Inaug.-Diss.--Freie Universität, Berlin. / Vita. Bibliography: p. 7-14.

Zugl.: Freiburg (Breisgau), Univ., Diss., 2005/06

This thesis analyses the novel Schlafes Bruder, written by the Austrian author Robert Schneider in 1992. The analysis focuses on the presentation of music throughout the work and specifically examines how different philosophical theories of music are treated within the novel. Throughout this investigation it is shown that the discussion of music is characterized by a typical post-modern, self-contradictory structure, which other critics have already perceived in other aspects of the novel. The first chapter introduces the topic of this thesis, gives a summary of existing research, and presents different assessments of the novel. In addition, it outlines the main arguments of the philosophical theories that formulate the basis for the subsequent in-depth analysis of Schlafes Bruder. The second chapter continues the analysis of the text, beginning with the examination of the narrator. Although it is revealed that the narrator is depicted as a contradictory figure, it makes several statements about the notion of music and hints at the philosophical theories that influence it. The third chapter deals with the presentation of the musicality that is shown in the inner world of the story. Here, the focus lies on the awakening of the genius protagonist, his musical production and the reaction of the audience to his music. The last chapter concludes that the text uses and establishes philosophical theories of music, while also undermining them, leaving no final statement in this discussion of music. The post-modern character is, in this way, also seen in the debate surrounding the philosophy of music.

This thesis analyses the novel Schlafes Bruder, written by the Austrian author Robert Schneider in 1992. The analysis focuses on the presentation of music throughout the work and specifically examines how different philosophical theories of music are treated within the novel. Throughout this investigation it is shown that the discussion of music is characterized by a typical post-modern, self-contradictory structure, which other critics have already perceived in other aspects of the novel. The first chapter introduces the topic of this thesis, gives a summary of existing research, and presents different assessments of the novel. In addition, it outlines the main arguments of the philosophical theories that formulate the basis for the subsequent in-depth analysis of Schlafes Bruder. The second chapter continues the analysis of the text, beginning with the examination of the narrator. Although it is revealed that the narrator is depicted as a contradictory figure, it makes several statements about the notion of music and hints at the philosophical theories that influence it. The third chapter deals with the presentation of the musicality that is shown in the inner world of the story. Here, the focus lies on the awakening of the genius protagonist, his musical production and the reaction of the audience to his music. The last chapter concludes that the text uses and establishes philosophical theories of music, while also undermining them, leaving no final statement in this discussion of music. The post-modern character is, in this way, also seen in the debate surrounding the philosophy of music.

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Cette thèse explore, selon une perspective intermédiale, le rapport entre les phénomènes de remédiation et le problème de la disparition à partir d’œuvres littéraires et filmique : Un cabinet d’amateur de Georges Perec (1979), Dora Bruder de Patrick Modiano (1997) et The Prestige, réalisé par Christopher Nolan (2006). Partant du postulat qu’il existe un lien signifiant entre l’hétérogénéité énonciative des œuvres étudiées – qui convoquent différents genres, modes d’expression et médialités – et le motif de la disparition qui s’y dessine, nous posons l’hypothèse que les œuvres produisent un métadiscours traduisant le fonctionnement d’un régime d’interaction particulier que la disparition aurait la possibilité d’induire : l’hypermédiateté. En tant que contrepoint de l’immédiateté, l’hypermédiateté qualifie ce régime où les seules relations possibles ont lieu par et dans la médiation, à la manière de ce qui se joue dans les œuvres du corpus témoin. La particularité de cette approche est de considérer la disparition comme ayant une valeur productive indissociable des valeurs négatives d’absence, de retrait ou d’effacement auxquelles elle est plus généralement rattachée. La première partie pose les bases conceptuelles du projet en revisitant les théories des médias à l’aune du tournant performatif qui détermine la période « postmédiatique » de l’intermédialité. Est alors explicité en quoi il est possible de concevoir les particularités formelles des œuvres du corpus comme informant une poétique de la remédiation. La deuxième partie s’appuie sur ce cadre conceptuel pour conjuguer le problème de la disparition à celui de la remédiation, et ce, dans le but d’articuler une définition de l’hypermédiateté. Finalement, des analyses en diptyques orientées autour des concepts d’authenticité, de survivance et d’institution composent la dernière section. Le corpus témoin participe d’abord à l’édification du cadre conceptuel, contribue ensuite à problématiser l’idée de disparition et permet en dernier lieu les articulations et approfondissements qui émergent des analyses. Trois buts sont ainsi poursuivis. La visée méthodologique, d’abord, est celle de diriger notre attention vers les actions et processus plutôt que vers les objets (ce qui favorise une pensée de la médiation au détriment de celle, plus figée, du média). Le but théorique consiste à revisiter les théories intermédiales dans le contexte épistémologique actuel pour produire un discours inédit sur le phénomène formel en tentant de dépasser les logiques de l’imitation, du transfert et de la représentation. Finalement, l’objectif général est de concevoir, à partir du motif de la disparition, le rôle de la médiation dans les processus dynamiques de singularisation des objets du monde, et ce, hors du paradigme de la représentation. / This thesis will explore, with an intermedial perspective, the relation between processes of remediation and the issue of disparition drawing on three literary and filmic works: Un cabinet d’amateur by Georges Perec (1979), Dora Bruder by Patrick Modiano (1997) and The Prestige, directed by Christopher Nolan (2006). Based on the premise of the existence of a meaningful connection between the heterogeneity of the examined works’ structure of enunciation – convening different genres, forms of expression and medialities – and the pattern of disparition they delineate, the hypothesis we propose is that these works give rise to a metadiscourse inferring a particular mode of interaction induced by disparition: hypermediacy. Conceived as immediacy’s counterpoint, hypermediacy refers to a mode in which the only possible relations occur through mediation, as played out in the works of the sample corpus. The distinctive feature of this approach lies in the interpretation of disparition as possessing a productive aspect, indissociable from the negative aspects of absence, withdrawal or obliteration, to which it is more commonly associated with. The first part establishes the project’s conceptual bases, revitalizing media theories in the light of the performative turn, which launched the post-mediatic period of intermediality. From there is explicated in which ways the corpus’ formal properties can be considered as informing a poetics of remediation. The second part builds on this conceptual framework to conjugate the problem of disparition with that of remediation in order to articulate a potent definition of hypermediacy. Finally, the last section presents three diptych analyses oriented around the concepts of authenticity, Nachleben and institution. The sample corpus primarily contributes to the enlightenment of the conceptual framework along with problematizing the idea of disparition. Lastly, it allows in depth articulations to emanate from the analysis. Three goals are thereby pursued. Firstly, the methodological goal is to direct our attention towards actions and processes rather than objects, favoring an idea of mediation over the more static perspective of media. Secondly, the theoretical goal consists of revising theories of intermediality in the current epistemological context to create an original discourse on the formal phenomenon, with efforts to overcome the logics of imitation, transfer and representation. At last, the general objective is to produce a discourse about the way mediation participates to the dynamic processes of singularization applied to people and objects. Disparition is the prisma through which these processes are conceived in a manner that is contrapuntal to the representational paradigm.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

The Berlin Wall divided the city for almost 28 years. In June 1961, just two months before the building thereof, Walter Ulbricht said that no one had any intention to build a wall. In August the same year, the wall was built. Ulbricht, one of the most prominent politicians in the German Democratic Republic (GDR), held a speech 5 days after the building of the wall, as an attempt to defend the actions of his government. This thesis focuses on that speech. In this thesis, Walter Ulbricht’s use of language in his speech is analysed using the theory of conceptual metaphors by Lakoff & Johnson. The aim is to investigate how Ulbricht used language to try to defend the actions that made him be called a hypocrite by many. This is done through exploring how certain words can be understood as metaphors and how this could indicate how a person perceives the world. The words Bruder (eng. brother) and Frieden (eng. peace) are focused on, as these were important and central political words at the time. A central part of this thesis is therefore a discussion of how these words were used in the GDR to be able to later compare this to Ulbricht’s own use.  The conclusion shows that Bruder is used to highlight the German identity, rather than a “West German” or an “East German” one. Furthermore, Frieden is used to call attention to the perceived differences in politics and everyday life. In addition to this, these two words were found to be used intertwiningly, which could be seen through how Ulbricht emphasised that the brothers were the ones fighting for peace. This leads to yet another metaphor that Ulbricht uses in his speech, namely a wall.

[pt] Existem diversas formas de se conceber e perceber a arquitetura, entre tantas, porém, acredita-se que determinadas obras denotam silêncio, manifestação fenomênica que proporciona determinada mobilização empática. Sendo a arquitetura uma arte que envolve questões relacionadas ao espaço material no qual o homem habita, busca-se entender o que faz uma obra construída ser caracterizada essencialmente pelo silêncio e o que é necessário, em termos materiais, para que isso possa acontecer. Para tanto, esta pesquisa se apoia no conceito de tectônica que, de acordo com Kenneth Frampton (1995, 1998), consiste em uma das dimensões essenciais da arquitetura. Sendo assim, além de discussão relacionada ao conceito de tectônica, como referencial teórico-metodológico, mobiliza-se o termo silêncio, ideia intrínseca à pesquisa, com o objetivo de analisar certas expressões arquitetônicas que possibilitam o seu surgimento, percebível sinestesicamente, na arquitetura. Assim, foram selecionados três projetos para análise: a Casa Azuma, a Capela Bruder Klaus e o Museu Brasileiro da Escultura - MuBE. Obras onde o silêncio encontra-se em evidência e comprovam que, apesar do ruído sempre existir, é possível vivenciar o silêncio, por intermédio da arquitetura. / [en] There are several ways to conceive and perceive architecture, among many, however, it is believed that certain works denote silence, phenomenal manifestation that provides a certain empathic mobilization. Since architecture is an art that involves issues related to the material space in which man lives, the aim is to understand what makes a constructed work become essentially characterized by silence and what is necessary, in material terms, for this to happen. Therefore, this research is based on the concept of tectonics which, according to Frampton (1995, 1998), is one of the essential dimensions of architecture referring to constructive poetics. Thus, in addition to the discussion related to the concept of tectonics as a theoretical-methodological reference, the term silence, an idea intrinsic to the research, is mobilized, with the objective of analyzing certain architectural expressions that allow its emergence, synesthetically perceivable in architecture. Thus, three projects were selected for analysis: the Azuma House, the Bruder Klaus Chapel and the Brazilian Museum of Sculpture - MuBE; works where silence is in evidence, proving that, even though noise has always existed, it is possible to experience silence through architecture.