Vorzustellen ist ein kurioses Werk aus der Kartensammlung der SLUB, das in bibliophilen Kreisen nicht ganz unbekannt ist: In einer pittoresken „Karte des Bücherlandes“ stellte der Münchner Graphiker und Illustrator Alphons Woelfle (1884 –1951) 1938 das deutsche Buch- und Verlagswesen dar, in barocker Manier mit Kartusche, Allegorie und antiken Lettern. Schon 1941 neu aufgelegt, erlebte die ursprünglich handkolorierte Lithographie auf Büttenpapier bis heute zahlreiche Nachdrucke, sogar im Postkartenformat: Dabei misst das Blatt im Original 40 mal 29 cm.

This dissertation discusses two flute works by Joan Tower (born 1938). The performance medium consists of flute alone, Hexachords for Solo Flute (1972), and flute and orchestra, the Flute Concerto (1989). The discussion on Hexachords consists of a theoretical analysis; discussion on the Flute Concerto pertains to Tower's flute writing through an investigation into her musical language and specific performance techniques. Numerous examples are included to illustrate various aspects of Tower's style. Conclusions follow. The purpose of the paper is, first, to illustrate that basic knowledge of the twelve-tone method can bring a composition out of uncertainty for the performer and allow him to present what is unique within it. Secondly, it is to investigate the stylistic maturation of Joan Tower's flute works. In order to facilitate a better understanding of Tower's music and to provide commentary about the performance of each work, the writer has quoted from personal interviews with the composer and with flutists Carol Wincenc and Patricia Spencer, to whom the works are dedicated.

John Corigliano (b. 1938) is a contemporary American composer who has in the last twenty years established himself as a composer whose versatility and accessibility are appreciated by a wide range of audiences. He has labeled himself an eclectic composer who unashamedly borrows from other musical styles and periods in an effort to create works that appeal to a variety of listeners. He has been mentioned along with George Rochberg, George Crumb, and Jacob Druckman as an advocate of the post-modern movement in contemporary American music, a trend that has been crucial to the development of contemporary concert music. The purpose of this study is to examine the two solo piano works of Corigliano in terms of style, structure, and musical influences. The Etude Fani-agy (197 6) is a set of five etudes, performed without pause. The etudes are unified through an elaborate use of thematic transformation in which a row-like idea generates most of the material. The keyboard writing is varied and dramatic, with similarities to Debussy, Bartok, Prokofiev, and Copland. Fantasia on an Qstinato (1985), commissioned for the van Cliburn International Piano Competition, is an atmospheric tone poem that transforms the theme from Beethoven's Symphony no« 7 (second movement) . The rhythmic and harmonic structure of this theme are retained through much of Corigliano's work. Full quotations and fragments of the symphony are combined with newly-composed material influenced by Beethoven's theme. Influence of minimalist techniques associated with Terry Riley, Steve Reich, and Philip Glass is apparent throughout the work; rhythmic phasing, repetitive patterns, and musical stasis are used extensively in the second section. A comparison of the Etude Fantasy and Fantasia nn an OstinatQ confirms the eclectic characteristics of Corigliano's style. In both works, the composer borrows freely from a variety of musical traditions, combining and modifying traditional and avant-garde techniques. It is this intelligent combination of elements, along with expert craftsmanship, that has become Corigliano's trademark and have earned him an important place in contemporary American music.

No description available.

Dans L'idée de la phénoménologie, Husserl introduit pour la première fois de manière systématique les notions d'épochè et de réduction, deux temps méthodiques qu'il met en oeuvre dans son entreprise de fondation d'une nouvelle science philosophique : la phénoménologie transcendantale. Or, s'ils apparaissent de façon distincte dans L'idée de la phénoménologie, ils apparaîtront à certains moments par la suite de façon quasi conjointe au point d'y voir là deux concepts interchangeables. La thèse soutenue dans ce mémoire est que poser une telle équivalence encourt le risque d'un retour inaperçu des préjugés de l'attitude naturelle et que, à cet égard, une distinction conceptuelle mérite d'être maintenue entre la pratique de l'épochè et celle de la réduction phénoménologique, et ce, afin de favoriser la sortie de l'attitude naturelle essentielle à la compréhension de la phénoménologie transcendantale.

Ce travail s'interroge sur les fondements de la phénoménologie husserlienne en exposant la genèse de la subjectivité transcendantale pour ensuite développer plus longuement la théorie phénoménologique de l'intersubjectivité. A l'intérieur de la sphère intersubjective, l'alter ego apparaît à l'ego par le mode de l'intropathie permettant le passage au monde de l'expérience étrangère. La primordialité d'autrui pour la découverte et la compréhension de l'ego lui-même, centre de nos préoccupations, devient donc thématique. Est mis à jour l'interdépendance des vies dans un monde environnant commun englobant une communauté des monades, qui fonde l'édification de la sphère sociale et culturelle grâce à des relations réciproques de communication. - La problématique constitutive de l'horizon intersubjectif permet de connaître le labeur préparatoire correspondant du fondateur du criticisme phénoménologique.

TIMBÓ, Margarida Pontes. O sertão de papel de Natércia Campos: memória das trindades. 2011. 281f. Dissertação (Mestrado em Letras) – Universidade Federal do Ceará, Departamento de Literatura, Programa de Pós-Graduação em Letras, Fortaleza-CE, 2011. / Submitted by Liliane oliveira (morena.liliane@hotmail.com) on 2012-07-09T12:56:59Z No. of bitstreams: 2 2011_DIS_MPTIMBO.pdf: 18510508 bytes, checksum: 470504bb8758143a75de145d4a84b611 (MD5) 2011_DIS_MPTIMBO.pdf: 18510508 bytes, checksum: 470504bb8758143a75de145d4a84b611 (MD5) / Rejected by Maria Josineide Góis(josineide@ufc.br), reason: duplicação do arquivo Josineide on 2012-07-24T11:59:13Z (GMT) / Submitted by Liliane oliveira (morena.liliane@hotmail.com) on 2012-07-24T12:17:33Z No. of bitstreams: 1 2011_DIS_MPTimbo.pdf: 18510508 bytes, checksum: 470504bb8758143a75de145d4a84b611 (MD5) / Approved for entry into archive by Maria Josineide Góis(josineide@ufc.br) on 2012-07-24T12:23:16Z (GMT) No. of bitstreams: 1 2011_DIS_MPTimbo.pdf: 18510508 bytes, checksum: 470504bb8758143a75de145d4a84b611 (MD5) / Made available in DSpace on 2012-07-24T12:23:16Z (GMT). No. of bitstreams: 1 2011_DIS_MPTimbo.pdf: 18510508 bytes, checksum: 470504bb8758143a75de145d4a84b611 (MD5) Previous issue date: 2011 / In this study we seek to stop on the process of artistic creation of the writer from Ceará Natércia Campos, basing especially in the reading and analysis of literary manuscripts, notebooks and researches relating to the novel The House (1999). These documents are in Arquivo do Escritor Cearense- AEC, located in the Human Science Library of the Federal University of Ceará. Being conscious that the writer has elaborated a study project before writing her only novel, we sought to investigate her researches and observe how they were incorporated into her work. The methodology used is bibliographic-theoretical and occurred in three directions: first, starting from the reading and analysis of the writer‟s manuscripts, then from the researches made by her in order to establish the comparison with the final text of the novel. Finally, we sought to build the Natércia‟s profile as a reader, following within the novel some features of the readings that she made. We are based on authors like Cecília Almeida Salles (2000), (2004), Philippe Willemart (1993), Ítalo Gurgel (1997), Leyla Perrone-Moisés (1990), Elizabeth Sampaio Alencar Lima (2009), Maria Zilda Ferreira Cury (1993) among others. Within the scope of the culture, we leaned especially on Câmara Cascudo (2000), (2002a) (2002b), a researcher with a strong presence in Natércia Campos‟ collection / Neste estudo procuramos deter-nos sobre o processo de criação artística da escritora cearense Natércia Campos, baseando-nos, especialmente, na leitura e análise dos manuscritos literários, cadernos de anotações e pesquisas relativos ao romance A Casa (1999). Tais documentos encontram-se no Acervo do Escritor Cearense – AEC, situado na Biblioteca de Ciências Humanas, da Universidade Federal do Ceará. Cônscios de que a escritora elaborou um projeto de estudo antes de escrever seu único romance procuramos rastrear suas pesquisas e observar como foram incorporadas na sua obra. A metodologia utilizada é teórico-bibliográfica e ocorreu em três direções: primeiro, a partir da leitura e análise dos manuscritos da escritora, em seguida, das pesquisas realizadas por ela, para depois estabelecermos o cotejo com o texto final do romance. Por último, procuramos construir o perfil da Natércia leitora, seguindo no romance traços das leituras que realizou. Fundamentamo-nos em autores como Cecília Almeida Salles (2000), (2004), Philippe Willemart (1993), Ítalo Gurgel (1997), Leyla Perrone-Moisés (1990), Elisabete Sampaio Alencar Lima (2009), Maria Zilda Ferreira Cury (1993) dentre outros. No âmbito da cultura popular apoiamo-nos, sobretudo, em Câmara Cascudo (2000), (2002a), (2002b) pesquisador com presença marcante no Arquivo de Natércia Campos

In this study, I analyze the significance of Shakespearean intertextuality in the major works of Thomas Wolfe featuring protagonist Eugene Gant: Look Homeward, Angel and Of Time and the River. Specifically, I explore Gant's habits and preferences as a reader by examining the narrative arising from the protagonist's perspectives of Shakespeare's The Merchant of Venice, Hamlet, and King Lear. I examine the significance of parallel reading habits of Wolfe the author and Gant the character. I also scrutinize the plurality of Gant's methods of cognition as a reader who interprets texts, communicates his connections with texts, and wars with texts. Further, I assess the cumulative effect of Wolfe's having blurred the boundaries between fiction and reality, between the novel and drama. I assert, then, that Wolfe, by incorporating a Shakespearean intertext, reveals aspects indicative of postmodernism.

Aus der Einleitung S. 7: „...Die vorliegende Studie behandelt unter diesem Gesichtspunkt die Berufstätigkeit von Arbeiterinnen und weiblichen Angestellten in Sachsen während der ersten Jahre der nationalsozialistischen Herrschaft. Gelang es dem NS-Regime nach 1933 in diesem Land, die Frauenarbeit zurückzudrängen – zumindest solange, bis die durch den Rüstungsaufschwung bewirkte Vollbeschäftigung ab 1937/38 wieder zu einer stärkeren Integration der Frauen in den Arbeitsmarkt zwang? ...”

Titre de l'écran-titre (visionné le 14 février 2024) / Cette recherche vise à mettre en lumière l'évolution récente de la censure au Québec grâce à la comparaison des deux censures exercées contre *Nègres blancs d'Amérique* de Pierre Vallières. Cette autobiographie révolutionnaire a été censurée pour la première fois en 1969 à la suite d'une accusation de libelle séditieux. À partir de 2020, des groupes de militants tentent de censurer l'œuvre en raison de son titre choquant et de sa thèse jugée raciste. L'analyse du discours social entourant les deux cas de censure a permis de mieux comprendre les visées des censeurs, leurs arguments et leurs présupposés. La comparaison du contexte des lecteurs empathiques des années 1960 et de celui des lecteurs censurant d'aujourd'hui permet de constater que la manière dont l'œuvre est lue et reçue évolue grandement dans le temps. Premièrement, le rapport à l'expression « nègres blancs » a évolué. D'abord banale, parce que souvent utilisée dans les années 1960, l'expression est maintenant taboue, de sorte que le livre reçoit une nouvelle vague de critiques. Dans le premier cas, Pierre Vallières faisait partie de la minorité des Canadiens français au Canada, colonisée. Dans le deuxième cas, il appartient plutôt à la majorité blanche, colonisatrice. Ce changement de paradigme modifie le rapport à l'œuvre et à son auteur.