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This master's thesis seeks to establish a comparison between the lyrical work of the Austrian Ingeborg Bachmann (1926-1973) and the Argentinean Alejandra Pizarnik (1936-1972). First, we draw from the similarities in the lives of both authors. Then, the survey of secondary literature shows that the two writers were the «black sheep» of their literary generation. Finally, our analysis focuses on the last phase of their lyrical production (1963-1966 for Bachmann; 1970-1972 for Pizarnik), most especially on two poems which are considered by the critics to be their «farewell» to poetry : «Keine Delikatessen» [No delicacies] by Bachmann (1963) and «En esta noche, en este mundo» [In this night, in this world] by Pizarnik (1971). We demonstrate that both poets show the same distrust of their medium, language, accompanied by a particular concern for silence, which appears in their respective poems both thematically and formally.

Edouard Manet, Edgar Degas and Mary Cassatt had unique visions of the Paris Opera House. Thus each artist perceived and portrayed the pageant of fashionable contemporary life at the Opera from diverse perspectives. Manet rendered a singular image of this world, that of a masked ball, which elicits an extraordinary insight into the manners and mores of an era. The focus by Degas on the dancers on stage invites a penetrating look into the spectacle of the performance from exceptional viewpoints. Mary Cassatt's depictions, exclusively of the female spectators in the audience, intimate a serious reflection of her earnest feminist attitudes. / From the costumed revellers in the foyer, to the brilliant presentation on stage to the elegant spectators in the loges, these images inspired by the Opera endure as remarkably distinctive.

The purpose of this comparison and analysis was to examine the tenets of expressionism and existentialism as found in the aesthetic theories of Robin G. Collingwood and Eugene F. Kaelin, respectively. It was felt that both aesthetics proper, as a philosophic concern, and educational practices in art could benefit by the tenets of these two theories. In addition, many of the concepts explored were found to be mutually complementary not only in a logical sense but also in terms of clarifying the process of creation of works of art as well as contributing a pellucid view of response to art works.

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This thesis provides an analysis of the portrayal and function of relationships between women in the following Erzahlungen by Ingeborg Bachmann: "Ein Schritt nach Gomorrha," "Das Gebell," and "Drei Wege zum See." The major research questions include whether there is a similar representation of female-female interactions and a common conception of gender and identity construction arising from these interactions. In addition to offering a unique perspective on relationships between women, this analysis presents "Das Gebell" as the story of two women, rather than one that focuses on the relationship between a mother and her son, which has predominately been the interpretation in the previous literature. Findings indicate that parallels exist in the way women are portrayed in the above three Erzahlungen and that the female-female interactions serve certain common narrative functions in each of these texts.

This thesis deals principally with the period following Pinschof’s arrival from Vienna in 1879, to just after the First World War. It considers the Pinschofs’; generous and timely support of the arts within the context of the amount of private and institutional patronage and the British, German and other cultural influences on Melbourne society at the time.

Zugl.: Münster, Univ., Diss., 2003

Thesis (M.A.)--University of Hong Kong, 1970. / Also available in print.

Texte remanié de: Th. univ.--Théol.--Leyde, 1995. / En appendice, choix de documents. Bibliogr. p. 271-278. Glossaire. Index.