Karl Ottomar Treibmann fängt in seiner Fünften Sinfonie durch Bezüge zur Französischen Revolution und durch den Austausch mit Künstlern wie Wolfgang Mattheuer oder Volker Braun in vielerlei Weise den Zeitgeist der Friedlichen Revolution von 1989 ein. Eine zusätzliche zeithistorische Aufladung erhält das Werk durch seine Uraufführung durch das Leipziger Gewandhausorchester unter Kurt Masur, die wenige Tage vor dem Fall der Mauer stattfand. Die vorliegende Studie stellt Entstehung, Analyse und Rezeption von Treibmanns Fünfter Sinfonie sowohl in einen zeithistorischen als auch in einen musikgeschichtlichen Zusammenhang. / This study explores Karl Ottomar Treibmann’s Fifth Symphony in its historical contexts. The symphony catches the zeitgeist of the 1989 Peaceful Revolution in various ways: It refers to the French Revolution as well as to Treibmann’s exchange with well-known 20th century artists such as Wolfgang Mattheuer and Volker Braun. Additional historic significance stems from its first performance with the Gewandhaus Orchestra in Leipzig conducted by Kurt Masur. This took place only a few days before the fall of the Berlin Wall. My study discusses the process, analysis, and reception of Treibmann’s Fifth Symphony by following a historical as well as a musicological approach.

Karl Ottomar Treibmann fängt in seiner Fünften Sinfonie durch Bezüge zur Französischen Revolution und durch den Austausch mit Künstlern wie Wolfgang Mattheuer oder Volker Braun in vielerlei Weise den Zeitgeist der Friedlichen Revolution von 1989 ein. Eine zusätzliche zeithistorische Aufladung erhält das Werk durch seine Uraufführung durch das Leipziger Gewandhausorchester unter Kurt Masur, die wenige Tage vor dem Fall der Mauer stattfand. Die vorliegende Studie stellt Entstehung, Analyse und Rezeption von Treibmanns Fünfter Sinfonie sowohl in einen zeithistorischen als auch in einen musikgeschichtlichen Zusammenhang. / This study explores Karl Ottomar Treibmann’s Fifth Symphony in its historical contexts. The symphony catches the zeitgeist of the 1989 Peaceful Revolution in various ways: It refers to the French Revolution as well as to Treibmann’s exchange with well-known 20th century artists such as Wolfgang Mattheuer and Volker Braun. Additional historic significance stems from its first performance with the Gewandhaus Orchestra in Leipzig conducted by Kurt Masur. This took place only a few days before the fall of the Berlin Wall. My study discusses the process, analysis, and reception of Treibmann’s Fifth Symphony by following a historical as well as a musicological approach.

The thesis examines the evolving realtions of the aesthetic and conceptual aspects in exhibition-making after the 'conceptual turn' that took place in the late-1960s and instigated key transformations in the aesthetic condition of art and contemporary curatorial practice. Drawing on a broadly construed and variously manifested conceptualism pervading the growing field of curating since 1990s, the thesis focuses on investigating the relation between the aestheti and conceptual dimensions of three exhibitions that have had a significant impact on the postconceptual development of curating. In doing so, it aims to construct an alternative genealogy that reaffirms the significance of the aesthetic element, and so to reconstruct curatorial practice from the perspective of an Aesthetics of Curating. This trajectory unfolds a non-unitary Curatorial Aesthetics that emerges and develops together with the conceptual shift offering a revisionist perspective to dominant practices and discourses today that tend to devalue or repress aesthetic modes of production. The driving force of the thesis is neither to affirm aestheticism nor simply reversing the received positions. Instead, the investigation of aesthetics - as the poetics of an exhibition and a philosophical understanding of the experience offered - provides a reading that contests the emphasis placed upon conceptualism in order to revise those relations and established assumptions, and enable us to understand contemporary aspects of curating that have been downgraded. The thesis focuses on three case-studies, which mark important shifts in the conceptual development of curating from 1969 to 2007: When Attitudes Become Form: Works-Processes-Concepts-Situations-Information (Live in Your Head), curated by Harald Szeemann. Kunsthalle Bern (1969); Les Immateriaux, co-curated by Jean-Francois Lotard and Thierry Chaput, Centre George Pompidou, Paris (1985); Documenta 12, under the artistic directorship of Roger Buergel and chief curatorship of Ruth Noack, Kassel (2007). By exploring the different ways in which these exhibitions accommodate, engage with, and define aesthetic experience in relation to their conceptual modes, the study provides an alternative account of Curatorial Aesthetics that attains its transformative potential and political efficacy in the present through the invention of new sensations that incite new modes of thinking and acting.

<p>This thesis explores aspects of what happened to the state Church of Sweden during the rise of the importance of public opinion and the evolution of the democratic nation state. Denmark provides the most well known Nordic example of how an old state Church became a democratic Folk (i.e. National) Church during this general transition. By comparing the Swedish with the Danish case, this study elucidates the less well known Folk Church ideology in Sweden. In Denmark a strong agrarian movement influenced by revivalism managed to take hold of public opinion making the state Church a part of the Danish national identity. Such a movement never appeared in the more industrialised Sweden. Instead a secular working class movement took hold of public and national opinion. The investigation is focused upon Harald Hallén (1884-1967), a pastor and a Social Democratic Member of Parliament. Lacking the revival elements of the Danish nationalism Hallén found that in order to get a Folk Church accepted within the secular Working class movement, it had to rest upon the heritage of the Enlightenment. Hallén regarded the Church as an expression of common ethical values within the Swedish nation. The Folk Church was supposed to strengthen existing ideals for a righteous socialist society by delivering the message of the Kingdom of God. Hallén strove to make the Church more democratic in order to express this ethical folk religion. Social Democratic nationalism became the dominant factor in Swedish political life between 1905 and 1933. The period was characterised by conflicts. First Hallén and those whom he represented fought against the Youth Church movement, which strove to establish another Folk Church ideology, by supporting the Swedish King against the rise of political Democracy. Later on, within his own Social Democratic party, Hallén fought his battle against the Marxist view of the state Church as a simple reflection of the dominant class. Hallén was in line with the political development, which resulted in a period of solid Social Democratic nation building from the 1930s onwards. From that decade on the Folk Church ideology of Hallén was established.</p>

This thesis explores aspects of what happened to the state Church of Sweden during the rise of the importance of public opinion and the evolution of the democratic nation state. Denmark provides the most well known Nordic example of how an old state Church became a democratic Folk (i.e. National) Church during this general transition. By comparing the Swedish with the Danish case, this study elucidates the less well known Folk Church ideology in Sweden. In Denmark a strong agrarian movement influenced by revivalism managed to take hold of public opinion making the state Church a part of the Danish national identity. Such a movement never appeared in the more industrialised Sweden. Instead a secular working class movement took hold of public and national opinion. The investigation is focused upon Harald Hallén (1884-1967), a pastor and a Social Democratic Member of Parliament. Lacking the revival elements of the Danish nationalism Hallén found that in order to get a Folk Church accepted within the secular Working class movement, it had to rest upon the heritage of the Enlightenment. Hallén regarded the Church as an expression of common ethical values within the Swedish nation. The Folk Church was supposed to strengthen existing ideals for a righteous socialist society by delivering the message of the Kingdom of God. Hallén strove to make the Church more democratic in order to express this ethical folk religion. Social Democratic nationalism became the dominant factor in Swedish political life between 1905 and 1933. The period was characterised by conflicts. First Hallén and those whom he represented fought against the Youth Church movement, which strove to establish another Folk Church ideology, by supporting the Swedish King against the rise of political Democracy. Later on, within his own Social Democratic party, Hallén fought his battle against the Marxist view of the state Church as a simple reflection of the dominant class. Hallén was in line with the political development, which resulted in a period of solid Social Democratic nation building from the 1930s onwards. From that decade on the Folk Church ideology of Hallén was established.

本論文は19世紀のデンマーク社会にディアコニッセとディアコニアの働きを広めるために尽力したハラルド・スタインのディアコニア思想に光を当てる。スタインは、産業革命や社会主義の台頭により激変する社会において、キリスト教会は人々の身体的、霊的救いに力を尽くすべきだと考え、キリスト教の愛の業すなわちディアコニアの働きを教会に根付かせようとした。スタインのディアコニアの働きの理想と実践はのちのデンマークの社会民主主義の政権にも継承された。 / This study sheds light on the ideas of Harald Stein, who did his utmost to spread the work of deaconesses and diakonia in 19th century Denmark. In a society rapidly changing under the influence of industrialization and socialism, Stein thought the Christian Church ought to aim at saving people physically and spiritually, and he sought to plant the Christian Works of Love, i.e., the work of diakonia, in the Church. The ideals and practices of Stein's work of diakonia were later inherited by the Danish Social Democratic governments. / 博士(神学) / Doctor of Theology / 同志社大学 / Doshisha University

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