Inaug.-Diss.--Frankfurt a. Main. / Lebenslauf. "Anhang: Sechs bisher unveröffentlichte Lieder Mendelssohns": p. 155-166. "Verzeichnis der benutzten Litertur": p. 150-153.

Thesis (Th. M.)--Regent College, 1987. / Abstract. Vita. Includes bibliographical references (leaves 142-157).

The purpose of this thesis was to draw new insights on Thomas Berger’s classic American novel, Little Big Man, and his representation of fictional violence that is a substantial aspect of any text on the Indian Wars and “Custer’s Last Stand”. History’s major world wars led to shifts in the political climate and a noted change in the way that violence was represented in the arts. Historical, fictional, and cinematic treatments of “Custer’s Last Stand” and violence were each considered in relation to the text. Berger's version of the famed story is a revision of history that shows the protagonist as a dual-member of two violent societies. The thesis concluded that Berger’s updated American legends and unique “white renegade” character led to a representation of violence that spoke to the current state of affairs in 1964 when the world was becoming much more hostile and chaotic place.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-07-01T18:22:03Z No. of bitstreams: 1 mariagorettilanna.pdf: 3587586 bytes, checksum: 014a30d67b1c218bf36c6af9b71339ee (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-07-13T16:06:00Z (GMT) No. of bitstreams: 1 mariagorettilanna.pdf: 3587586 bytes, checksum: 014a30d67b1c218bf36c6af9b71339ee (MD5) / Made available in DSpace on 2016-07-13T16:06:00Z (GMT). No. of bitstreams: 1 mariagorettilanna.pdf: 3587586 bytes, checksum: 014a30d67b1c218bf36c6af9b71339ee (MD5) Previous issue date: 2012-02-28 / A construção do Santuário da Santa Montanha e do povoado onde este se localiza se originou a partir dos relatos das aparições de Nossa Senhora Aparecida por três crianças na zona rural da cidade de Guiricema, no interior de Minas Gerais, nos anos 1960. Este mundo religioso, baseado estritamente no catolicismo, foi criado por moradores ao redor da montanha, que se uniram, rompendo com a comunidade onde se inseriam e deram início à criação de um mundo/cosmos regido diretamente por Nossa Senhora e pelo Menino Jesus. O presente estudo analisa a construção deste mundo peculiar, tendo por base a teoria da construção social da realidade como proposta por Peter Berger e Thomas Luckmann, abordando-a como um processo da atividade humana que permite desenvolver e construir um mundo, mantendo-o em funcionamento. / The idea of creating Santa Montanha’s Sanctuary, and the village where it is located, originates from narratives about Saint Mary’s apparitions, based on reports of three children from Guiricema – a town located on the countryside of Minas Gerais state – in the nineteen sixties. This religious world, strictly based on Catholicism, was created by the people who lived in the surroundings of the hill where the sanctuary was built. Together, they left their homes and formed a new community, creating a world/cosmos ruled directly by Saint Mary and Baby Jesus themselves. This study analyses the construction of this peculiar world, based on Peter Berger and Thomas Luckman´s theory of the social construction of reality, considering it a process of human activity that allows us to develop and create a world, keeping it functional.

The overall purpose of this study is to elucidate Wilhelm Peterson-Berger’s perception of gender and how it is manifested in his philosophy of art. His perception of gender also incorporates conceptions of history, music and nationality. The research question is analysed primarily by reviewing Peterson-Berger’s writings from 1896 to 1913. The research is intended to shed new light on a previously overlooked area of research, using gender theory and discourse analysis. Peterson-Berger and his work have not been examined previously from a gender theory perspective.  The research shows that Peterson-Berger was influenced in large measure by the prevailing ideals of his time, although he was in some ways more innovative than many of his contemporaries. Around the turn of the 20th century there was a great deal of focus on biology, with  a clear distinction drawn between femininity and masculinity[1] . Masculinity was held up as an ideal, in contrast to femininity and effeminacy. Peterson-Berger advocated this distinction, and emphasized the biological  distinction between [2] masculinity and femininity. However, a man need not always have all the characteristics that were considered typically masculine for his time, nor was it necessary for a woman to possess all the feminine characteristics typical of the female gender. According to Peterson-Berger, a woman could have a masculine soul, and vice versa. And although he often took a negative view of women, he granted musical recognition to singers who realized music in what was, to him, a masculine way. Moreover, the majority of Peterson-Berger’s close friends were women, and he dedicated many of his works to women. Theories of race and human evolution were circulating at the turn of the century, and clearly influenced Peterson-Berger. This study has shown that he pursued the writings of [3]  Chamberlain[4]  and Nietzsche. Incorporating elements of old Gothicist theories with ideas from the two aforementioned thinkers, Peterson-Berger constructed his own racial theory. He asserted that all peoples originated from the Nordic region, which he believed to be the birthplace of the entire human race. According to his theory, southern peoples were inferior[5] , with one exception, the Greeks, towards whom he was very positively disposed. This had to do with the ancient music drama, which Peterson-Berger believed had been created by inhabitants from the north who had migrated to Greece. Peterson-Berger’s notions about peoples from the north versus peoples from the south were interwoven with theories of sexuality. He believed that Germanic peoples were more sexually abstemious than southern Europeans, and that peoples who lived in the south were sexually dissolute. To indulge one’s sexuality was, in his view, a character flaw. Conversely, Peterson-Berger viewed asexuality as a masculine ideal, and believed it to be more common in the north.  A number of contradictions have emerged in his perceptions of race and sexuality. A number of his perceptions with respect to gender roles, sexuality, nationalism and philosophy[6]  are portrayed in his opera Arnljot, as are the contradictions inherent in them. For instance, the character Arnljot has many of the typical masculine characteristics held up as ideal, but nevertheless exhibits both weaknesses and deficiencies. This is reflected in both the music and the opera libretto. / Wilhelm Peterson-Berger var en av de mest framstående tonsättarna kring sekelskiftet 1900. Han var inte bara kompositör utan även aktiv skribent i daglighetspressen. Många av hans uppfattningar om kön, nationalitet, filosofi och konst återspelglas i hans skriftställeri men kan även tydas i de musikaliska verken. Peterson-Berger var till stor del påverkad av dåtidens rådande ideal, men på vissa sätt var han mer nydanande än många andra i sin samtid. Omkring sekelskiftet sattes mycket fokus på biologi och en tydlig uppdelning gjordes mellan kvinnligt och manligt. Manlighet ställdes upp som ett ideal i kontrast till kvinnlighet och omanlighet. Peterson-Berger förespråkar en sådan uppdelning och gör skillnad mellan biologisk manlighet och kvinnlighet. Dock behöver inte alltid en man förfoga över egenskaper som ansågs tidstypiskt manliga eller en kvinna inneha endast de tidstypiska kvinnliga egenskaperna. Enligt honom kunde en kvinna vara innehavare av en manlig själ och vice versa. Peterson-Berger tangerade således en modern syn på kön som pekar fram mot dagens genus teorier. I Peterson-Bergers opera Arnljot konkretiseras flera av hans uppfattningar av både könsroller, sexualitet och filosofi – liksom de motsägelser som fanns. Karaktären Arnljot förfogar exempelvis över flera av de idealtypiska manliga egenskaperna men uppvisar trots det både svagheter och brister. Det återspeglas såväl i text som i musik. Peterson-Bergers egen sexualitet har upprepade gånger varit omdiskuterad. Knyter vi an till hans musikaliska verk och skriftställeri kommer vi närmare ett svar på hur det kan ha förhållit sig.

It is assumed that the performer of Le Berger Fidele will be capable of a more accurate performance and a more historically authoritative interpretation if he thoroughly understands all musical aspects of the cantata. Due to the lack of written directions from earlier composers, it is important that the performer research the period, composer, and composition to insure a more accurate, interpretive performance. The first chapter delves into the life and works of Rameau. The second chapter follows the development of the French solo cantata from the beginning of the art song to its culmination. Ornaments peculiar to French cantata are discussed in the third chapter. In Chapter IV each pair of recitative and aria is examined and analyzed according to form, harmony, rhythm, melody (including phrasing), dynamics and ornaments, and instrumentation. The cantata is built up in a succession of three arias. Each aria is da capo in form and is preceded by a recitative and an instrumental introduction. Each air is concluded with an instrumental postlude.

Univ., Diss/06--Zürich, 2005.

Thesis (doctoral)--Friedrich-Alexander-Universität, Erlangen-Nürnberg, 2006. / Includes bibliographical references (p. [375]-392) and indexes.

In recent decades, the truth commission has become a mechanism used by states to address historical injustices. However, truth commissions are rarely used in established democracies, where the commission of inquiry model is favoured. I argue that established democracies may be more amenable to addressing historical injustices that continue to divide their populations if they see the truth commission mechanism not as a unique mechanism particular to the transitional justice setting, but as a specialized form of a familiar mechanism, the commission of inquiry. In this framework, truth commissions are distinguished from other commissions of inquiry by their symbolic acknowledgement of historical injustices, and their explicit “social function” to educate the public about those injustices in order to prevent their recurrence. Given that Canada has established a Truth and Reconciliation Commission (TRC) on the Indian Residential Schools legacy, I consider the TRC’s mandate, structure and ability to fulfill its social function, particularly the daunting challenge of engaging the non-indigenous public in its work. I also provide a legal history of a landmark Canadian public inquiry, the Mackenzie Valley Pipeline Inquiry, run by Tom Berger. As his Inquiry demonstrated, with visionary leadership and an effective process, a public inquiry can be a pedagogical tool that promotes social accountability for historical injustices. Conceiving of the truth commission as a form of public inquiry provides a way to consider the transitional justice literature on truth commissions internationally along with the experiences of domestic commissions of inquiry to assemble strategies that may assist the current TRC in its journey.

In recent decades, the truth commission has become a mechanism used by states to address historical injustices. However, truth commissions are rarely used in established democracies, where the commission of inquiry model is favoured. I argue that established democracies may be more amenable to addressing historical injustices that continue to divide their populations if they see the truth commission mechanism not as a unique mechanism particular to the transitional justice setting, but as a specialized form of a familiar mechanism, the commission of inquiry. In this framework, truth commissions are distinguished from other commissions of inquiry by their symbolic acknowledgement of historical injustices, and their explicit “social function” to educate the public about those injustices in order to prevent their recurrence. Given that Canada has established a Truth and Reconciliation Commission (TRC) on the Indian Residential Schools legacy, I consider the TRC’s mandate, structure and ability to fulfill its social function, particularly the daunting challenge of engaging the non-indigenous public in its work. I also provide a legal history of a landmark Canadian public inquiry, the Mackenzie Valley Pipeline Inquiry, run by Tom Berger. As his Inquiry demonstrated, with visionary leadership and an effective process, a public inquiry can be a pedagogical tool that promotes social accountability for historical injustices. Conceiving of the truth commission as a form of public inquiry provides a way to consider the transitional justice literature on truth commissions internationally along with the experiences of domestic commissions of inquiry to assemble strategies that may assist the current TRC in its journey.