Texte remanié de: Diss.--Fakultät für Geschichts-, Social- und Wirtschaftswissenschaften--Stuttgart--Universität, 1996. / Contient l'éd. latine des Statuts du chapitre général de l'Ordre allemand, de l'Acte de fondation et des Statuts de l'abbaye St. Peter auf dem Einsiedel, ainsi que de deux oeuvres de Gabriel Biel : "Tractatus de communi vita clericorum" et "Collatio de vita communi" Bibliogr. p. 378-400. Index.

Texte remanié de: Dissertation--Tübingen--Eberhard-Karls-Universität, 1998. Titre de soutenance : Celebris pictor ? Studien zu Gabriel Deer (ca. 1580-1631), der Kunsttätigkeit der Klöster Admont und Ottobeuren im 17. Jahrhundert und dem Bildhauer Hans Scham. / Bibliogr. p. 435-438.

Zugl.: Wuppertal, Univ., Diss., 2000.

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There are several ways of utilizing the plurality of narrative instances in a novel; the "stereoscopic view", which presents an object through the lens of several perceptions, is one of these ways. This is the case of Des feuilles dans la bourrasque (La Hojarasca), Gabriel Garcia Marquez's first novel, which will be at the center of our reflection on multiple narratives. We will study the structure of the novel through the notion of "parallax", which implies the fragmentation of the object by the marginalization of each one its points of view. However, it is by revealing the "stereoscopic" character of the novel with multiple narratives that the apparent lack of cohesion of the text will be qualified. The study will conclude with the following question: Does the structure of a novel with multiple narratives raise an ethical concern? / Ecluses is a story in five tempos, composed of five chronologically isolated short stories, which are interconnected by a context of common events and characters. The narrative of each of these short stories is supported by a distinct character. Nevertheless, it is the sum of the characters' perceptions, due to the active participation of the reader who has the role of making the different points of view converse, that the story to takes shape and goes forward.

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In the field of musicology, most commentators agree that the late style of Gabriel Faure is highly contrapuntal. At the same time, no systematic or generally accepted methodology exists for the discussion of the way in which Faure combines individual lines, except for Robert Orledge's brief enumeration of Faure's preferred procedures with respect to such things as time and interval of entry. In this thesis, I develop a method for examining counterpoint in selected songs from the late-style song cycle, La Chanson d'Eve. This is based on historical information concerning Faure's education, his pedagogical habits, and his comments concerning the composition of Penelope which was written during the same time period as the songs. This methodology is then applied to an examination of the interaction between the voice and piano, something Orledge has referred to as the "Themeless Contrapuntal Duet." Since Faure himself claimed that he combined motives according to the poetic context, I have also tried to show instances in which their content may be influenced by the text. Finally, I show how these cells of simultaneously sounding motives may be used to create a larger sense of form.

Zugl.: Tübingen, Univ., Habil.-Schr., 2000

Thesis (M.A.)--University of Missouri-Columbia, 2008. / The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on September 5, 2008) Includes bibliographical references.