Diss. Univ. Göttingen, 2005.

Th.--Théol.--Helsinki, 1980. / Bibliogr. p. 174-197. Index.

Diss.--Theologischen Fakultät--Fribourg-en-Brisgau--Albert-Ludwigs-Universität, 1991. / Contient l'édition du manuscrit Lat. 2802 conservé à la Bibliothèque nationale de France. Textes en allemand et en latin. Bibliogr. p. 594-600.

Sterne's literary influence in Germany during the eighteenth and nineteenth centuries has been well established by H.W. Thayer, P. Michelsen and B. Brandi-Dohrn. But it is only in relation to the sentimental movement that his strong impact on German language and style has been critically studied and evaluated. And here it was <u>A Sentimental Journey</u> (1768) that contributed. The present thesis was planned originally as a study of the linguistic influence of <u>Tristram Shandy</u> (1759-67). It soon became apparent that the medium through which first and pre-eminently that influence had been exerted was the translation by J.J.C. Bode published in 1774 under the title of <u>Tristram Schandis Leben und Meynungen</u>. This study will analyse the innovations in <u>Tristram Schandi</u> and their derivation from the English of Sterne and, indirectly, from Sterne's predecessors in the tradition of humorous writing. The analysis in limited to the vocabulary and a few significant stylistic features. Syntactic innovations are excluded: they well deserve a special study. The impact of Bode's innovations on the German language of the time will be established mainly by citation from dictionaries. The consultation of literary sources lies outside the scope of my research. The originality and competence of Bode's translation, controversial in intention but far-reaching in effect, will also be discussed. It is not known which edition of <u>Tristam Shandy</u> Bode used for his translation. I have quoted throughout from the World's Classics edition, checking it against those of the Shakespeare Head Press and J.A. Work. Both of these are based on the first and some other early editions. Such differences as exist between the three editions are confined to details of orthography or typography, which would not have affected the translation. Quotations from <u>Tristram Shandi</u> follow the first edition of 1774.

Orientador: José Antonio Resende de Almeida Prado / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-07-28T13:46:04Z (GMT). No. of bitstreams: 1 Amadio_Ligia_M.pdf: 4774937 bytes, checksum: 36ca66afcebaf53c305b55bf25058572 (MD5) Previous issue date: 1999 / Resumo: Koellreutter: um caminho rumo à Estética do Impreciso e Paradoxal investiga a atuação de Hans-Joachim Koellreutter como compositor, pensador da música e fomentador de movimentos de renovação estética. Analisa sua obra composicional desde a década de 30 aos dias de hoje. A década de 40, para Koellreutter, é o momento de um grande surto produtivo, influenciado pelas doutrinas estéticas e técnicas compositivas da Segunda Escola de Viena; é o período, alias, em que ele liderou o grupo Música Viva, responsável pela divulgação de tantas obras da vanguarda européia e brasileira. Na década de 50 Koellreutter conheceu o Japão, a Índia e outros países de Oriente, que lhe provocaram um encontro consigo mesmo, com um desejo latente de buscar uma poética que conjugasse todos os valores que sempre lhe despertaram o interesse mais profundo. A década de 60 viu nascer a concretização desse caminho poético. A convivência intensa com a musica da Índia e do Japão, até meados dos anos 70, lhe inspirou maior ousadia em sua experimentação. No fim da década de 80 e ao longo da de 90, Koellreutter alcançou um nível de subjetividade e de conceitualização tanto no campo ideológico como em sua forma de compor, chegando a um desdobramento depurado dos preceitos sobre os quais desde a década de 60 ¿ refletiu e que sintetizou na chamada Estética Relativista do Impreciso e Paradxal / Abstract: Not informed. / Mestrado / Mestre em Artes

Thesis (doctoral)--Universiteit op Donderdag, 1927. / Includes bibliographical references (p. [159]-162).

Thesis--Chicago, 1974. / Includes bibliographical references (p. 269-284).

Diss. Univ. Tübingen, 2006/07.

Joseph Joachim Raff, a nineteenth-century composer of Swiss-German descent, emerged during the 1870's as one of the leading composers of the symphony and was heralded by his peers as the successor to the symphonic tradition of Schumann. Of the eleven symphonies published between 186U and 1883, nine are program symphonies. Hired as an amanuensis by Liszt during the latter part of 181+9, Raff became involved in the New Weimar School surrounding Liszt, but disenchantment with their dogmas and a need to preserve his own identity caused Raff to resign his position with Liszt in 1856. Although his symphonies reflect the programmatic philosophy of the Weimar school, they also maintain a strong affinity to the classicism of Beethoven, a quality inherent in Raff's more conservative outlook. In order to become familiar with this large body of orchestral literature which is virtually unknown today, both a programmatic and formal analysis for each symphony has been presented, although in some instances the two could not be separated. The symphonies have been grouped according to related programmatic content. Because of the wider acceptance of symphonies 1, 3 and 5 during Raff's lifetime and the programmatic relationship of nos. 6 and 7 to these, form and thematic charts have been correlated with their more detailed, analyses. The other symphonies discussed are nos. 8-11 which comprise the Seasons cycle. These were Raff's last symphonic works which he composed between 1876-79

Zusammengestellt von Christian Leutemann im Juni 2008-07-04.