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Der Text beinhaltet eine umfangreiche Auswertung der vor allem im Hauptstaatsarchiv Dresden befindlichen und intensiv eingesehenen Akten zum Leben der Gräfin Cosel. Vorangestellt ist eine Persönlichkeitsstudie. Der Schwerpunkt liegt auf der Gefangenschaft der Gräfin auf der Veste Stolpen. Zahlreiche familien- und alltagsgeschichtliche Begebenheiten illustrieren das Geschehen. Beim vorliegenden Skript handelt es sich um eine mit weiteren Quellen vervollständigte (erweiterte) Fassung der Ausgaben von 2015 (verkürzte Buchform) und 2020 (online-Qucosa).:Anna Constantia Reichsgräfin von Cosel – Eine Persönlichkeitsstudie 6 Kindheit und Jugend 10 Ehe mit Hoym 10 Scheidung 11 Gemahlin zur Linken 18 Pillnitz 25 Berlin 30 Halle 36 Leipzig 39 Nossen 40 Stolpen 43 Holzlieferungen und ein Streik 48 Krankheit 51 Zerwürfnis mit Jentzsch 57 Vormundschaft 61 Gevatterpräsent 67 Versorgung des Sohnes 72 Vermögenskommission 75 Zank und Streit in Pillnitz 82 1720 83 1721 91 Verhaftung Perlheffters 96 Generaluntersuchung auf Stolpen 99 Zwei Strafprozesse als Exempel – Leutnant Helm 114 Lakai Gäbler 117 Leibmagd Rost 119 1722 127 Verwaltungsposse 129 Hoyms Abrechnung 130 1723 132 Flammeninferno 132 1724 138 1725 149 Hochzeit 151 Dienstaufsichtsbeschwerde 158 Eine falsche Gräfin? 161 1726 165 1727 168 August der Starke in Stolpen 171 1728 174 1729 178 1730 – Hochzeit 181 1731 188 Medizinisch-philosophischer Diskurs 192 1732 194 Neuerliche Untersuchung 195 1733 200 Tod Augusts des Starken 203 Glanzvolle Mätresse am sächsisch-polnischen Hof 210 Herrschaft Pillnitz 211 Offene Vermögensforderungen 220 Cosel’sche Häuser 223 Cosel’sche Gärten 227 Weinberge und Wein 227 Vermögensauseinandersetzungen 231 Vermögensverwaltung 234 Familiäre Unterstützungen 243 Eigenbedarf und Unterhalt der Kinder 245 Juwelen, Pretiosen und Silbergegenstände 251 Kosmetik/Medizin 253 Garderobe 254 Vermögenssicherung 256 Kunstgegenstände und persönlicher Schmuck 257 Porzellan 258 Wagen und Pferde 259 Möbel und Einrichtungsgegenstände 261 Waffen 263 Druckerzeugnisse und Bilder 264 Vermögensverwertung 265 1734 267 Ein Prozess gegen die Gräfin Cosel 271 1735 275 1736 280 1737 284 1738 286 Leidenschaftliche Erinnerung 287 1739 291 1740 295 Einige Freiheiten 297 Weitere zweieinhalb Jahrzehnte Arrest 299 Hurengeschichten 303 Vermögensübertrag 304 Gut Depenau 313 Garnisonsalltag 316 Tumult in Schönfeld 318 Husarenstück 320 Testamentarische Regelungen 324 Tod und Beerdigung 328 Nachlassregulierung 331 Personenregister 337 Quellenverzeichnis 360

Die vorliegende Arbeit setzt sich mit dem Zusammenhang von „Rasse“- und Geschlechterdiskursen in den USA, Deutschland und England entlang der Schauspielerin Anna May Wong (1905-1961) auseinander. Anna May Wongs mehrere Jahrzehnte umspannende Karriere ist insofern außergewöhnlich, als dass sie als chinesisch-amerikanische Schauspielerin in der US-amerikanischen und europäischen Filmbranche erfolgreich war, dabei jedoch auf Widerstände stieß und sich mit diesen auf ambivalente Weise auseinandersetzte. Die Arbeit geht Anna May Wong als Kristallisationspunkt für Verhandlungen über rassifizierte und vergeschlechtlichte Grenzziehungen nach. Im Mittelpunkt stehen die Inszenierung Wongs in den Filmen, die sie von 1922-1937 in den jeweiligen Ländern gedreht hat, und ihrer Wahrnehmung durch sich selbst und das Publikum. In der Untersuchung ihrer Inszenierung und Wahrnehmung werden diskursive Verflechtungen, Unterschiede und Brüche sichtbar. Im Untersuchungszeitraum verändern sich zudem geopolitische Machtrelationen zwischen Europa, den USA und China signifikant, die auf die Konstruktion von Differenzfiguren erheblichen Einfluss haben und die in der vorliegenden Arbeit herausgearbeitet werden. Zugleich nimmt sie auch Wongs eigene Subjektivierungsstrategien in den Blick und fragt danach, in welchem Verhältnis Leben und Werk zueinander stehen. Anhand einer Mikrogeschichte entlang der Person Anna May Wong wird eine Geschichte der Abgrenzungs- und Aneignungsbewegungen zwischen Europa, USA und China erzählt. Die Untersuchung von Anna May Wong als Ausnahmephänomen verweist zum einen auf die diskursiven Regeln rassifizierter und vergeschlechtlichter Abgrenzung. Zum anderen bringt sie den spannungsreichen Überschuss zum Vorschein, der zeigt, dass das Andere im Eigenen immer schon enthalten ist. / This dissertation examines the life and work of the actress Anna May Wong (1905-1961) through the lens of discourse on race and gender in the USA, Germany, and England. Vice versa: it interrogates the discourse of race and gender by engaging the figure of Wong and her work both on screen and off. Wong’s decades-long career is extraordinary in the sense that, as a Chinese American, she achieved success in the American and European film industry in spite of gendered and racially-based resistance, an experience that her films explore in ambivalent ways. Wong serves as a prism in this dissertation to explore the ways in which racial and gendered boundaries were drawn during the span of her career, but with a specific focus on the films that she made between 1922-1937, which were shot in the United States and Europe. An interrogation of the manner in which Wong appears in these films, as well as the films’ reception(s), reveals a web of complex interweavings, intersections, and ruptures along sexual, gendered, and racialized lines. During the period on which this dissertation focuses, geopolitical power relations between Europe, China, and the United States shifted significantly with dramatic effects on the construction of difference, which the following project explores. The dissertation interrogates, therefore, the relationship between her life and the global context of her work. Her micro-history serves as a fulcrum for examining the larger history of bordering, appropriation, and identity negotiation(s) between Europe, the United States, and China. The investigation of Anna May Wong as a unique phenomenon reveals, on the one hand, a discursive and material history of raced and gendered constructions of difference. On the other hand, her work consistently engages a suspenseful type of excess, which demonstrates the ways in which the “other” is always already embedded in the “self”.

The flute music of Anna Bon di Venezia (1738–ca. 1767) belongs to the group of long-overlooked compositions by women composers throughout history worthy of rediscovery. This dissertation includes a discussion of Bon's life and music, as well as the artistic, historical, and theoretical significance of her compositions. It also presents biographical research on Bon, including Michaela Krucsay's dissertation, which provides new evidence of Bon's birth date, which had been uncertain up until 2015. Bon's Sonata in F Major for flute and basso continuo is analyzed to provide a more comprehensive understanding of the work. A table is provided explaining specific ornaments and articulations added to the performance edition. In addition, this dissertation includes analyses of sonatas by Carl Philipp Emanuel Bach (1714–1788) and Johann Joachim Quantz (1697–1773) to contextualize Bon's sonatas within the standard flute repertoire. This dissertation expands the music scholarship on this distinguished composer and performer and provides a historically informed performance edition of the Sonata in F Major, op. 1, no. 2, for flute and piano, to serve as a model to modern flutists for historically informed performances of Bon's entire opus 1.

Les perspectives de recherche de cette étude s'organisent autour d'un axe thématique qui ouvre la dimension littéraire japonaise contemporaine au débat critique international : l'un des enjeux de notre analyse est de comprendre, par la comparaison d'un nombre limité d'œuvres exemplaires, la spécificité de l'expérience de la réécriture parodique du canon au Japon. Par ailleurs, tout en définissant de façon ponctuelle et rigoureuse le champ d'investigation, cette analyse permet de réfléchir au problème complexe de l'utilisation, devenue paradigmatique, des formes intertextuelles dans la littérature "postmoderne". S'agit-il d'une façon pour préserver ou déconstruire ? Est-il possible de considérer la relecture parodique comme une forme de traduction du canon? Dans cette perspective, on se propose de conduire une analyse directe et comparative des œuvres d'auteurs divers mais qui se sont tous intéressés à des textes-source communs : en particulier on prend en considération le cas exemplaire des parodies des textes de Kawabata Yasunari (1899 – 1972) réalisées par Ogino Anna (1956), Inoue Hisashi (1934-2010) et Shimizu Yoshinori (1947) (respectivement dans "Watashi no aidokusho", 1991 ; "Bun to Fun", 1970 et "Kirikirijin", 1981 ; "Ese monogatari", 1991). Face aux œuvres immortelles du grand maître de la modernité, tous trois ont réalisé des parodies qu'on peut lire comme des traductions dans un langage nouveau d' hypotextes célèbres ("Yukiguni", "Izu no odoriko") ; ou, en même temps, comme des parodies de la traduction, qui révèlent les fragments d'un jeu cassé, moyens utiles à la réflexion metatextuelle. / The overall aim of my research is to investigate whether and, if so, how the use of intertextual tropes like parody and pastiche have been a determining factor in the “translation” of the modern canon in contemporary Japanese literature. In order to investigate these aspects, I have explored as a case study three works completely different in terms of style and themes, but that share a common hypotext: in fact, I analyse in this research the parodies of Yukiguni, the worldwide renowned masterpiece of Kawabata Yasunari, realized by Ogino Anna, Shimizu Yoshinori and Inoue Hisashi (respectively in Watashi no aidokusho　『私の愛毒書』, 1991; Ese monogatari 『江勢物語』, 1991; Kirikirijin, 『吉里吉里人』, 1981).Through a comparative examination of the chosen texts, but also considering the critical discourse on the “canonization” of the works of Kawabata and the non-negligible role of their translations for the western audience, I try to demonstrate the strategic importance of intertextual practices in contemporary Japanese literary scene: the exploration of the use of parody and pastiche in postmodern Japanese context highlight the challenging perspective of a literature that reflect on itself by reflecting itself. / Le prospettive di ricerca di questo studio si concentrano attorno ad un asse tematico che apre la dimensione letteraria giapponese contemporanea al dibattito critico internazionale : nucleo essenziale del nostro percoso è infatti la proposta di un'analisi, realizzata attraverso la messa in relazione di un corpus di testi esemplari, dell'esperienza della riscrittura parodica del canone letterario moderno nel Giappone contemporaneo.In particulare, il caso di studio analizzato è quello delle riscritture realizzate da tre autori contemporanei (Ogino Anna, Shimizu Yoshinori, Inoue Hisashi) che hanno in commune ipotesti estremamente celebri : Yukiguni ("Il paese delle nevi") e Izu no odoriko ("La ballerina del paese delle nevi"), di Katawabe Yasunari, primo Nobel giapponese per la letteratura.

"This thesis describes the art of logistics practiced by Santa-Anna and his staff in the marches from Northern Mexico to San Jacinto and Goliad, and the subsequent withdrawal. The method, or methods, employed to keep such an army in fighting condition are analyzed as it moved slowly and uncertainly across the desert and semi-desert areas, over burnt-out prairies and flooding rivers. To obtain the most complete picture of the Mexican army's movements and needs, the letters and diaries of the outstanding Mexican participants were used. Whenever possible American sources were studied to substantiate any seemingly questionable information in the Mexican accounts...As this thesis is primarily concerned with logistics, battles are not covered in detail. In cases where a conflict between American and Mexican sources exists concerning any phase of the Mexican military movements during the Texan revolution, both sides are presented, and an attempt made to evaluate them objectively." -- leaf x.

Thesis deals with media objectivity on the example of four Czech newspapers. Thesis in its theoretical part focuses on definition of media, journalist's role and their job which is influenced by many factors, socio-cultural context in which news production is implemented, outlines concept of media objectivity and describes media image of crime. Another part of thesis explains the terms concerning criminal procedure, qualifies rights and duties of criminal justice and a suspect person and finally concentrates on providing with information about offence by media and difficulties which can be appeared. Practical part of the thesis analyzes media objectivity through qualitative analysis of articles. Articles were chosen from four Czech newspapers (Aha!, Blesk, Mladá fronta Dnes, Právo) and two time periods: October-November 2010 and March-April 2011. Research question asks: Did chosen newspapers inform about a murder of Anna Janatková in an objective way? Objective way of informing is examined in relation to rights and duties of suspect and to protection of victims.

The thesis deals with the issue of all existing Czech translations of Adalbert Stifter's novella Der Hochwald, which were created in the first half of the 19th century, in the first and in the second half of the 20th century and at the beginning of the 21st century. The first part of the thesis is concerned with Adalbert Stifter's life and work and with the reception of his works within the Czech cultural context. Further, Czech translators of the novella are introduced and the source text is briefly analysed. The final part describes the development of translation methods and offers comparative translation analysis of selected passages. The primary objective of the presented thesis is to describe the changes in translation methods using results of the analysis.

The aim of this paper it to observe different approaches to human beings. Two major points of view will be that of Karl Marx and of Sigmund Freud. In which apects are their deffinitions of human being, behavior and thinking processes different and in which are they similar? How are their ideas transferred in the work of oher authors and where does it lead? Is it possible to find similar streams in the work of their followers? These are the two major questions that this paper will try to answer. Another meaning this paper should have is to create a meanigful and coherent source of various authors who were involved in examination of human being.

The lecture recital was given April 1, 1974. Eighteenth-century accounts of the voices and performing styles of Francesca Cuzzoni, Faustina Bordoni, and Anna Strada del Pò were related to six opera arias written for them by George Frideric Handel. The arias, accompanied by harpsichord, violin, and violoncello, were performed with added original ornamentation. In addition to the lecture recital two other public recitals and two opera roles were performed. The first solo recital was on February 11, 1972, and included works by Mozart, Fauré, Rimsky-Korsakov, R. Strauss, Walton, Moore, and others. The second solo recital, on October 15, 1973, included works by Porpora, Rameau, Handel, Wolf, Donizetti, Debussy, and Schubert. The role of "Urgele" in the marionette opera Die Fee Urgele by Pleyel was performed in English on October 30 and 31, 1972, with the Collegium Musicum of North Texas State University. The role of "Clorinda" in Rossini's La Cenerentola was performed in English on November 26 and 28, 1972, with the Shreveport Symphony.