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Die Geschichte der Mozartrezeption entwickelte sich - und ich meine nicht nur in Polen - in mehreren Phasen. Die erste war eine feen- und märchenhafte Phase, bei der vor allem Papageno Pate stand. Die nächste Phase ist die dämonische (oder bescheidener gesagt romantische), die im Zeichen von Don Juan stand. Sie hat bei uns fast ausschließlich das 19. Jahrhundert beherrscht. Gegen Ende des Jahrhunderts kommt eine neue Phase: Mozart im Rokokostil - Mozart als Autor vom Figaro und leichter Klaviersonaten.

Este trabalho de tradução e sobre tradução de Don Juan de lorde Byron pode ser dividido em duas partes: a primeira cuida das especificidades de autor, sua vida, obra, fortuna crítica, assim como o tratamento do mito de Don Juan na obra byroniana, além de um estudo descritivo das traduções de Don Juan de lorde Byron publicadas no Brasil. A segunda, compõe-se de comentários à guisa de introdução à tradução de Don Juan, e da tradução dos Cantos I, II, III e IV para a língua portuguesa, feita em versos, na mesma estrutura estrófica do original, abalizada por uma pletora de notas a respeito do texto e dos vieses tradutórios. / This work of the translation and on the translation of Lord Byrons Don Juan can be divided into two parts: the first examines Byron\'s characteristics, life, work, literary criticism, as well as Byron\'s treatment of the myth of Don Juan, besides making a descriptive study of the translations of Don Juan of Lord Byron published in Brazil. The second part contains comments on the translation of Don Juan, the translations of Cantos I, II, III and IV, done in verse, in the same formal structure as the original, supplemented by a large number of notes on the text and background.

This study is concerned with the administrative and educational contributions of Don Heath Morris to Abilene Christian College. The aim of this investigation is to ascertain the purposes of those who founded Abilene Christian College and to study the effects of the philosophy and work of Don H. 'Morris on the school. Attention is also given to the changes that occurred in Morris' philosophy as he adjusted to the vicissitudes of a growing college during a period when American higher education was making dramatic changes. Perhaps the outstanding quality of Don H. Morris as a college administrator was his persistence and single-mindedness in pressing for the achieving of the school's goals. He had the ability to see a goal clearly and to work toward it tirelessly. He never allowed the burdens of office that might have deterred a less committed and determined person to come between him and his devotion to the purposes of the school. Morris' basic philosophy of Christianity and Christian education was matured and intensified during his years at Abilene Christian College. His life was fulfilled in his work at Abilene Christian College, and Abilene Christian College bears the lasting impression of his personality and philosophy.

The figure of Don Juan with its numerous variations and adaptations has been widely discussed in secondary literature. However, one of the most recent adaptations of the character, Peter Handke’s novel Don Juan (erzählt von ihm selbst) (2004) has up to now been neglected. This study tries to provide the first in-depth analysis of Handke’s book while specifically centering on the character of Don Juan himself. The examination strives to determine whether Don Juan, as portrayed by Handke, can still be understood as a real embodiment with roots in the literary tradition or whether the author simply evokes an identical name without establishing any real accordance. In order to evaluate this specific treatment of Don Juan, it is necessary to establish a theoretical framework which provides some insight into the recurrent features that constitute the theme itself. This context will be instituted by the means of identifying motifs and structures essential for understanding Don Juan’s place in world literature while relying on the definitions of the terms “Motiv” and “Stoff” as they were formulated by Elisabeth Frenzel. The analysis of Handke’s Don Juan (erzählt von ihm selbst) is structured into three parts. Handke’s treatment of traditional motifs forms the first part of this interpretation whereas an identification of thematic innovations serves as a second part. The analysis concludes with a contextualisation of typical Handke thematic preoccupations. These are inextricably incorporated into his treatment of the Don Juan motif and therefore absolutely necessary to provide a comprehensive evaluation of this work. The thesis affirms that Peter Handke’s Don Juan can be regarded as a convincing new interpretation of the traditional Don Juan character. The author manages to include all the relevant recurrent features that constitute the Don Juan theme but enhances them with iv innovations which reveal new aspects of the character. Some suggestions for further research, e. g. an in-depth intertextual analysis or a psychoanalytical approach conclude the thesis.

The figure of Don Juan with its numerous variations and adaptations has been widely discussed in secondary literature. However, one of the most recent adaptations of the character, Peter Handke’s novel Don Juan (erzählt von ihm selbst) (2004) has up to now been neglected. This study tries to provide the first in-depth analysis of Handke’s book while specifically centering on the character of Don Juan himself. The examination strives to determine whether Don Juan, as portrayed by Handke, can still be understood as a real embodiment with roots in the literary tradition or whether the author simply evokes an identical name without establishing any real accordance. In order to evaluate this specific treatment of Don Juan, it is necessary to establish a theoretical framework which provides some insight into the recurrent features that constitute the theme itself. This context will be instituted by the means of identifying motifs and structures essential for understanding Don Juan’s place in world literature while relying on the definitions of the terms “Motiv” and “Stoff” as they were formulated by Elisabeth Frenzel. The analysis of Handke’s Don Juan (erzählt von ihm selbst) is structured into three parts. Handke’s treatment of traditional motifs forms the first part of this interpretation whereas an identification of thematic innovations serves as a second part. The analysis concludes with a contextualisation of typical Handke thematic preoccupations. These are inextricably incorporated into his treatment of the Don Juan motif and therefore absolutely necessary to provide a comprehensive evaluation of this work. The thesis affirms that Peter Handke’s Don Juan can be regarded as a convincing new interpretation of the traditional Don Juan character. The author manages to include all the relevant recurrent features that constitute the Don Juan theme but enhances them with iv innovations which reveal new aspects of the character. Some suggestions for further research, e. g. an in-depth intertextual analysis or a psychoanalytical approach conclude the thesis.

Thesis--Copenhagen. / Summary in English. Includes bibliographical references (p. 335-[344]) and index.

This thesis explores the various manners in which schadenfreude – taking pleasure in the misfortunes of others – functions in the theatrical works of Golden-Age Spain, specifically in three donjuanesque plays of the seventeenth century. The first chapter of the thesis analyses schadenfreude as exercised in Tirso de Molina’s "El burlador de Sevilla y convidado de piedra," a play in which Don Juan’s pleasurable deceptions incur the enjoyment of his demise. In the second chapter, a variation on the theme of Don Juan finds playwright Alonso de Córdoba y Maldonado applying schadenfreude as a literary technique in his play "La venganza en el sepulcro." Finally, a female representative of the Don Juan archetype is examined in the third chapter, which features María de Zayas y Sotomayor’s only known comedy "La traición en la amistad." / Graduate / 0465 / 0294 / 0313 / tmak@uvic.ca

Zugl.: Leipzig, Universiẗat, Diplomarbeit, 2006.