoller Bücher, die den Grundstein für die Stadtbibliothek bildeten. Am 2. Juli 1869 öffnete die Stadtbibliothek mit 444 Büchern in der Lechla’schen Villa in der Annaberger Straße 44 ihre Tore für die Öffentlichkeit.

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