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.

by Chan Weng Kit. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1999. / Includes bibliographical references (leaves 101-105). / Abstracts in English and Chinese. / Abstract --- p.i / Introduction --- p.1 / Chapter Chapter1 --- The Eyes in Paterson: Williams as Photographer and Illustrator --- p.14 / Chapter Chapter2 --- The Past and the Present: Williams as Historian in Paterson --- p.37 / Chapter Chapter3 --- "The Father, the Mother and the Son: the Making of the Paterson Family" --- p.60 / Conclusion --- p.92 / Works Cited --- p.101

黃小蓉. / "二零零八年七月". / "2008 nian 7 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2008. / Includes bibliographical references (leaves 246-261). / Abstracts in Chinese and English. / Huang Xiaorong. / Chapter 第一章 --- 緒論 / Chapter 第一節 --- 引言 --- p.1 / Chapter 第二節 --- 硏究綜述 --- p.1 / Chapter 第三節 --- 硏究方法及組織 --- p.8 / Chapter 第二章 --- 呂碧城生平及著作 / Chapter 第一節 --- 生平槪述 --- p.12 / Chapter 第二節 --- 著作槪述 --- p.20 / Chapter 第三章 --- 呂碧城交遊考略 / Chapter 第一節 --- 呂碧城與樊增祥、英歛之、嚴復、費樹蔚的交遊 --- p.24 / Chapter 1.1 --- 樊增祥 --- p.25 / Chapter 1.2 --- 英歛之 --- p.27 / Chapter 1.3 --- 嚴復 --- p.32 / Chapter 1.4 --- 費樹蔚 --- p.37 / Chapter 第二節 --- 呂碧城在京津及上海時期的交遊(1904-1925) --- p.41 / Chapter 2.1 --- 京津交遊 --- p.41 / Chapter 2.1.1 --- 秋瑾 --- p.42 / Chapter 2.1.2 --- 北洋官員 --- p.45 / Chapter 2.1.3 --- 詩侶名流 --- p.48 / Chapter 2.2 --- 上海交遊 --- p.55 / Chapter 2.2.1 --- 南社交遊 --- p.56 / Chapter 2.2.2 --- 葉恭綽 --- p.61 / Chapter 2.2.3 --- 楊圻 --- p.62 / Chapter 2.2.4 --- 佛道人士 --- p.63 / Chapter 2.2.5 --- 其他 --- p.66 / Chapter 第三節 --- 呂碧城在歐美時期的交遊(1926-1935，1939-1940) --- p.69 / Chapter 3.1 --- 遊學同窗、友人 --- p.70 / Chapter 3.2 --- 中外護生和佛門同道 --- p.71 / Chapter 3.3 --- 國內、國外同胞 --- p.77 / Chapter 第四節 --- 香港及南洋時期的交遊(1935-1943) --- p.82 / Chapter 4.1 --- 香港交遊 --- p.83 / Chapter 4.1.1 --- 佛道同人 --- p.83 / Chapter 4.1.2 --- 文化界及護生友人 --- p.90 / Chapter 4.1.3 --- 龍榆生 --- p.92 / Chapter 4.2 --- 南洋交遊 --- p.98 / Chapter 4.2.1 --- 佛道同人 --- p.98 / Chapter 4.2.2 --- 丘煒薆 --- p.98 / Chapter 附錄一: --- 林愣真〈呂碧城女士捨報實紀〉(書影) --- p.100 / Chapter 第四章 --- 呂碧城思想探析 / Chapter 第一節 --- 婦女解放思想 --- p.102 / Chapter 1.1 --- 提倡女權，興辦女學 --- p.103 / Chapter 1.2 --- 呂碧城婦女解放的思想的繼承與開創 --- p.105 / Chapter 第二節 --- 佛家思想 --- p.115 / Chapter 2.1 --- 皈依佛門的原因和歷程 --- p.115 / Chapter 2.2 --- 護生、弘法的實踐和意涵 --- p.121 / Chapter 第五章 --- 呂碧城詞的題材内容 / Chapter 第一節 --- 第一期´ؤ´ؤ從成名奮發到失意退隱 --- p.130 / Chapter 1.1 --- 時代憂患，奮發上揚 --- p.130 / Chapter 1.2 --- 成長磨鍊，思考人生 --- p.132 / Chapter 1.3 --- 寄情山水，遊歷抒懷 --- p.135 / Chapter 第二節 --- 第二期´ؤ´ؤ由海外飄零到仙境傲遊 --- p.137 / Chapter 2.1 --- 海外新詞，異國風光 --- p.138 / Chapter 2.2 --- 覊旅飄零，故國之思 --- p.141 / Chapter 2.3 --- 天人合一，佛道之思 --- p.143 / Chapter 第三節 --- 第三期´ؤ´ؤ感悟塵世而皈依淨土 --- p.145 / Chapter 3.1 --- 熱帶風光，南亞生活 --- p.146 / Chapter 3.2 --- 人間憂患，出世之思 --- p.148 / Chapter 3.3 --- 佛家思想，弘法護生 --- p.152 / Chapter 第六章 --- 呂碧城詞藝術特色(上)´ؤ´ؤ步武前賢 / Chapter 第一節 --- 浪漫麗密，哀感頑艷´ؤ´ؤ步武楚騷、晚唐 --- p.157 / Chapter 1.0 --- 學養師承及時代風氣 --- p.157 / Chapter 1.1 --- 夢抱曉珠歸舊闕，一笑水空雲邈´ؤ´ؤ逼真義山 --- p.159 / Chapter 1.2 --- 手把芙蓉誦楚詞，搴芳凝睇黯遐思一步武楚騷 --- p.167 / Chapter 附錄一 --- 呂碧城詞用李商隱詩舉例 --- p.173 / Chapter 附錄二 --- 呂碧城詞用《楚辭》舉例 --- p.176 / Chapter 第二節 --- 典雅精工，沈厚密麗´ؤ´ؤ步武清真、夢窗 --- p.178 / Chapter 2.0 --- 近代詞風及師承學養 --- p.178 / Chapter 2.1 --- 典雅精工 --- p.181 / Chapter 2.2 --- 沈厚密麗 --- p.195 / Chapter 附錄三 --- 呂碧城詞用吳文英詞舉例 --- p.199 / Chapter 第七章 --- 呂碧城詞藝術特色(下)´ؤ´ؤ拓新境界 / Chapter 第一節 --- 剛柔並濟，深於寄託一一突破女性詞傳統 --- p.201 / Chapter 1.0 --- 女性詞傳統及南社創作風氣 --- p.201 / Chapter 1.1 --- 言情寫怨，深婉蕴藉 --- p.205 / Chapter 1.2 --- 言志抒懷，豪放沈鬱 --- p.211 / Chapter 1.3 --- 呂碧城與歷代女詞人比較 --- p.214 / Chapter 1.3.1 --- 從婉約到豪放 --- p.214 / Chapter 1.3.2 --- 從陽性風格到女性意識 --- p.219 / Chapter 第二節 --- 融新入舊一一海外詞的開拓 --- p.224 / Chapter 2.0 --- 近代文學改革運動及文學世界化 --- p.224 / Chapter 2.1 --- 新舊交融 --- p.230 / Chapter 2.2 --- 浪漫瑰麗 --- p.235 / Chapter 2.3 --- 中西交融 --- p.237 / Chapter 第八章 --- 結語 --- p.243 / 參考書目 --- p.246

Following a suggestion of Dr. Michael Reardon's I have considered Freedom and Necessity as fundamental literary and philosophical concepts in Karl Marx's early writing. All Marx quotations are my own translations; I did this because I discovered that many English translations were rendered in such a way that they did not convey basic literary structures which were very important to a clear comprehension of Marx's thought. The opening pages of this article are a necessary but brief discussion of words, which are specifically: Necessity, Freedom, and History. As these three words are the life and breath of Marx's thought, an observation of their meanings and history, in German, was the obvious place to to begin in a consideration of the development of Marx's ideas.

Typescript (photocopy)

Diss. : Literaturwissenschaft : Biefeld Universität : 1995. / Bibliogr. p. 159-174. Index.

Diss. : Philosophie : Zürich : 1989.

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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