Brundibár, the children’s opera by Czech composer Hans Krása (1899–1944), is the story of two children who go to town to seek some milk to help their sick mother. When they arrive the children are bullied by the Brundibár, a mean adult who plays the organ grinder and takes the children’s money. To fight back against the overbearing Brundibár the children seek the help of the town’s young people—along with three fairy-tale animals—to make the town square a safe place again. The piece was performed in 1942 by the children of Prague’s Jewish orphanage, and then presented with child singers in the Terezín concentration camp 55 times during World War II. A performance of Brundibár was a central part of an International Red Cross visit to Terezín in 1944, and sections of the work were later included in a Nazi propaganda film. In 2003 a third version of work was produced with a new English adaptation of the text by Tony Kushner. The composer and many of the original performers were killed before the conclusion of the war; however, one survivor, Ela Weissberger, who performed the role of the Cat in the Terezín production, now lives in the United States and often visits productions to speak about her experiences and help contextualize the work. Brundibár remains a moving and powerful work of art, both as a children’s opera and as a symbol of resistance against the Nazi regime, but it presents many logistical and artistic challenges to directors and producers who may be interested in mounting a production. This project will provide some background on the work, including the circumstances of its creation and performance history. It will then lay out the work’s unique performance challenges and offer practical solutions to make the process of designing, rehearsing, and performing Brundibár more accessible and effective.

Thesis (MMus)--Stellenbosch University, 2013. / ENGLISH ABSTRACT: In this thesis, the term pluralism is used to refer to the different musical and non-musical aspects that form part of a musical composition. Hans Roosenschoon, whose work is the focus of this study, is open about the fact that there are many pluralistic elements in his compositions and he admits to borrowing from others in his music. The thesis provides a short overview of techniques used when borrowing music with the focus on techniques used after 1950. This initial section also includes a short biography of Hans Roosenschoon with a broad overview of his compositional techniques. In the next section, selected works of Roosenschoon are approached in two ways. First, an article by Christopher Ballantine on the compositions of Charles Ives serves to launch a discussion on meaning in borrowed music. When Ballantine wrote about the works of Ives, he focused on the meaning that quotations possess rather than on giving comprehensive analyses of the works. Consequently Ballantine’s focus on musical meaning in Ives’s works is compared to musical meaning generated in Roosenschoon’s work, bearing in mind that Ballantine focuses on Ives's collages, and the majority of Roosenschoon's compositions are technically not collages. Roosenschoon’s use of canonical works from Beethoven and Mozart and the subsequent construction of new musical contexts is explored. ‘New musical contexts’ are differentiated to include a discussion on the difference of borrowing music accompanied by text compared to music without text, using five different compositions as examples. In the third chapter pluralism is extended further to include non-musical influences, with specific focus on possible political undercurrents in Roosenschoon’s compositions. All examples of political impulses in Roosenschoon’s compositions and writings are based on specific text examples written by Roosenschoon as well as personal interviews, and not inferences. Three compositions serve as examples of potentially political works, although not all of the political gestures are visible in the music itself, but were discovered through documents and discussions with the composer. / AFRIKAANSE OPSOMMING: In hierdie tesis word die term pluralisme gebruik word om te verwys na die verskillende musikale en nie-musikale aspekte wat deel vorm van 'n musikale komposisie. Hans Roosenschoon, wie se werk die fokus van hierdie studie is, is openhartig oor die feit dat daar baie pluralistiese elemente in sy komposisies is. Hy erken verder dat hy van ander komponiste se musiek gebruik maak in sy eie komposisies. Na 'n kort oorsig van die tegnieke wat gebruik word wanneer musiek geleen word, verskuif die fokus na die tegnieke wat gebruik is na 1950. Hierdie afdeling sluit ook 'n kort biografie van Hans Roosenschoon in met 'n breë oorsig van sy komposisietegnieke. In die volgende afdeling word geselekteerde werke van Roosenschoon op twee maniere benader. Eerstens dien 'n artikel deur Christopher Ballantine oor die komposisies van Charles Ives as beginpunt van 'n bespreking oor die betekenis wat geleende musiek moontlik inhou. Wanneer Ballantine skryf oor die komposisies van Ives, fokus hy op die betekenis van aangehaalde musiek eerder as op omvattende ontleding van die werke. Vervolgens word Ballantine se fokus op musikale betekenis in Ives se komposisies vergelyk met die musikale betekenis wat gegenereer word in Roosenschoon se werk, met die verstaan dat Ballantine gefokus het op Ives se collages, en die meerderheid van Roosenschoon se komposisies tegnies nie collages is nie. Roosenschoon se gebruik van die kanoniese werke van Beethoven en Mozart en die daaropvolgende konstruksie van nuwe musikale kontekste word ondersoek. In hierdie ondersoek word daar ‘n onderskeid getref wanneer teks by die musiek betrokke is en wanneer dit nie 'n faktor is nie. Vyf verskillende komposisies word in hierdie afdeling bespreek. In die derde hoofstuk word pluralisme verder uitgebrei om nie-musikale invloede in te sluit, met 'n spesifieke fokus op die moontlike politieke ondertone in Roosenschoon se komposisies. Alle voorbeelde van politieke impulse in Roosenschoon se komposisies en geskrifte word gebaseer op spesifieke tekste wat deur Roosenschoon geskryf is, sowel as persoonlike onderhoude, en nie blote afleidings nie. Drie komposisies dien as voorbeelde van potensiële politiese werke.

Thesis (PhD)--University of Stellenbosch, 2001. / ENGLISH ABSTRACT: Gadamer's hermeneutical philosophy is an enlightenment of consciousness that intends to correct a false consciousness concerning the power of reason and methods. His concept of the Wirkungsgeschichte presents his hermeneutical philosophy in a nutshell and demonstrates that understanding is more being (Sein) than consciousness (Bewuïstseins. The Wirkungsgeschichte is constituted by three perspectives on the understanding of meaning from three different regions that escape the controlling procedures of method. The first is the experience of art where the concept of play functions as model; the second is the experience of tradition where the concept of dialogue functions as model; the third is the experience of speaking where the concept of translation functions as model. These three perspectives on understanding of meaning together constitute the concept of the Wirkungsgeschichte and their relation is like three concentric circles with the art perspective as the inner circle. The Wirkungsgeschichte transcends the subject-object dichotomy and demonstrates the understanding of meaning as a single event. It is here where Gadamer's concepts of hermeneutics and truth crystallize. Gadamer's concept of truth is not truth as mirror in the way in which it functions in science as the correspondence of correct judgment and reality. The kind of truth he is concerned with, is truth as claim awareness (Angesprochenheity or truth as rock that carries and orientates us. One reaches truth as mirror only approximately and only after methodical procedures; while truth as rock is something that carries us, it is the claim awareness that constantly accompanies us and sweeps us along since we participate in it all the time. Hermeneutics that reflects on understanding is, according to Gadamer, part of Practical Philosophy because understanding, like Aristotle's concept of phronesis, is orientated on the general that must become concrete in the particular. Understanding is, like phronesis, not theoretical, but practical; the conclusion of understanding is also not a theoretical judgment, but a decision on orientation and action as part of the ongoing dialogue that we are. Phronesis as the concretization of the Wirkungsgeschichte functions also fruitfully in Gadamer's response to criticism from the perspectives of text interpretation, theory of science and critique of ideology. The contribution of this dissertation, is to place Gadamer's claim to universality in perspective and typify his one-sidedness as a prophetic appeal. Gadamer does not provide a new method, nor rejects methodical procedures; he simply demonstrates what happens before and while we approach reality methodically. His hermeneutical philosophy is an enlightenment of consciousness which he typifies as part of the Third Enlightenment. As Third Enlightenment his Wirkungsgeschichtliche BewuDtsein helps to ask critical questions to science, and especially to technocracy. In this way Gadamer's hermeneutics becomes Practical Philosophy and the Wirkungsgeschichte is concretized in phronesis as the prudent and sensible concern with life in its striving to deepen humaneness. / AFRIKAANSE OPSOMMING: Gadamer se hermeneutiese filosofie is bedoel as 'n bewussynsverheldering waarby 'n valse bewussyn oor die mag van die rede en metodes gekorrigeer word. Sy begrip van Wirkungsgeschichte vat sy hermeneneutiese filosofie in 'n neutedop saam en toon aan dat verstaan meer syn as bewussyn is. Die Wirkungsgeschichte word gekonstitueer uit drie perspektiewe op die verstaan van sin vanuit drie onderskeie gebiede wat die kontrole van metodes ontglip. Die eerste is die ervaring van kuns waar die begrip spel as model funksioneer; die tweede is die ervaring van die tradisie waar die begrip gesprek as model funksioneer; die derde is die ervaring van spreke waar die begrip van vertaling as model funksioneer. Al drie perspektiewe op verstaan van sin konstitueer gesamentlik die begrip Wirkungsgeschichte en hulle verhouding is soos drie konsentriese sirkels waar die kunsperspektief die binneste sirkel vorm. Die Wirkungsgeschichte deurbreek die subjek-objek diehotomie en toon die verstaan van sin as 'n eenheidsgebeurtenis. Hieruit kristalliseer Gadamer se begrippe van hermeneutiek en waarheid. Die begrip waarheid by Gadamer is nie waarheid as spieël soos dit funksioneer in die wetenskappe as die ooreenstemming tussen die juiste uitspraak en die ding nie. Die soort waarheid waaroor hy dit het is waarheid as aangesprokenheid of waarheid as rots wat jou dra en oriënteer. Waarheid as spieël bereik jy eers min of meer en voorlopig na metodiese prosedures; waarheid as rots is dit wat jou dra, dit is die aangesprokenheid wat jou voortdurend begelei en meesleur en waaraan jy van meet af aan deel het. Hermeneutiek wat nadink oor verstaan is vir Gadamer deel van die Praktiese Filosofie aangesien verstaan, soos Aristoteles se begrip van phronesis, gerig is op 'n algemene saak wat in die besondere situasie gekonkretiseer moet word. Verstaan is, net soos phronesis, nie 'n teoretiese aangeleentheid nie, maar prakties; die slotsom van verstaan is ook nie 'n teoretiese uitspraak nie, maar 'n besluit tot oriëntering en handeling te midde van die voortgaande gesprek wat ons is. Phronesis as die konkretisering van die Wirkungsgeschichte funksioneer dan ook vrugbaar in Gadamer se reaksie op die kritiek vanuit teksinterpretasie, wetenskapsteorie en ideologiekritiek. Die bydrae wat hierdie proefskrif lewer, is om Gadamer se universele aanspraak in perspektief te plaas en sy eensydigheid as 'n profetiese appél te tipeer. Gadamer poog nie om 'n nuwe metode tot stand te bring of om die metodiese benadering af te wys nie, hy probeer ons bloot bewus maak van wat gebeur vóór en wanneer ons die werklikheid metodies benader. Sy hermeneutiese filosofie is 'n bewussynsverheldering wat hyself tipeer as deel van die Derde Aufklárung. As Derde Aufklarung wil sy Wirkungsgeschichtliche Bewusstsein help om kritiese vrae aan die wetenskap, en veral aan die tegnokrasie, te stel. In hierdie sin gaan Gadamer se hermeneutiek oor in Praktiese Filosofie en vind die Wirkungsgeschichte sy konkretisering in die begrip van phronesis as die verstandige omgaan met die lewe ter wille van groter menslikheid.

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A thesis submitted to the Faculty of Humanities, University of the Witwatersrand, in fulfilment of the requirements for the degree of Master of Arts, Johannesburg, 2017 / Hans-Georg Gadamer’s philosophical hermeneutics has been ascribed a conservative position in relation to textual interpretation. I wish to explore what effect radical texts (texts which challenge Gadamer’s definitions of textuality) have upon philosophical hermeneutics. I chose to work with Watt by Samuel Beckett and Naked Lunch by William S. Burroughs because both texts challenge assumptions surrounding meaning and understanding, two key facets of philosophical hermeneutics. Both novels illustrate the effect of fragmented historical horizons upon the interpretative process. This observation is accessible through Gadamer’s descriptive theory and allows the interpretation of both Watt and Naked Lunch to engage with the meta-hermeneutic concerns in both avant-garde texts. The close-reading of both novels will illustrate how they challenge Gadamer’s notion of play between horizons, and I will show this to be productive for both interpretative understanding as well as responding to Gadamer’s critics. It is my contention that Gadamer’s theoretical description offers a unique way to read Watt and Naked Lunch but crucially, philosophical hermeneutics is indelibly changed by an interaction with these two novels. / XL2018

Thesis advisor: Dominic F. Doyle / Examines the relationship between theology and literature with a goal of developing a starting point for a comprehensive theology of literature. / Thesis (STL) — Boston College, 2011. / Submitted to: Boston College. School of Theology and Ministry. / Discipline: Sacred Theology.

El trabajo que presentamos tiene fundamentalmente como objetivo exponer las problemáticas de la historicidad y la finitud tal como éstas se plantean en el pensamiento filosófico de Hans-Georg Gadamer. Dichas problemáticas serán abordadas a lo largo de los dos primeros capítulos de la tesis en su articulación esencial y en la tercera parte mostraremos su conexión con el tema de la lingüisticidad de la existencia / Tesis

La presente investigación tiene como objetivo principal mostrar que los conceptos hermenéuticos de comprensión y lenguaje que fundamentan la hermenéutica filosófica de Hans-Georg Gadamer tienen consecuencias sustanciales y poco reconocidas en el ámbito de la filosofía práctica. Dichas consecuencias nos permitirán mostrar, además, que hay una reflexión ética y política en el pensamiento gadameriano, que tiene su origen en su obra principal Verdad y método. Fundamentos para una hermenéutica filosófica (1960) y que sigue desarrollándose hasta su obra tardía. Al respecto, debemos considerar que realizaremos nuestra investigación teniendo como referente principal esta obra capital de Gadamer. No obstante, haremos referencia también a diversos artículos, ensayos y conferencias sobre filosofía práctica que Gadamer escribió hasta 40 años después de VM, pues aquellos dan continuidad o esclarecen los conceptos propios de su pensamiento hermenéutico, y por tanto, nos ayudarán a matizar nuestro planteamiento sobre la relación entre la hermenéutica y la filosofía práctica. / Tesis

Submitted by RAFAEL LEAL DE ARAÚJO null (lealdearaujo@hotmail.com) on 2017-03-21T15:11:47Z No. of bitstreams: 1 dissertação versao final biblioteca.pdf: 1083152 bytes, checksum: 0c4d036e38054a9cf785ecec1b0bab80 (MD5) / Approved for entry into archive by Juliano Benedito Ferreira (julianoferreira@reitoria.unesp.br) on 2017-03-21T18:13:22Z (GMT) No. of bitstreams: 1 araujo_rl_me_franca.pdf: 1083152 bytes, checksum: 0c4d036e38054a9cf785ecec1b0bab80 (MD5) / Made available in DSpace on 2017-03-21T18:13:22Z (GMT). No. of bitstreams: 1 araujo_rl_me_franca.pdf: 1083152 bytes, checksum: 0c4d036e38054a9cf785ecec1b0bab80 (MD5) Previous issue date: 2016-10-13 / O objetivo desta dissertação de mestrado é tratar do conceito de validade jurídica como desenvolvido por Hans Kelsen ao longo de sua trajetória acadêmica pois este conceito de teoria da norma é central para distinguir entre Direito e Política. Isto porque a fusão do argumento jurídico ao argumento político instrumentaliza a utilização do Direito como discurso para defesa de interesses particulares. A separação entre Direito e política nunca foi muito bem aceita na comunidade jurídica, e Kelsen foi e ainda é alvo de críticas em razão do seu purismo metodológico. Ocorre que a pureza metodológica proposta por Hans Kelsen permite distinguir de um argumento jurídico nuances ideológicas. Kelsen prega uma Teoria Pura como ciência jurídica, destituída de preconceitos, axiologicamente neutra. Porém trava esta batalha em um terreno onde o Direito é utilizado para justificar a opressão e a defesa de interesses espúrios, sob a roupagem de diferentes teorias jurídicas que ora pendem ao jusnaturalismo ora a uma sociologia jurídica. A perspectiva de uma validade jurídica formal que permite distinguir entre Direito e Política serve ainda hoje para distinguir entre argumentos efetivamente jurídicos e outros ideologicamente amalgamados sob as vestes de uma teoria jurídica. Muito particularmente no discurso acadêmico e também na análise de decisões do Poder Judiciário, nunca foi tão imperativo a necessidade de separar Direito e Política.