Thesis (M.Soc.Sc.)--University of Hong Kong, 1995. / Contains photostats of newspaper. Includes bibliographical references (leaves 105-107) Also available in print.

Orientador: Sandra Negraes Brisolla / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-07-14T00:05:06Z (GMT). No. of bitstreams: 1 Carvalho_Edemirde_M.pdf: 3746366 bytes, checksum: ba833f759bfef7867fa97132df366740 (MD5) Previous issue date: 1991 / Resumo: Não informado. / Abstract: Not informed. / Mestrado / Mestre em Ciências Sociais

La réception de la littérature française en Pologne dans les années 1944-1956 est placée sous le signe de l'idéologie et de la politique provenant du fait du changement de régime politique à l'issue de la guerre, suite à la mainmise de Staline sur l'Europe Centrale et Orientale. L'installation progressive du régime communiste régit l'introduction dans la culture du dispositif politique à forte composante idéologique visant à créer les conditions de gestion de la culture directement par le parti communiste polonais. Cela s'est traduit, d'une part, par le contrôle de la production du papier, des imprimeries, la disparition progressive des éditeurs privés, et la mise en place de la gestion centralisée et de la planification, et, d'autre part, par la politique culturelle annonçant la démocratisation de la culture. La réception de la littérature française des siècles passés s'inscrit dans le processus de la création du nouveau canon littéraire marxiste, pour l'inclure dans le projet de "démocratiser" la culture. D'où les rééditions, dès 1946, de grands réalistes français du XIXe s., dans la première période de réception (1944-48), marquée par le débat sur le réalisme dans la littérature dans la nouvelle presse littéraire. La présence de la littérature française du XVIIIe et du XIXe dans ce vaste débat sert à illustrer la théorie marxiste de la littérature, dans un premier temps basée sur le concept du grand réalisme de G. Lukacs, ensuite, dans la deuxième période de réception (1949-56), faisant directement référence à la critique soviétique. Les deux périodes de réception ont donc été marquées par les rééditions à grande échelle des "classiques progressistes" français, suivant le modèle soviétique, servant directement à réaliser l'objectif de former la nouvelle intelligentsia issue des classes sociales privées auparavant d'accès à la culture. En parallèle, la réception importante des oeuvres des écrivains communistes français et des compagnons de route, et la critique virulente des existentialistes, confirme la thèse de dominante idéologique et politique de cette réception. / The precise study of the reception of French literature in Poland in the years 1944-1956 will show us that it is biased towards ideology and politic due to the nature of the change of the political regime after the war, following Stalin's grip on Central and Eastern Europe. The gradual installation of a communist regime strain the introduction of the politic with a strong ideological component, in culture, in order to create the conditions for culture management directly by the Polish communist party. The consequences, on one hand were the control of paper production and printing houses, the gradual blurring of private publishers, and the establishment of centralised management and planning, on the other hand was the installation of a precise cultural policy brandishing the democratisation of culture. The reception of French literature of past centuries is in the process of creating the new Marxist literary rule, to be the literary "progressive" canon and to include it in the project of "Popularization" of culture, hence the reissues in 1946 of great French realists of the nineteenth century, in the first reception period (1944-48), marked by the debate on realism in literature in the new literary press. The presence of French literature of the 18th and 19th centuries in this broad debate, serves to illustrate the Marxist theory of literature, initially based on the concept of great realism developed by G. Lukacs, and then, in the second reception period (1949-56), makes direct reference to Soviet criticism. Both periods have been emphasised by the large-scale editions of "progressive classical" French, following the Soviet model, being used directly to achieve the goal of training, and influencing the new intelligentsia coming from the popular classes who did not have access to culture before. In parallel, reception of a large quantity of works of French Communist writers and from fellows travellers, and the virulent criticism of the existentialists, confirms the thesis of ideological and political dominance of such receipt.

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No description available.

Als 1901 ein Denkmal für Robert Schumann in seiner Geburtsstadt Zwickau eingeweiht wurde, regte der Musikforscher Max Friedländer in einer der Festreden die Einrichtung eines Schumann-Museums an. Bald gründete sich ein Museumsausschuss, dessen Vorsitz der Oberlehrer Martin Kreisig übernahm. In Schumanns Todesjahr 1856 geboren, war Kreisig über die mit Schumann eng befreundete Familie Serre von Kind auf in die Schumann-Tradition eingeführt worden. Zur 100. Wiederkehr des Geburtstags Robert Schumanns am 8. Juni 1910 konnte die erste Frucht dieser Bemühungen durch eine Sonderausstellung in der Aula des Zwickauer Gymnasiums präsentiert werden.

Als 1901 ein Denkmal für Robert Schumann in seiner Geburtsstadt Zwickau eingeweiht wurde, regte der Musikforscher Max Friedländer in einer der Festreden die Einrichtung eines Schumann-Museums an. Bald gründete sich ein Museumsausschuss, dessen Vorsitz der Oberlehrer Martin Kreisig übernahm. In Schumanns Todesjahr 1856 geboren, war Kreisig über die mit Schumann eng befreundete Familie Serre von Kind auf in die Schumann-Tradition eingeführt worden. Zur 100. Wiederkehr des Geburtstags Robert Schumanns am 8. Juni 1910 konnte die erste Frucht dieser Bemühungen durch eine Sonderausstellung in der Aula des Zwickauer Gymnasiums präsentiert werden.

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Este trabalho estuda a construção da cena nas montagens brechtianas dirigidas por Irene Brietzke, destacada diretora gaúcha das últimas décadas do século passado, buscando documentar e resgatar seu processo criativo, analisar os pontos de contato e as divergências com as teorias formuladas por Bertolt Brecht e fazer um levantamento iconográfico das mesmas. Resgatamos a memória das peças brechtianas, uma a cada capítulo, através das respectivas fichas técnicas, fotos, declarações e matérias publicadas na imprensa e dos depoimentos colhidos com Brietzke. É utilizado o nome dos espetáculos para denominar os capítulos e em cada um deles a discussão é focalizada sobre os pontos teóricos que a encenação sugere e que são relacionados com questões como a inserção histórica das montagens, o pós-brechtiano e o pós-dramático, o efeito de estranhamento, a recepção teatral, o papel da música na encenação e a construção da cena. Este trabalho articula diálogos com as vozes e idéias de Bertolt Brecht, Gerd Bornheim, Hans-Thyes Lehmann, Patrice Pavis, Marco de Marinis, entre outros. Buscamos destacar os principais diferenciais de seu trabalho, como o uso das comédias, debochadas e escrachadas, da presença marcante e essencial da música na cena brietzkiana, o grau de fidelidade à Brecht e várias outras questões que transpassam a obra de Brietzke. / The purpose of this paper is to study the scenery construction in the Brechtian setting productions directed by Mrs. Irene Brietzke, distinguished “gaucha” stage director in the last decades of the 20th Century, in an attempt to document and retrieve her creative process, to analyze the contact points and divergences connected to the theories stated by Bertolt Brecht, and to conduct an iconographic survey of them all. We retrieve the memory of the Brechtian pieces, one in each chapter, by means of their respective technical files, pictures, statements and articles set forth in the press, and the testimonies gathered with Brietzke. The names of the public performances are utilized to denominate the chapters, the discussion in each one is focused on the theoretical points the stage plays suggest and are related to matters, such as the historical insertion of productions, the post-Brechtian and the postdramatic, the strangeness effect, the theatric reception, the music role in the production and the scene construction. This paper articulates dialogs with voices and ideas of Bertolt Brecht, Gerd Bornheim, Hans-Thyes Lehmann, Patrice Pavis, Marco de Marinis, among others. We try to highlight the main differentials of her work, such as the comedies’ use, mocking and quizzical style, the essential and noteworthy presence of the music in the Brietzkian scene, the extent of faithfulness degree to Brecht and many other questions that overstep the Brietzke’s work.

Except for literary historians and Germanists, Robert Walser (1878-1956), the Swiss poet, was known until recently only to a small circle of readers. The reason why Robert Walser was “rediscovered” a few years ago and is being read again, is that theme, content and style of his novels – they can be counted on one hand – as well as the several hundred short stories and about four dozen poems , touch upon a constantly more or less urgent problem: man’s ontological inquiry. The unassuming manner of Walser’s fragments and vignettes fascinates and elates the system-weary reader; yet, his lack of assumption is not synonymous with idle chatter. Rather, the absence of presumptuousness is based on the realization that absolutes, whether intellectual, emotional or physical are meaningless. Thus they are incompatible with the “Lebensgefühl” of Walser’s literary protagonist, who suspects essence in the loss of identity of self. It has been said of Robert Walser that he was the first writer to explore the domain of the absurd in a novel. This at the beginning of the 20th century. Walser, quite likely, would be too modest to claim literary avant-garde. The absurdity of uncertainness creates a perspective and attitude which characterize Walser’s literary figures, perspective and attitude similar to the terminal mood at the end of an era, familiar from the writings of Thomas Mann, Franz Kafka and Georg Heym. The mood Walser portrays distinguishes itself insofar that he builds no cosmic or philosophical systems, because he abhorred the finite limits of man’s intellect. Where Kafka’s intellect ad absurdum metamorphoses into the madness of the incapable insect, Walser’s realization transforms into a gay carelessness; a careless superficiality that has healing quality, since it exhausts itself in the service to humanity and revels without point of reference in an existence without system. Nature serves as the poetic spring for the delightful game of the intellect. This paper [written in German] examines the dilemma of identity in two ontological main categories and eight social-philosophical motives. Interpretation of a short story and reference to the entire works of Robert Walser served as the vehicle in this attempt.