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Jesse Crawford, the "Poet of the Organ," was probably the most famous theatre organist of all time. Yet no biography of this noted musician existed. The purpose of this biographical study is to fill that gap.The period of the mid-1920's'to the mid-1930's was the golden age of the theatre pipe organ. The National Geographic Society estimates that some 6,500 organs were enthroned in movie palaces across the United States.Pianos had first been used to accompany the action on silent screens before Hollywood learned how to put sound on film. Organs came into use because of the wide range of sound effects available and because the organ lent itself more effectively towards creating the mood of the picture, from sorrow to joy, from hate to love, from fear to happiness. Organ music helped create the "escapist" atmosphere of American films during the Twenties and Thirties. Furthermore, the movie palace itself, lavish and opulent, provided not only an escape, but also an opportunity to enjoy surroundings more luxurious than royalty could afford. Theatre organists finding their way to the consoles of ever more elaborate theatre organs-in ever more opulent movie palaces became "personalities" over night. One name towered above all the rest--Jesse Crawford.Crawford, born of a very poor family in Woodland, California in 1895, learned music in an orphanage where his mother placed him because of her extreme poverty. Crawford played cornet and piano eventually graduating to the pipe organ. He found that it was very easy to evoke an emotional response on the part of his listeners thus earning for himself the title, The Poet of the Organ."Crawford played at the major theatres of his day including Grauman's Million Dollar Theatre in Los Angeles, The Chicago Theatre in Chicago, and reached the apex of his career at the Paramount Theatre, Times Square New York, where he spent seven years at the console of the "Mighty Wurlitzer" theatre pipe organ playing solos and in tandem with his wife, Helen.When theatre organs went into decline after the advent of sound films and the Depression of the 1930's, Crawf ord made his way into radio and continued on the personal appearance circuit. He capped his career with several years of teaching the organ at New York University, and in Los Angeles.Crawford's lasting contributions include his many organ compositions and arrangements, his writing of a short course on how to play the organ, serving as consultant on theatre organ design, development of some new organ techniques such as the so-called "Tibia roll," and, to some extent, the popularization of organ music itself.The writing of Crawford's life story involved three years of research, reading all available related materials, books, articles, and newspapers, and traveling back and forth across the country interviewing family members including Crawford's widow and daughter, friends and professional acquaintances. Preparation included assembling a virtually complete collection of Crawford's many recordings and transcriptions.At the end of his life Crawford's fame was on an upward swing. High fidelity recordings brought about a rebirth of interest in the theatre pipe organ. The newly formed American Association of Theatre Organ Enthusiasts elected him as its first Honorary Member. He made several new long playing recordings of theatre pipe organ music in the last years of his life and was in the process of preparing to play a concert for the Annual Convention of ATOE at the time of his death in 1962. Unlike many persons in the world of show business, Crawford's life did not end in obscurity.

Diese These ist ein Versuch, Ernst Juengers innere Emigration waehrend der Hitlerjahre zu behandeln, um damlt einen Beitrag zum Verstaendnis und zur Klaerung des Begriffs "innere Emigration" zu bringen. Im ersten Kapitel wird der Begriff der inneren Emigration im allgemeinen besprochen, die Entstehungsgeschlchte des Konzepts und die Moeglichkeit einer unabhaengigen Existenz im totalitaeren dritten Reich. Nach dieser Einfuehrung wendet sich die Diskussion den Werken Juengers zu. Die Werke, die gewaehlt wurden, sind folgende: das Essay Das abenteuerliche Herz, beide Fassungen (I929, 1935), der Roman Auf den Mar- morklippen (1942), die Tagebuecher Strahlungen einschl. dem Nachkriegstagebuch Jahre der Okkupation und die Essays Ueber die Linie (I950) und Per Waldgang (1951). Durch die Auswahl der Werke wurde versucht, ein zusammenhaengendes Bild von Juengers Gedankenwelt von der Vorhitlerzeit, durch die Hitlerzeit bis in die Spaetnachkriegszeit zu geben. Hieraus wird erkenntllch, dass Juenger schon vor der Hitlerdiktatur ein verfremdeter Individualist der verinnerlichung und ein Pessimist in Hinslcht auf die Kulturentwicklung war. Seine introvertierte Existenz und seine Gedankenwelt erleichtern den Gang in die innere Emigration, die die schon zuvor bestehenden Veranlagungen nur verstaerkte. Waehrend der Hitlerjahre waechst Juengers intellektueller Widerstand zu neuen Formen. Doch werden die Erlebnisse an der Ostfront zu einem Wendepunkt, denn hier erlischt in ihm im Angesicht der Greueltaten beinahe der musische Mensch. Anstatt zu kapitulieren, wendet sich Juenger zum Gegenkampf und geht durch Der Friede (1944) zum aktiven geistigen Widerstand ueber, Auch in der Nachkriegszeit blieb Juenger ein intellektueller Einzelgaenger, denn die Technokratie in Gestalt der Atombombe und der Nihilismus bleiben eine totalitaere Gefahr fuer das Individuum. Juengers Schicksal war das eines hohen Geistes, der In einer ihm fremden Zeitepoche des kulturellen Verfalls lebte. Die Hitlerdiktatur sowie die innere Emigration waren nur Steigerungen der allgemeinen Entwicklung der faktischen Umwelt, dem Niedergang einer Kulturepoche; von ihr wendet Juenger seinen Blick ab und erkennt einen metahistorischen Weltenplan der Urmaechte. Juenger relativiert also die totalitaere Umwelt durch sein metaphysisches Wertbewusstsein und nur aus diesem heraus kann Juengers innere Emigration beurteilt werden. / Arts, Faculty of / Central Eastern Northern European Studies, Department of / Graduate

蔡玄暉. / "2002年12月". / 論文(哲學碩士)--香港中文大學, 2002. / 參考文獻(leaves 206-212). / 附中英文摘要. / "2002 nian 12 yue". / Cai Xuanhui. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2002. / Can kao wen xian (leaves 206-212). / Fu Zhong Ying wen zhai yao. / Chapter 第一章 --- 緒論 --- p.1 / Chapter 第一節 --- 硏究林語堂《京華煙雲》的因由 --- p.1 / Chapter 第二節 --- 本文的理論依據 --- p.6 / Chapter 第二章 --- 《京華煙雲》槪述 --- p.11 / Chapter 第一節 --- 《京華煙雲》成書背景 --- p.11 / Chapter 第二節 --- 《京華煙雲》內容簡介 --- p.18 / Chapter 第三節 --- 《京華煙雲》研究現狀綜述 --- p.20 / Chapter 第三章 --- 《京華煙雲》翻譯問題分析 --- p.34 / Chapter 第一節 --- 小引 --- p.35 / Chapter 第二節 --- 郁達夫翻譯《京華煙雲》事件始末 --- p.36 / Chapter 第一、 --- 林語堂邀請郁達夫翻譯《京華煙雲》的原因 --- p.36 / Chapter 第二、 --- 郁達夫文債翻案 --- p.39 / Chapter 第三、 --- 同時期《京華煙雲》爛譯情況 --- p.41 / Chapter 第三節 --- 林語堂翻譯觀簡析 --- p.42 / Chapter 第一、 --- 林語堂翻譯藝術三標準的內容 --- p.43 / Chapter 第二、 --- 林語堂翻譯藝術第一標準:對作者負責 --- p.44 / Chapter 第三、 --- 林語堂翻譯藝術第二標準:對讀者負責 --- p.45 / Chapter 第四、 --- 林語堂翻譯藝術第三標準：對作品負責 --- p.47 / Chapter 第四節 --- 《京華煙雲》三個主要中譯本比較 --- p.51 / Chapter 第一、 --- 《京華煙雲》三個中譯本（全）介紹 --- p.51 / Chapter 第二、 --- 鄭、應譯本、張譯本和郁譯本比較舉例 --- p.57 / Chapter 第五節 --- 小結 --- p.68 / 附文一 --- p.70 / 附文二 --- p.77 / Chapter 第四章 --- 《京華煙雲》女性形象分析 一一以姚木蘭、孫曼娘、牛素雲爲例 --- p.83 / Chapter 第一節 --- 小引 --- p.83 / Chapter 第二節 --- 婦女解放問題 --- p.84 / Chapter 第三節 --- 林語堂的女性觀 --- p.90 / Chapter 第四節 --- 典型人物分析 --- p.99 / Chapter 第一、 --- 分析對象簡介 --- p.99 / Chapter 第二、 --- 家庭的重審：「家」還是「枷」？ --- p.103 / Chapter 第三、 --- 身份的迷亂：爲妻還是爲妾？ --- p.115 / Chapter 第四、 --- 命運的困惑：順從還是抗爭？ --- p.123 / Chapter 第五節 --- 小結 --- p.132 / Chapter 第五章 --- 《京華煙雲》敘事結構深層內蘊探討 一一以《紅樓夢》爲參照物 --- p.134 / Chapter 第一節 --- 小引 --- p.134 / Chapter 第二節 --- 《京華煙雲》敘事結構所蘊含的生命意識 --- p.139 / Chapter 第一、 --- 《京華煙雲》的逃難結構：對生命家園存在的否定 --- p.139 / Chapter 第二、 --- 《京華煙雲》的個體生命結構：浮生若夢的生命意識 --- p.143 / Chapter 第三、 --- 《京華煙雲》的家族人物結構：反觀生命的無常與脆弱 --- p.148 / Chapter 第三節 --- 《京華煙雲》生命意識探源 --- p.154 / Chapter 第一、 --- 林語堂的成長環境 --- p.154 / Chapter 第二、 --- 林語堂特殊的基督教教育經歷 --- p.157 / Chapter 第四節 --- 小結 --- p.161 / 後記 --- p.163 / 附錄一林語堂生平著作年表 --- p.166 / 附錄二 《京華煙雲》研究資料 --- p.184 / 附錄三 林語堂及其作品硏究資料 --- p.186 / 參考文獻 --- p.206

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published_or_final_version / Chinese Historical Studies / Master / Master of Arts

published_or_final_version / History / Master / Master of Arts

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