Universiẗat, Diss., 2001--Freiburg (Breisgau).

The cello concertos of Leopold Hofmann occupied an important position in Vienna between the 1760s-1780s. The total output of seven cello concertos that could be identified of his works were written for the Viennese public concerts. The audience often enjoyed listening to highly virtuosic and the newest works in the public concerts at the time. The purpose of the study will be the cello concertos of Leopold Hofmann and its relations to the Viennese public concerts. This research focuses on the detailed examination of the traits of the seven cello concertos. The thesis consists of three chapters, including the introduction and conclusion. The chapter one discusses Leopold Hofmann¡¦s life, his works and his style of composition. He was a popular composer during his time and his fame was known both in Vienna and other big cities. Chapter two focuses on the background of the Vienna in the second half of the eighteenth century, the emergence of the public concerts and the development of the cello concertos during the middle and late eighteenth century. Because of the development of the public concerts in Vienna during the second half of the eighteenth century, there were many opportunities for these concertos to be performed. Chapter three concentrates on the contents of Hofmann¡¦s cello concertos. His concertos show the mature concerto form of the Pre-classic period.

Marine natural products biogenetically derived from the pyrrole-imidazole oroidin (i) display fascinating structural diversity and exhibit a wide range of significant biological activities. Hence, they have attracted great interest from the synthetic community leading to the development of new synthetic methodologies and providing an admirable set of strategies and tactics to assemble the most complex representatives of this class of alkaloids. In this work, a synthesis of the potent antitumor dibromophakellstatin (ii) was devised featuring a highly diastereoselective acylation of the C2-symmetric prolyl-prolyl anhydride (iii), an intramolecular Mitsunobu reaction installing the C6 aminal and a tandem Hofmann rearrangement/cyclization that delivered the targeted imidazolidinone of the phakellstatins. Both enantiomers of phakellstatin were prepared starting from either D- or L- proline. Building on several findings made in the course of the synthesis of phakellstatin, namely the differential reactivity of the aminal centers (C6 and C9) and the formation of an oxidized phakellstatin, a second generation approach towards these deceitfully simple alkaloids was initiated. The second generation synthetic strategy towards phakellstatin (iv) and phakellin (v) utilizes a novel variation of Du Bois' C-H insertion involving a urea or a guanidine. This approach appears more amenable to the annulation of the phakellin substructure for the final stages of the synthesis of the potent immunosuppressant palau'amine (vi).

Zugl.: Freiburg (Breisgau), Univ., Diss., 2009

Freiburg, Univ., Diss., 2001.

Zugl.: Mainz, Universiẗat, Diss., 1991/92.

In dieser Arbeit geht es grundsätzlich um die Beziehung zwischen Literatur und Malerei, mit dem Thema des klassischen Idylls. Der Kontext (Arkadien) wird differenziert untersucht im Gespräch zwischen den Bildern von Ludwig von Hofmann (1861-1945) und dem Text von Thomas Man (1875-1955), insbesondere im Kapitel VI des Romans der Zauberberg. Von der Idee ausgehend dass der geschriebene Text eine visuelle Präsenz hat, stelle ich den Autor Thomas Mann als Leser der Bilder und Zeichnungen von Hofmann vor. Auf diese Weise zeige ich, dass die gedruckte Seite wie ein Bild betrachtet werden kann, wie auch umgekehrt das Bild als ein geschriebener Text verstanden werden kann. Hauptziel ist dabei die Diskussion um die Wichtigkeit des Leseaktes und inwiefern dieser Möglichkeiten aufwirft, das Visuelle lesbar zu machen und einen geschrieben Text zu visualisieren. Durch den Dialog zwischen den beiden Künstlem aufgrund verschiedener Sprachsysteme, stütze ich mich theoretisch auf Arbeiten von Autoren wie Mitchel, Marin, Chartier, Manguel, unter anderen. Die Wahrnehmung der Bilder wird aufgrund eines phänomenologischen Ansatzes untersucht. Die Lektüre und Interpretation des Dialogs zwischen dem Text von Mann und den Bildern von Hofmann wird in einer hermeneutischen und rezeptionsästhetischen Perspektive dasgestellt. Hierzu bilden Merleau-Ponty, Dufrenne, Ricoeur, Jauss und Iser den theoretischen Hintergrund. / A essência da tese é a relação entre a literatura e a pintura cujo tema é o idílio clássico. O contexto situacional (Arcádia) será diferenciado no colóquio entre as imagens de Ludwig von Hofmann (1861-1945) e o texto de Thomas Mann (1875-1955) identificado no capítulo VI do romance \'A Montanha Mágica\'. Entendendo que o texto escrito tenha uma presença visual, apresentamos o escritor Mann como leitor das pinturas e desenhos de Hofmann. Dessa forma, demonstro que a página impressa pode ser visualizada como um quadro, assim como, inversamente, a imagem é um quadro gravado, um texto escrito. O objetivo principal será a discussão da importância da leitura e de como esta cria possibilidades do visível tornar legível e na leitura de um texto escrito visualizá-lo. Possibilitando o diálogo entre os dois artistas, através das diferentes linguagens, fundamentaremos este trabalho com autores como Mitchel, Marin, Chartier, Manguel, entre outros. A percepção das imagens será abordada a partir de uma metodologia fenomenológica. A leitura e interpretação do diálogo entre o texto de Mann e as imagens de Hofmann será apresentada numa perspectiva hermenêutica e na teoria da estética da recepção. Para tal, Merleau-Ponty, Dufrenne, Ricoeur, Jauss e Iser são fundamentos da análise.

The early works of Hugo von Hofmannsthal reveal a strong dichotomy. On the one hand he is drawn towards a mysticism in which he is strongly influenced by the German Romantics, particularly Novalis. The Romantics' tendency to negate the value of temporal existence is reinforced in Hofmannsthal's thought by the influence of the late nineteenth century aestheticism of his colleagues Arthur Schnitzler and Leopold Andrian, as well as of his contemporaries, Stefan George and Gabriel d'Annunzio. Hence there is in Hofmannsthal's early works a mystic sense of a non-temporal, non-spatial, all-embracing existence. Yet at the same time there is also an increasing awareness of the value of this earthly life, the need for a willing acceptance of it and actual participation in it. The ambivalence of Hofmannsthal's attitude reaches a climax in the year 1894-95. In that year Hofmannsthal is forced out of a hitherto much sheltered life in which he could devote himself almost entirely to his learning and his art into contact with the real world. In the spring of 1894 he takes his law examinations, and in preparing for them he is conscious of passing out of the years of schooling and preparation into the years of maturity and responsibility. During the previous autumn he wrote to his friend Edgar Karg about the earnestness of life: "Ich will diesen Ernst heuer sehr ernst nehmen und iiber meine Pflichten und Rechte ein biflchen nachdenken: damit meine ich nicht die dumme Staatsprdfung. Eher meine ich den Beruf im tieferen Sinn. Es giebt so viel, das vielleieht zu-sammenbrechen wird. Die Zeit hat etwas aufregend sehones."¹ In July his friend Josephine von Wertheimstein died and, probably for the first time, Hofmannsthal felt death as personal reality.² In the autumn of the same year Hofmannsthal enters the military service where he will have to learn to face a real possibility of his own death, and where, again for the first time in his life, he would have to work in the service of others, and live in a disciplined system with them. All these experiences combine to break down the isolated and artificial life which he had enjoyed till that time. In the summer of 1894, in the space of a few days following the death of Prau von Wertheimstein, Hofmannsthal writes the four Terzinen uber Verganglichkeit, primarily an expression of his Romantic mysticism, and at the same time he works on his Marchen der 672. Nacht (completed the following year) which is a violent exposure of the meaninglessness of a life removed from social morality. The purpose of this thesis is to attempt to show the nature of Hofmannsthal's dualism through an analysis of these two major works of the crucial 1894-95 year in which the opposite poles of his thought are most evident. Before looking at the works themselves it will be necessary to turn to Ad me ipsum, Hofmannsthal’s notes on his personal philosophy as a background for the understanding of his works, and to consider this philosophy as it derives from Romantic thought and as it is expressed in some of the other early works. ¹ Oct. 10, 1893, "Briefe an Edgar Karg aus den Jahren 1892-95," N. Rds., Vol. 73, (1962), p. 590. ² Just the Christmas before Hofmannsthal had described Prau von Wertheimstein as one of those "Die uns mehr als alle anderen sind", with whom he felt a~mystic communion of souls. Gedichte, p. 516. / Arts, Faculty of / Central Eastern Northern European Studies, Department of / Graduate

Television news contains factors of time constraints and deadlines that add pressures to the underlying rules of objectivity, fairness, and bias. This study seeks to determine if the elements of "responsible journalism" dissipate in television news coverage of a highly significant, developing news story. In other words, how well do the rules hold up under pressure? The momentous story selected for observation was the Mark Hofmann bombings in Salt Lake City, Utah. The focus centered on the coverage by local stations rather than the network television news operations.

A essência da tese é a relação entre a literatura e a pintura cujo tema é o idílio clássico. O contexto situacional (Arcádia) será diferenciado no colóquio entre as imagens de Ludwig von Hofmann (1861-1945) e o texto de Thomas Mann (1875-1955) identificado no capítulo VI do romance \'A Montanha Mágica\'. Entendendo que o texto escrito tenha uma presença visual, apresentamos o escritor Mann como leitor das pinturas e desenhos de Hofmann. Dessa forma, demonstro que a página impressa pode ser visualizada como um quadro, assim como, inversamente, a imagem é um quadro gravado, um texto escrito. O objetivo principal será a discussão da importância da leitura e de como esta cria possibilidades do visível tornar legível e na leitura de um texto escrito visualizá-lo. Possibilitando o diálogo entre os dois artistas, através das diferentes linguagens, fundamentaremos este trabalho com autores como Mitchel, Marin, Chartier, Manguel, entre outros. A percepção das imagens será abordada a partir de uma metodologia fenomenológica. A leitura e interpretação do diálogo entre o texto de Mann e as imagens de Hofmann será apresentada numa perspectiva hermenêutica e na teoria da estética da recepção. Para tal, Merleau-Ponty, Dufrenne, Ricoeur, Jauss e Iser são fundamentos da análise. / In dieser Arbeit geht es grundsätzlich um die Beziehung zwischen Literatur und Malerei, mit dem Thema des klassischen Idylls. Der Kontext (Arkadien) wird differenziert untersucht im Gespräch zwischen den Bildern von Ludwig von Hofmann (1861-1945) und dem Text von Thomas Man (1875-1955), insbesondere im Kapitel VI des Romans der Zauberberg. Von der Idee ausgehend dass der geschriebene Text eine visuelle Präsenz hat, stelle ich den Autor Thomas Mann als Leser der Bilder und Zeichnungen von Hofmann vor. Auf diese Weise zeige ich, dass die gedruckte Seite wie ein Bild betrachtet werden kann, wie auch umgekehrt das Bild als ein geschriebener Text verstanden werden kann. Hauptziel ist dabei die Diskussion um die Wichtigkeit des Leseaktes und inwiefern dieser Möglichkeiten aufwirft, das Visuelle lesbar zu machen und einen geschrieben Text zu visualisieren. Durch den Dialog zwischen den beiden Künstlem aufgrund verschiedener Sprachsysteme, stütze ich mich theoretisch auf Arbeiten von Autoren wie Mitchel, Marin, Chartier, Manguel, unter anderen. Die Wahrnehmung der Bilder wird aufgrund eines phänomenologischen Ansatzes untersucht. Die Lektüre und Interpretation des Dialogs zwischen dem Text von Mann und den Bildern von Hofmann wird in einer hermeneutischen und rezeptionsästhetischen Perspektive dasgestellt. Hierzu bilden Merleau-Ponty, Dufrenne, Ricoeur, Jauss und Iser den theoretischen Hintergrund.