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In Vienna from about 1918 until the 1930s, contemporaries perceived a high point in the music-historical significance of Mahler's works, with regard to both the history of compositional style and the social history of music. The ideas and meanings that became attached to Mahler's works in this milieu are tied inextricably to the city's political and cultural life. Although the performances of Mahler's works under the auspices of Vienna's Social Democrats are sometimes construed today as mere acts of political appropriation, David Josef Bach's writings suggest that the innovative and controversial aspects of Mahler's works held social value in line with the ideal of Arbeiterbildung. Richard Specht, Arnold Schoenberg, and Theodor Adorno embraced oft-criticized features in Mahler's music, regarding the composer as a prophetic artist whose compositional style was the epitome of faithful adherence to one's inner artistic vision, regardless of its popularity. While all three critics addressed the relationship between detail and whole in Mahler's music, Adorno construed it as an act of subversion. Mahler's popularity also affected Viennese composers during this time in obvious and subtle ways. The formal structure and thematic construction of Berg's Chamber Concerto suggest a compositional approach close to what his student Adorno described a few years later regarding Mahler's music.

1 Abstract and keywords The legal regulation of wood species growing outside the forest Keywords: Wood species growing outside the forest in Czech Republic, wood species growing outside the forest in Austria, history of legal regulation of wood species in Czech Republic. Abstract: Topic of thesis is the public protection of wood species growing outside the forest in the legal order of the Czech Republic and Austria. The focus of thesis lies by Czech law. Reflected its development, current legislation and existing state of protection of wood species growing outside the forest in decision-making activities of the courts and the Ministry of Environment. Austrian legislation is viewed more as an inspiration for proposals de lege ferenda. Protection of nature and landscape in Austria is in the individual competence of each country, so it is not completely uniform. Special laws on the protection of the trees are only in Vienna and Styria, so the point of comparison is the legal order in these countries. Introductory part of the thesis defines the term wood species growing outside the forest and discusses their relevance for man and their place in the natural processes. Aesthetic and biological functions of trees forms the background the legislation. These functions created the material basis for the public...

During the Weimar Republic, mountaineering organizations sought to establish hegemony over the cultural narrative of mountaineering. Contemporary texts published by various alpine organizations positioned mountaineering as an activity reserved for a select elite, casting alpinists as masculine nationalists committed to the preservation of the Alps as their exclusive 'playground of Europe.' Until World War I, the GermanAustrian Alpenverein, the largest alpine club in the world, maintained firm control over mountaineering's master narrative. I argue that, during the Weimar years, this master narrative was subject to onslaughts from ideological opponents (such as the socialist alpine club, Die Naturfreunde), commercial competitors (the mass tourism industry in the Alps), and alternative representations of mountaineering in the cinematic genre of the Bergfilm. The profusion of alternatives to the formerly hegemonic Alpenverein narrative offered audiences new ways to imagine mountaineering, and this challenge created significant fissures within the Alpenverein itself as it struggled to sustain its dominance over the representations and cultural meanings of mountaineering. As I investigate the fracturing of mountaineering's master narrative, I consider how alpine organizations reacted to the new cultural constellations that arose in Weimar and challenged the Alpenverein's master narrative. To establish the contours of this narrative, I draw upon the Alpenverein's own Zeitschriften and Mitteilungen, and I also consult popular alpine journals, such as Der Bergsteiger and the Allgemeine BergsteigerZeitung, paying close attention to how alpine organizations articulated their critiques of the mass tourism industry and published negative depictions of the increasing modernization of the Alps. Additionally, I examine how the Bergfilm genre threatened this master narrative, and how the Alpenverein attempted unsuccessfully to blunt the genre's popularity. In its analysis of texts and films as normative cultural products, my dissertation focuses on how the culture of mountaineering was contested in the realm of narrative and visual representations. The latter chapters discuss how the Alpenverein later aligned itself with the Nazi regime, not only out of ideological affinity, but also in order to utilize the machinery of the Nazi state to reassert its full control over mountaineering's master narrative. / text

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished