Charles Valentin Alkan (1813-1888), one of the great genii in music history, was widely misunderstood by his contemporaries because of his highly idiosyncratic ideas. From the perspective of the late twentieth century, his innovations can be better understood, and his music is now gaining wider appreciation. Yet, today many musicians still do not know even his name, much less his achievements. The year 1988 marks the one hundredth year since his death. In commemoration of this centennial anniversary, this thesis is presented as a plea for a greater awareness of the achievements of this important figure in the development of piano music.

Tesis (magíster en derecho con mención en derecho público) / El feminismo como teoría crítica y movimiento social tiene siglos de historia. Con vaivenes, con sus conquistas y sus retrocesos, la teoría feminista ha logrado insertar en el orden social una reflexión y acción frente a la dominación masculina, siempre desde la producción teórica consciente y polémica. En esa lid se inserta este trabajo, cuyo propósito es aportar elementos teóricos para la construcción del sujeto político del feminismo, en una perspectiva institucional; es decir, desde el Estado. Para ello, se desarrolla una aproximación al sujeto del feminismo que reúne las aportaciones de los feminismos liberal, radical, postmoderno y postestructuralista, con el objeto de reconocer subjetividades nuevas, distintas y cambiantes, a partir de las cuales insertar el feminismo en el Estado. Ello se compromete con dos cuestiones que están presentes a lo largo de todo este trabajo: por un lado, la importancia de la dimensión polémica en la construcción de las identidades colectivas –de allí la necesidad de detenernos en el dominio de lo político– y, por otro, el desafío de traer estas diversas formas de vida, envueltas en la categoría mujeres, a una forma jurídica. Con el afán de formular una alternativa teórica al segundo de los compromisos señalados, se propone una lectura de la noción de movimiento teorizada por el jurista alemán Carl Schmitt en 1933. / Proyecto FONDECYT regular no.11160037

Enthält: 1. „Das Riesengebirge und sein Vorland zur Zeit der Rekatholisierung” (Abschrift von Peter Schulz, 2003) 2. „Heimatgeschichte Nordböhmens im 17. Jahrhundert” (Abschrift von Peter Schulz, 2002)

The poetry of T. S. Eliot represents intense yet discriminate expressions of desire. His poetry is a poetry of desire that extenuates the long tradition of love poetry in Occidental culture. The unique and paradoxical element of love in Occidental culture is that it is based on an ideal of the unconsummated love relationship between man and woman. The struggle to express desire, yet remain true to ideals that have deep sacred and secular significance is the key animating factor of Eliot's poetry. To conceal and reveal desire, Eliot made use of four core elements of modernism: the apocalyptic vision, Pound's Imagism, the conflict between organic and mechanic sources of sublimity, and precisionism. Together, all four elements form a critical and philosophical matrix that allows for the discreet expression of desire in what Foucault calls the silences of Victorianism, yet Eliot still manages to reveal it in his major poetry. In Prufrock, Eliot uses precisionism to conceal and reveal desire with conflicting patterns of sound, syntax, and image. In The Waste Land, desire is expressed as negation, primarily as shame, sadness, and violence. The negation of desire occurred only after Pound had excised explicit references to desire, indicating Eliot's struggle to find an acceptable form of expression. At the end of The Waste Land, Eliot reveals a new method of expressing desire in the water-dripping song of the hermithrush and in the final prayer of Shatih. Continuing to refine his expressions of desire, Eliot makes use of nonsense and prayer in Ash Wednesday. In Ash Wednesday, language without reference to the world of objects and directed towards the semi-divine figure represents another concealment and revelation of desire. The final step in Eliot's continuing refinement of his expressions of desire occurs in Four Quartets. Inn Four Quartets, the speaker no longer carries the burden of desire, but language at its every evocation carries the cruel burden of ideal love.

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It is my thesis that the impetus for Minerva Teichert's prolific mural production came from the lofty ideals of the Beaux Art mural tradition which she encountered and embraced during her studies at the Art Institute of Chicago from 1909 to 1912. Furthermore, it was the great interest in mural decoration during the 1930s, spurred by government patronage, that provided Teichert with the opportunity to apply these ideals to large-scale works. Research into the Beaux Art mural tradition has been difficult, as recent scholarship on the subject is negligible. An understanding of this early mural movement however, yields a greater understanding of later mural production in America. I am convinced that not only Teichert, but other muralists of the 1930s, were motivated by Beaux Art ideals.

My dissertation manuscript studies the democratic theories of three protagonists of European political, legal, and social thought in the first half of the 20th century: Max Weber (1864-1920), Carl Schmitt (1888-1985), and Hans Kelsen (1881-1973). It explores, contextualizes, and compares their respective accounts of how the advent of mass democracy transformed the theory and practice of representative government, in terms of both its overall legal framework (the State) and its internal institutional and political actors (Parliaments, parties, and leaders). At the same time, it places these three authors in the broader horizon of early 20th-century anxieties about the “changes” of liberal parliamentarism and the unprecedented challenges posed by mass politics, reconnecting their work to public and scholarly discussions among leading social scientists and intellectuals in the 1920s and 1930s. Sitting at the crossroads of history and theory, the dissertation seeks to highlight the distinctiveness of each author’s normative account of democratic leadership – Weber’s agonistic, Schmitt’s plebiscitary, and Kelsen’s procedural vision – and the largely competing ways in which each of them made political parties foundational to such visions. Urging the readers to capture the enduring echo of these three visions in our present, the dissertation also alerts them to their potential for rethinking the relationship between parties and leaders in early 21st-century representative democracies.

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In this study I analyse the role of the heroine in the work of four New Zealand writers, Katherine Mansfield, Robin Hyde, Janet Frame and Keri Hulme, starting from the assumption that such a role is influenced by the notion of the fall and by the perception of the vertigo entailed in it. In order to prove this I turn to the texts of four New Zealand writers dedicating one chapter to each. In the first chapter a few of Katherine Mansfield's short stories are analysed from the vantage point of the fall, investigated both in the construction of the character's subjectivity and in the construction of the narration. In the second chapter a link is established between Katherine Mansfield and Robin Hyde. A particular emphasis is put on the notion of subjectivity in relationship developed by the two writers, highlighting the link between this kind of subjectivity and the notion of the fall. In the third chapter the focus is subsequently shifted to Robin Hyde's work, in particular one of her novels, Wednesday's Children, which is read in the context of Mikhail Bakhtin's theory of the carnivalistic. In the fourth chapter the notion of the fall is analysed in the fiction of Janet Frame, which is related to the treatment of the notion of the fall present in Keri Hulme's The Bone People. The fifth chapter is dedicated to the analysis of The Bone People as in the novel the notion of the fall and the vertigo perception find their fullest expression, whilst in the sixth chapter a significant parallel is drawn between Janet Frame's Scented Gardens for the Blind and Keri Hulme's The Bone People and links are established with their predecessors. Finally in the seventh chapter the critical perspective is broadened to comprise those common elements in the writing of Katherine Mansfield, Robin Hyde, Janet Frame and Keri Hulme that have been neglected by focusing uniquely on the notion of the fall, and thus to contribute to a more complete overall picture of the comparison presented in this study.