In 1924, Herbert Eimert’s Atonale Musiklehre was the first published text to describe a systematic approach to composing atonal music. It contains significant contributions to the discourse on the early development of twelve-tone composition. While Eimert uses the term “atonal” to describe his compositional approach, his definition of atonality demands that all twelve tones be present with none repeated, and that they present as complexes not ordered rows. Eimert’s discussion of atonality differs from others of the same period because he focuses on vertical sonorities and introduces “interlocking complexes”, wherein two separate statements of the aggregate can overlap by one pitch or by a set of pitches. Interlocking complexes are an important feature of Eimert’s string quartet Fünf Stücke für Streichquartett, which was published in 1925 and composed at the same time as Atonale Musiklehre was written. In the foreword to Atonale Musiklehre, Eimert clarifies that he is not the originator of the concept of atonality, rather that he absorbed the ideas of Josef Matthias Hauer and Jefim Golyscheff. Twelve-tone complexes appear first in Golyscheff’s 1914 String Trio. He refers to them as “twelve-tone duration complexes” and labels them in the score. As the name “duration complexes” implies, there are examples of serial rotation of rhythm in the Trio, a technique that is not developed further until the 1950s. Combined with the text of Atonale Musiklehre, the compositions of Golyscheff and Eimert from the year immediately following the book’s publication provide insight into the early development of “atonality” and twelve-tone compositional methods. Investigation of these documents that have not been thoroughly discussed in print provides a broader perspective of the development of these methods of composition.

As a member of the Institut für Sozialforschung, Herbert Marcuse wrote in 1955 Eros and Civilization in which he applied an elaborated and reformulated freudian meta-psychoanalytical perspective on the contemporary society, which both Freud and Marcuse had diagnosed as sick. Marcuse’s overall ambition was to seek man’s anamnestic abilities to negate contemporary capitalist society, re-structure the organization of products and reduce alienated labor and thereby liberate man from the most agonizing doing in life – living a life as an instrument. This political revolution Marcuse argues, would liberate man’s powerful subconscious energies stemming from Eros and mankind would no longer function as an alienated instrument. However, for the revolutionary agents to be conscious of their position, the mind of the human being must be transformed and only then a true negation of the prevailing system is possible. In his reading of Freud, Marcuse finds in the subconscious part of the mind a specific part that´s free from reality´s repression of the mind – fantasy. This essay seeks to illustrate and analyze how fantasy, alongside man’s ability of remembrance, has the ability to reform the consciousness of men, negate the structure of living imposed on them by capitalist domestic rationality and thereby formulate a new non-repressive society free from surplus repression and alienation. The overall purpose of this thesis is to explore and shed light on how the complex dynamic relation between memory and fantasy can achieve an intersubjective formulation of a new non-repressive society, free from the hegemony which is capitalist rationality.

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This thesis presents the first full account of the life and achievements of Bradford-born W. Riley (1866-1961), once internationally known as a popular and prolific Yorkshire author. Before becoming a famous writer, he was Managing Director of the successful Bradford Optical Lantern Company, Riley Brothers and was also, for 75 years, a Methodist local preacher and an important layman within northern Methodism. He wrote 39 books, published many stories and articles, and was a busy lecturer. Riley located most of his 30 novels in the Yorkshire Dales and has left a legacy of vivid portraits of people and places in the dales that he knew and loved. This biography of Riley draws upon material never seen hitherto, expanding upon the author's diffident autobiography. The complete bibliography of his extensive writings includes much new and long-lost material. In presenting Riley to a new generation, this account places him in context with his contemporaries. Riley proclaimed his Christianity sympathetically and attractively to his receptive public in much of his output. This thesis includes an insight into the spiritual life, outlook and thinking of a popular and much-respected committed and active Methodist local preacher. Riley's life story is the account of a remarkably successful, self-motivated Victorian. He was a household name in his time, both in Yorkshire and internationally. The research for this thesis has uncovered important material relating to Riley, which will be held in the W. Riley Archive, at the Special Collections Section of the University of Bradford J.P. Priestley Library.

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Esta tese aborda os filmes realizados por Herbert Duschenes, arquiteto alemão e professor de história da arte radicado no Brasil em 1940. O arquivo fílmico que ele gerou é formado por 227 curtas-metragens em 8mm e Super 8, sem som, em cores e preto e branco, nunca antes estudados. O objetivo do projeto de pesquisa é afirmar a atuação de Duschenes não apenas como arquiteto e educador, mas como cineasta amador, e estabelecer sua produção como um dos mais expressivos conjuntos da cinematografia amadora brasileira. O mapeamento dos filmes revelou três grandes eixos temáticos: família, viagem e dança. Delimitado um corpus analítico de 22 filmes, a tese foi organizada em três partes onde cada um desses eixos é comentado em função da biografia e atividades profissionais exercidas por Duschenes, além do contexto histórico em que os filmes foram realizados. Os filmes também são analisados como obras em si e interpretados à luz da reflexão sobre o cinema amador que vem consolidando a relevância do gênero. Não menos importante, a interpretação inclui uma articulação com a produção de outros realizadores que atuaram no âmbito do cinema não industrial e autoral como Jonas Mekas, David Perlov e Maya Deren, inaugurando o diálogo entre esse cinema já consagrado e o de Duschenes. Com base nesses procedimentos, a pesquisa expõe não somente os aspectos cinematográficos da coleção Duschenes, mas aquilo que a torna um caso único na cinematografia brasileira, sua imanência ao mesmo tempo investigativa, artística e pedagógica. / This thesis addresses the films made by Herbert Duschenes, German architect and art history lecturer who emigrated to Brazil in 1940. The film archive he generated comprehends 227 silent short films in 8mm and Super 8; both in color, and black and white, and never studied before. The goal of this research project is to assert Duschenes\'relevance not only as an architect and educator, but as an amateur filmmaker, and establish his filmography as one of the most expressive bodies of work of its kind in Brazil. The assessment of the films revealed three main thematic axes: family, travel and dance. With a corpus of 22 works, the thesis is organized into three parts, where each axis is commented on according to Duschenes\' biography and professional activities, as well as the historical context in which the films were made. The films are also analyzed as works per se, and interpreted in the light of studies on amateur cinema, that have been consolidating the significance of the genre. Moreover, the interpretation of the films includes an articulation of works from other non-industrial, auteur filmmakers such as Jonas Mekas, David Perlov and Maya Deren, thus inaugurating a dialog between this already established cinema and Duschenes\' films. Through these procedures, this research exposes not only the cinematographic aspects of the archive, but also what makes it a unique and representative body in Brazilian cinematography, its simultaneously explorative, artistic and pedagogical immanence.