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Thesis (MA) -- Stellenbosch University, 1961. / No Abstract Available

The thesis is a structural biography of Harald Molander (1858-1900), stage manager, author, translator and critic.The investigation is based on his literary works and the reviews of these. Articles, letters and the director's comprehensive manuscripts and other documents are analyzed. The reactions of the audience are studied.Molander's authorship and directing were artistically coherent. In accordance with the theories of Felix Vodicka and Jan Mukarovsky a model of description is formulated for the study of the period norm. The structure of Molander's literary works, the reception of them, and the modern conception of stage management are related to the changes in the norm.As an. author Molander successively associated himself with tradition, with the realism of the modern breakthrough and the interest in historical subject. His works were often shaped by literary impressions. His works as an author and stage manager were frequently religiously tinged.As a director Molander was a transitional figure. He began as an author-director and gradually took up modern stage management. In this thesis his work as a director is studied as part of the division of labour in the theatre, as staging-procedure and as an expression of principles of style and artistic viewpoint. His directing was chiefly aimed at realizing the author's vision on the stage. He wanted to transform the possibilities of the drama into scenic reality.As a stage manager Molander was influenced by the Meininger Company and Wagner. As a director he was very systematic. He distanced himself from the kind of theatre which was dominated by the actors, from Romanticism and ideal realism, and he studied naturalism. Tradition, fidelity to authors, realism, historicism, ensemble-acting and the harmonization of the means of expression of the theatre characterized his stage managing. Molander also had a didactic view of the theatre; he wanted to discuss societal and psychological problems and he wanted to amuse his audience.Molanderwas active both in Sweden and in Finland. The highlight of his early period was the staging of Goethe's Faust (1889). He shaped it into a realistic-fantastic Gesamtkunstwerk. He made pictorially attractive stagings of Strindberg's historical dramas, Mäster Olof (1897), Gustaf Vasa and Erik XIV (1899). The staging of Hauptmann's The Weavers was his masterpiece. The instruction of the masses in this strike drama was consistent. The Swedish labour movement greeted the play with enthusiasm. / digitalisering@umu

Gerhart Hauptmann, whose naturalistic period embraced the years 1885-1906, gave the world a negative picture of the woman who by her demeanor or actions destroys a man. In this thesis a distinction is drawn between lower class, unsophisticated women like Lene Thiel or Hanne Sehäl and more highly educated and somewhat emancipated women such as Anna Mahr and Hanna Elias. The former type destroyed the man through more coarse or brutal methods while the latter naturally employed a higher degree of sophistication exercising their destructive influence. Moreover, the former type married the men they subsequently ruined whereas the latter did not. The one aspect which unites all of the Hauptmann women in these works was the destructive influence, and the corresponding weakness of the men. The hopelessness of the situation in which the men found themselves was one of the important characteristics of Naturalism. No defender of women's emancipation, Hauptmann scorned the enlightened, educated women by making them just as unsuccessful as their less educated and unsophisticated counterparts. This point was made more distinctly in a Hauptmann drama of a later period entitled Insel der Grossen Mutter which appeared in 1924. The history of the time indicates the presence of a significant movement in the field of women's emancipation in Europe. Many of the models for Hauptmann's women were taken from real life. With the possible exception of Anna Mahr in Einsame Menschen, Hugh Garten's assertion that Hauptmann's women "are closer than men to the irrational forces of life" appears true. This exception may also be one of the finest characterizations of Hauptmann. The intrigant is remembered as one of the contributions of this commanding figure of German literature.

This thesis focuses on the anachronistic poacher-hero figure in late nineteenth-century German literature. Historian Hobsbawm has suggested that the symbolic endurance of "noble robber" figures (of which we can view poacher-heroes as a subset) takes place in an ideal imaginary "stripped" of the "local and social framework" (2000, 143). My thesis shows, in multiple examples across multiple genres, that in fact the poacher-hero is uniquely available for re-contextualization and renewal of social relevance, even under changed social and economic circumstances. The poacher-hero is not only a device for making statements about the past, but also for expressing claims on the future. It is perhaps this dynamism that makes the poacher-hero excellent carrier for different kinds of social critique as well. In my first chapter, I give a brief historical overview of the period and the motif. In the second chapter, I show how the poacher and his rural context are brought into contact with urban, imperial themes. In the chapter I read two novels, Der verlorene Sohn (The prodigal son, 1884-1886) and Quitt (Even, 1890), and the play Waldleute (Forest people, 1896) thematically to show how upward social mobility is associated with and adapted to the poacher figure. In the third chapter of the thesis, I examine narrative strategies and their employment in the construction of a socially critical viewpoint in Der verlorene Sohn and Quitt. I show how both high and low literary works, intended and written for different audiences, achieve similar results in their positioning of the poacher-protagonist through different narrative structures. This convergence shows the malleability of the societal frame for the poacher-hero. Finally, in the fourth chapter, I show regional adaptations of the motif, by examining different versions of a folk ballad "Das Jennerweinlied" ("The Jennerwein song"). This thesis furthermore shows how study of a motif can be used to bring together a diverse group of roughly contemporary texts. Viewing these texts in relationship with one another brings into question the scholarly focus on certain texts at the expense of others. / text

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This dissertation explores a method of music analysis that is designed to reflect the phenomenology of the listening experience, specifically in regards to harmony. It is primarily inspired by the theoretical approaches of the music theorist Moritz Hauptmann and by the writings of philosopher Edmund Husserl.

Kurz nach 1900 trat für ein Vorhaben des Errichtens einer Rodelbahn für Radeberg und Lotzdorf der „Gebirgsverein für die Sächsische Schweiz / Ortsgruppe Radeberg“ in Erscheinung. Bereits 1908/1909 wurde der Verein zum Initiator und Investor für den Bau einer Rodelbahn in dem Waldgrundstück der sogenannten Eselstrappen. Die Mitglieder des Vereins gehörten zu den Honoratioren der Stadt Radeberg. Die Realisierung dafür wurde umgehend in Angriff genommen. Als günstigster Standort für das Bauvorhaben wurde das kleine Seitental auf der linken Seite der Röder ausgewählt. Ein idealer Standort für eine Neuerschließung hinter der Talmühle. Bereits ein knappes Jahr nach der ersten Planung der aufwendigen Anlage erfolgte am 21. November 1909 die Eröffnung der Rodelbahn und Übergabe an die Allgemeinheit.

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The Abstract This diploma thesis discusses three lawsuits at the period of normalization, when participants were sued and later sentenced for provocation and denigration of the Czechoslovak Socialistic Republic and its representatives during their theatre activity or improvisation with theatrical elements. The first from three lawsuits had been taking place during 1971 and 1972 in Ostrava. There was a parody of the novel called Son polka by Valentin Katajev put on stage in the Waterloo Theatre in 1969. The production was banned after several repetitions. Some participants were involved in producing the Tramp magazine which was unwanted and watched by the state authority. There was and editorial board organized by this magazine like a tramp party where besides other songs Son polka's songs were sung. Shortly after those events the members from the Waterloo Theatre: Petr Podhrázký, Ivan Binar, Josef Frais, Petr Ullmann, Edvard Schiffauer a Tomáš Sláma were arrested and sentenced to jail. The second case took place in Kroměříž in 1974. A group of friends led by an amateur puppeteer Emil Hauptmann had staged an improvised presentation during the Hostýn pilgrimage. Playing the puppets Emil Hauptmann committed lots of utterances which were considered as provocations according to an actual penal code and that is...