En el presente trabajo se analizan cinco cuentos de la autora argentina Clara Obligado, con el objetivo de ver como se manifiesta el problema de la identidad en los cuentos, y ver cómo la autora construye y representa su voz del sujeto desarraigado en los cuentos. Los cuentos están nombrados relatos de vida, porque el análisis centra en las identidades de las protagonistas. En el trabajo se utiliza la teoría de construccionista y el concepto teórico de Bajtín (Borque 1985), el dialogismo. El análisis muestra que la autora construye y representa la voz desarraigada a través de diferentes recursos dialógicos; el diálogo presente y pasado, el diálogo espacial (aquí y allá), el diálogo lingüístico (español de España y de América), el diálogo entre las relaciones humanas (el hombre de acá y el hombre de allá). En el análisis se puede ver cómo los acontecimientos que les pasan a las protagonistas las hacen sentir como sujetos desarraigados que no saben a dónde pertenecen.

Clara Wieck Schumann’s 1836 Piano Concerto Op. 7 represents an era of radical formal experimentation in the early nineteenth century. As such, critics including Robert Schumann questioned its unity, thus prompting late twentieth-century scholars to reassess both its departures from tradition and its cohesive mechanisms. I propose that the concerto’s formal innovations are a result of Wieck’s decision to construct a tripartite work from her autonomous Concertsatz, which became the Finale after the addition of a first and second movement. This study uses William Caplin’s theory of formal functions and Steven Vande Moortele’s theory of two-dimensional sonata form to examine how Wieck complemented the independent Finale with a formally divergent first movement, which facilitates the projection of an overarching sonata form spanning the entire work. In doing so, this study produces a model to assess the concerto’s internal logic.

Syftet med studien var att finna lösningar i en begränsad repertoar för oboe, genom att belysa musik komponerad för violin av den ouppmärksammade kvinnliga tonsättaren Marion Bauer. Syftet var i förlängningen att inspirera andra musiker att utföra liknande studier. Detta genomfördes metodiskt genom konstnärliga val baserade på musikanalys och transkription till oboe av Bauers verk Up the Ocklawaha, Op. 6 som komponerades för den kvinnliga violinisten Maud Powell. Vidare egna inspelningar, musikhistoriska studier och intag av andra verk, såsom Clara Schumann-Wiecks tre romanser för violin och piano, Op. 22. I transkriptionen identifierades utmaningar i form av dubbelgrepp och flageoletter för violin. Studiens resultat påvisar lösningar genom konstnärliga val som prioriteringar av bärande meloditoner och oktaveringar. Resultatet indikerar att transkriptionen var fullt genomförbar genom noga övervägda konstnärliga val trots tekniska utmaningar. Studiens övergripande resultat belyser vikten av att framhäva kvinnliga kompositörer som annars i tillräcklig grad inte uppmärksammas.

Thematischer Katalog der musikalischen Blätter aus dem Schumann-Album in der Sächsischen Landesbibliothek – Staats- und Universitätsbibliothek Dresden (SLUB)

Isabel-Clara Simó és tot un referent de la literatura catalana del darrer terç del segle XX fins a l’actualitat. De fet, el 2017 fou guardonada amb el Premi d’Honor de les Lletres Catalanes. És per això, que aquesta investigació tractarà d’analitzar una gran part dels seus escrits de ficció, més concretament els seus contes. En ella, després d’exposar una introducció que estudie tots els elements que conformen el gènere literari del relat breu, s’oferirà un breu apartat biogràfic i sociocultural que servisca de preàmbul per a l’anàlisi dels contes de l’autora, classificada en dos grans blocs: l’estudi dels contes segons les estructures narratives (contes fantàstics, policíacs i psicològics); i l’estudi dels contes segons les temàtiques (feminisme, erotisme, infantesa, vellesa, conte històric, reflexió sociolingüística i intertextualitat).

Two reasons precipitated the move of the Schumanns to Dresden: Robert Schumann’s health and the reconciliation with Clara Schumann’s father. Yet Dresden quickly turned into disappointment: Robert’s mental condition worsened, relations with her father deteriorated. Burdened with familial responsibilities and no time for concert tours, Clara found expression in her most ambitious and melancholic composition, creating one of the most individualistic and innovative chamber works of her generation. Central to this narratological reading is the composer’s use of the Clara theme (diatonically descending fifth) and its many derivatives throughout the work. Substantial revisions found in the autograph (RSH 12897-A1) present obvious clues about overarching thematic and harmonic strategies and early reviews emphasizing the composer’s individualistic voice offer further hermeneutic insights. To express her disappointing Dresden experience defiantly, Clara explored the possibilities of thematic integration among all four movements as well as a super-imposed sonata form design across the whole work.

Clara Schumann’s impact on the history of piano playing and the development of 19th century concert life can hardly be denied. But understanding her pianistic career in terms of the work of a modern soloist covers the fact that she actually spent a large amount of time on stage not alone but performing together with colleagues. Taking a closer look at Clara Schumann’s collaboration with the baritone Julius Stockhausen, this article provides special insight into this field of her professional life: In addition to uncovering the contexts of collective concert programming and its reception it sheds light on the evolution of the Lied accompanist’s artistic identity in general and Clara Schumann’s specific ideal of communicating through musical performance.

The Archives of Women in Music based in Frankfurt a. M. (Germany) was founded in 1979. Its goals are increasing the visibility of women in music, achieving programming parity and making the wealth of creative work by women in music available for performance and research. The Archives assure long-term safe storage of both analogue and digital archive and library content. During the last three years it focused on two collection digitization projects and an oral history project.

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Clara Zetkin was celebrated in both Germany and the Soviet Union before World War II because of her active involvement in the communist movement. She wrote prolifically and preached the virtues of socialism. She concerned herself particularly with women's needs, arguing that women would respond best to a different form of agitation than that used among men. Zetkin asserted that communism was the only way to respond to women's concerns as mothers and that only state involvement in domestic life would allow women to be fully emancipated. Women needed freedom from household work and increased training and support to aid them as workers, and Zetkin's writings centered on these principles. The Bolshevik Revolution proved to Zetkin that communism rescued women from the oppression of capitalism. The Soviet model showed that women could find protection for themselves and their children through state intervention. In addition, communism provided a female proletariat with increased employment opportunities and training. While bourgeois women's movements spread through Europe, Zetkin emphasized that true liberation came only through communism. For Zetkin, communism as found in Soviet Russia in the 1920s brought women equality not just in theory but also in practice. Zetkin's periodical Die Kommunistische Fraueninternationale (1921-1925) included articles that emphasized the Soviet system for aiding women. These articles supported Zetkin's belief that communism would benefit women by lightening their burdens. Die Kommunistische Fraueninternationale established a forum in which communist women throughout the world could hear news from movements in countries other than their own. By including discussion of the Soviet model in her periodical, Zetkin sought to convince women of the virtues of joining Soviet Russia in worldwide revolution rather than succumbing to the empty promises of capitalist nations. Die Kommunistische Fraueninternationale, however, presented statistics, accounts, and promises that conflicted with reality. Historians have shown that the Soviets never fully developed institutions that would emancipate women from housework and grant them the equality Zetkin and her followers desired. The Soviet model portrayed in Die Kommunistische Fraueninternationale was optimistic but, nevertheless, illustrated what Zetkin anticipated her female readers dreamed for themselves.