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Inaug.-Diss.--Breslau. / Lebenslauf. "Literatur": p. 138.

Inaug.-Diss.--Breslau. / Lebenslauf. "Literatur": p. 138.

Although the field of German Romantic Orientalism has been growing in recent years, the prolific writer E.T.A. Hoffmann has largely escaped critical attention. This study of his oeuvre reveals, however, that it was shaped and influenced by both the scholarly and popular orientalist discourses of his time. Furthermore, Hoffmann satirises literary orientalist practices even as he takes part in them, and so his work exposes the ambivalence of the apparent German veneration for the ‘Romantic’ Orient. While Hoffmann responds to the Romantic image of the Orient set up by his predecessors (J.G. Herder, Novalis, Friedrich Schlegel), he does so in order to reveal both the uses and the limits of this model for the Romantic artist in the modern world. The Orient serves as an inspiration for Romantic art, and thus Edward Said’s claim that the Romantics appropriated the East merely for the rejuvenation of European literature must be acknowledged. Nevertheless, as an extremely self-aware writer, Hoffmann does not utilise this approach uncritically. My thesis shows how Hoffmann responded to the image of the Orient as it was produced by writers, musicians, and scholars inside the German-speaking lands. The Orient resists successful imitation, as his texts acknowledge when they turn a critical eye towards German cultural production. Furthermore, Hoffmann’s famous criticism of nineteenth-century society is enhanced by comparison of German and oriental characters, with the latter often coming out more favourably. Hoffmann’s tales therefore demand a reassessment of the view that the Romantics constructed the Orient exclusively as a paradisaical land of poetic fulfilment. His (self-) reflective response to the nineteenth-century treatment of the Orient in Germany marks him out as an original – and essential – voice in Romantic Orientalism.

Thesis (Ph. D.)--University of Maryland, 1975. / Typescript. Includes indexes. Includes bibliographical references (leaves 572-617).

Made available in DSpace on 2014-06-11T19:22:19Z (GMT). No. of bitstreams: 0 Previous issue date: 2007-07-30Bitstream added on 2014-06-13T20:08:59Z : No. of bitstreams: 1 bogado_am_me_arafcl.pdf: 959038 bytes, checksum: 81452521bce9f681c5bd203b5c6bd59a (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / A pesquisa consiste em estudar a expressão poética e filosófica existente no romance Lucinde (1799), de Friedrich Schlegel (1772-1829). Crítico e pensador deste período, Schlegel concretiza nesta obra, através da linguagem e da forma, os ideais do Primeiro Romantismo (Frühromantik). Tendo como base o idealismo subjetivo da filosofia de Johann Gottlieb Fichte, ele desenvolve um conceito que chama de poesia progressiva universal. Em Lucinde, Schlegel concebe um romance histórico-crítico no qual o processo de amadurecimento vivido pelo personagem principal (Júlio) - da sua tempestuosa juventude até a sua harmoniosa vida com Lucinda - pode ser visto como uma alegoria do percurso vivido pelo movimento romântico desde o surgimento do Sturm und Drang (fase de ruptura com os preceitos iluministas), passando pelo processo de formação (Bildung), até chegar ao momento presente vivido por Schlegel: a produção de Lucinde e o círculo de Jena, sendo que o texto transita entre o elogio e a crítica desse percurso histórico-literário da Alemanha do século XVIII. A produção dos pensadores do Frühromantik girou em torno principalmente de ensaios filosóficos, da história da literatura e da crítica literária e o romance de Schlegel compreende a infinitude dessas questões. Lucinde está muito distante de ser um romance de entretenimento: trata-se de um projeto romântico. Filosofia, crítica literária e história da literatura em forma de arte. / The reasearch consists in studying the poetic and philosophical expression existing in the novel Lucinde ( 1799 ), by Friedrich Schlegel ( 1772-1829). Critic and thinker from that period, Schlegel renders in this piece , through his language and structure, the ideal of the Early German Romanticism ( Frühromantik ). Based on the subjective idealism from the philosophy of Johann Gottlieb Fichte, Schlegel developes a concept wich he names universal pregressive poetry. In Lucinde, Schlegel conceives a historical-critic novel in wich the process of maturation lived by the protagonist ( Júlio ) - from his tempestuous youth to his harmonious life with Lucinda - can be seen as an allegory of the course traversed by the Romantism since the arising of Sturm und Drang ( a rupture phase with the illuminist principles ), passing from the forming process ( Bildung ), to the present moment lived by Schlegel: the production of Lucinde and the circle of Jena; being the text a transient between the praise and the critique of this historical-literary course of the Germany in the eighteenth century. The production of the Frühromantik's thinker moved around philosophical essays specially, literature history and literary critique; and the Schlegel's novel comprehends the infinities of these issues. Lucinde is quite far away from being an entertainment novel: it's a romantic project. Philosophy, literary critique and literature history turned into art.

Unlike the eminent Nordic composers Edward Grieg, Jean Sibelius, and Carl Nielsen, Swedish composer Wilhelm Stenhammar (1871-1927) and his compositions have been long forgotten. However, the composer and his works are gradually being recognized through an increase in performances, recordings, and research. This paper discusses Stenhammar's three early chamber works for piano and strings, Allegro brillante for Piano Quartet in E-flat Major (1891), Allegro non tanto for Piano Trio in A Major (1895), and Sonata for Violin and Piano in A Minor, op. 19 (1899-1990) in search of the elements of German Classicism, German Romanticism, and Swedish Nationalism, that define his mature style. Although these works might be considered to be juvenilia lacking any of Stenhammar's distinguishing color, these three early chamber works are stepping stones to the musical traits that characterize his later mature works.

Made available in DSpace on 2014-06-11T19:32:08Z (GMT). No. of bitstreams: 0 Previous issue date: 2009-05-25Bitstream added on 2014-06-13T20:42:43Z : No. of bitstreams: 1 scheel_m_dr_arafcl.pdf: 1603298 bytes, checksum: 5562ae2df48c3a1711f83a07c1999364 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / O projeto que ora se apresenta procura localizar – histórica, crítica e teoricamente – algumas linhas de força do pensamento filosófico, estético e artístico desenvolvidas a partir do Primeiro Romantismo Alemão e que foram, ao longo dos séculos, rejeitadas, negadas, revistas ou reconfiguradas, dando origem a questões centrais no interior dos discursos críticos e teóricos da modernidade e do pós-modernismo. Partindo das relações estabelecidas por Novalis e Schlegel – principais representantes do Primeiro Romantismo Alemão – entre teoria, pensamento filosófico e poética, bem como da elaboração consciente de uma estética do fragmento, buscaremos compreender como a idéia do fragmentário engendra, na modernidade e no pós-modernismo, uma problemática da crise: das possibilidades de representação do real, de criação artística, de alcance e fixação da verdade, do discurso como instância ou como meio através do qual o mundo, o real e os indivíduos são compreendidos, tomados, discutidos e representados. Busca-se entender a crise da representação e a forma como esta se vincula, no plano da criação artística, a outras noções igualmente importantes discutidas ao longo do século passado: o estilhaçamento e a crise da noção de sujeito, a legitimidade dos discursos, a busca incessante pela originalidade radical como única forma de surgimento e manifestação do novo no domínio estético, a ruptura e o choque entre certo relativismo do qual se acusa a contemporaneidade em relação a uma alta tradição, uma alta cultura, que teriam produzido os últimos grandes modelos de discursos teleológicos, com seus conceitos de verdade absoluta, de revolução possível, de transformação plena da ordem estabelecida. Desse modo, além dos fragmentos literários dos românticos, o trabalho em questão passa pela análise dos romances Nadja, de André Breton e Vício... / The project presented now tries to situate – historically, critically and theoretically – some force lines of the philosophical, aesthetic and artistic thought developed since the Early German Romanticism, which during centuries were rejected, denied, reviewed or reconfigured, originating central issues within the critical and theoretical discourse of the modernism and postmodernism. From the relation established by Novalis and Schlegel – the main representatives of the Early German Romanticism – between theory, philosophical and poetic thought, besides the conscious elaboration of an aesthetic of the fragment, we seek out to understand how the idea of the fragment brings forth in modernism and postmodernism a problem of crisis: the possibilities of the representation of real; the artistic creation; the acquisition and fixation of the truth; the discourse as instance or as a way in which the world, the real and the individuals are understood, taken, discussed and represented. We seek to comprehend the representation crisis and the way it is linked, on the artistic creation area, to other notions equally important discussed throughout last century: the chipping and the notion of subject crisis, the legitimacy of discourses, the incessant search or the radical originality as the only way of appearance and manifestation of the new aesthetic domain, the disruption and the impact between a kind of relativism in which the contemporary is accused with regard to a high tradition, a high culture, which would have produced the last important models of teleological discourses, bringing its concepts of absolute truth, possible revolution, full transformation of the established order. So, beyond the Romantic literary fragments, this work analyze the novels Nadja by André Breton; Vício by Paulo José de Miranda; as well as some comments about The Floating Opera by John Barthes and W, or the... (Complete abstract click electronic access below)

Orientador: Wilma Patricia Marzari Dinardo Maas / Banca: Karin Volobuef / Banca: Maria Lídia Lichscheidl Maretti / Resumo: A pesquisa consiste em estudar a expressão poética e filosófica existente no romance Lucinde (1799), de Friedrich Schlegel (1772-1829). Crítico e pensador deste período, Schlegel concretiza nesta obra, através da linguagem e da forma, os ideais do Primeiro Romantismo (Frühromantik). Tendo como base o idealismo subjetivo da filosofia de Johann Gottlieb Fichte, ele desenvolve um conceito que chama de "poesia progressiva universal". Em Lucinde, Schlegel concebe um romance histórico-crítico no qual o processo de amadurecimento vivido pelo personagem principal (Júlio) - da sua tempestuosa juventude até a sua harmoniosa vida com Lucinda - pode ser visto como uma alegoria do percurso vivido pelo movimento romântico desde o surgimento do Sturm und Drang (fase de ruptura com os preceitos iluministas), passando pelo processo de formação (Bildung), até chegar ao momento presente vivido por Schlegel: a produção de Lucinde e o círculo de Jena, sendo que o texto transita entre o elogio e a crítica desse percurso histórico-literário da Alemanha do século XVIII. A produção dos pensadores do Frühromantik girou em torno principalmente de ensaios filosóficos, da história da literatura e da crítica literária e o romance de Schlegel compreende a infinitude dessas questões. Lucinde está muito distante de ser um romance de entretenimento: trata-se de um projeto romântico. Filosofia, crítica literária e história da literatura em forma de arte. / Abstract: The reasearch consists in studying the poetic and philosophical expression existing in the novel Lucinde ( 1799 ), by Friedrich Schlegel ( 1772-1829). Critic and thinker from that period, Schlegel renders in this piece , through his language and structure, the ideal of the Early German Romanticism ( Frühromantik ). Based on the subjective idealism from the philosophy of Johann Gottlieb Fichte, Schlegel developes a concept wich he names "universal pregressive poetry". In Lucinde, Schlegel conceives a historical-critic novel in wich the process of maturation lived by the protagonist ( Júlio ) - from his tempestuous youth to his harmonious life with Lucinda - can be seen as an allegory of the course traversed by the Romantism since the arising of Sturm und Drang ( a rupture phase with the illuminist principles ), passing from the forming process ( Bildung ), to the present moment lived by Schlegel: the production of Lucinde and the circle of Jena; being the text a transient between the praise and the critique of this historical-literary course of the Germany in the eighteenth century. The production of the Frühromantik's thinker moved around philosophical essays specially, literature history and literary critique; and the Schlegel's novel comprehends the infinities of these issues. Lucinde is quite far away from being an entertainment novel: it's a romantic project. Philosophy, literary critique and literature history turned into art. / Mestre

Dorothea Schlegel’s Florentin (1801) is one of the less well known novels of the period commonly referred to as Early German Romanticism. This study attempts to combine both the historical context of the novel and later critical approaches to the ideas of the period. At the same time, this study seeks to avoid the more transcendent approaches that have previously been used in order to attempt to understand Florentin. In order to do so this study makes the expressionless or the gap created by allegorical expression between sign and signified a central theme in order to create a field of tensions and uncertainties. Although many readers of Florentin have noted the sensation of an absence of clarity while reading the novel, the majority of them have put this down to a lack of ability on the part of the author. This study attempts to find a structural explanation for the expressionless in Dorothea Schlegel’s novel while attempting to preserve aspects of its unknowability.