I am exploring the new shapes in garments by using pieces of the quadrate shape, in contrast to the body shape, as a tool. By setting the amount of the pieces for each garment, new shapes occur because particular connecting techniques are used in order to join every piece to make a garment. The garments still look dynamic because of the visible seam allowances which creates lines all over. Moreover, the primary colours are scattered into many tones used in the collection. One tone is for one garment in an outfit. The materials are various. These make the expression energetic although the quadrilateral itself and the strong primary colours look quite static. / Program: Master Programme in Fashion and Textile Design

A distinct feature of Brahms's compositional style is the cumulative development of melodic material that occurs throughout the composition. This motivic treatment appears in rhythmic and pitch fragments that are prolonged though various repetitions and newly derived figures related to earlier statements at the beginning of the composition. The compositional practices of Brahms as they relate to thematic unity reflect an earlier concept of the Grundgestalt, described in elements of nature by the 19th century philosopher, Johann Wolfgang von Goethe. The creative application of this concept by Brahms influenced the work of Arnold Schoenberg, who provided a more formal description as it relates to music and the compositional process. In this thesis, a relationship between Schoenberg's concept of the Grundgestalt and Brahms's compositional technique of motivic manipulations is explored. Movements from the First and Second Sonata for Clarinet and Piano by Brahms have been selected in order to observe his motivic treatment and the ways in which it permeates the composition. The motivic development that characterizes Brahms's style involves an initial motive with a distinct contour and intervallic content. The motive is manipulated with various techniques such as inversion, rhythmic variety and reordered segments that later transform into newly derived forms. An analysis of motivic material and the techniques that create a type of "developing variation" will be a significant focus of this thesis.

This dissertation examines the renovation of the modernist stage, from the beginning of the twentieth century to the late 1930s, via a retrieval of three artistic forms that had marginal importance in the commercial theatre of the nineteenth century. These three paths are the tradition of the commedia dell’arte, puppetry and marionettes, and, finally, what I denominate mysterium, following Elinor Fuch’s terminology in The Death of Character. This dissertation covers the temporal span of the first three decades of the twentieth century and, at the same time, analyzes modernist theatre in connection with the history of Western drama since the consolidation of the bourgeois institution of theatre around the late eighteenth century. The Theatrical Pendulum: Paths of Innovation in the Modernist Stage studies the renovation of the bourgeois institution of theatre by means of the rediscovery of artistic forms previously relegated to a peripheral status in the capitalist system of artistic production and distribution. In their dramatic works, Nikolai Evreinov, Josef and Karel Čapek, Massimo Bontempelli, and Federico García Lorca present fictional actors, playwrights and directors who resist the fact that their work be evaluated as just another commodity. These dramatists collaborate with the commercial stage of their time, instead of adopting the radical stance that characterized avant-garde movements such as Italian futurism and Dadaism. Yet they also question the illusionist fourth wall separating stage and audience in order to denounce the subjection of the modernist artist to the expectations of bourgeois spectators. Jan Mukařovský’s concept of practical function in art is central to understanding the didactic nature of the dramatic texts studied in this dissertation. By claiming the importance of Mukařovský’s phenomenological structuralism, I propose a new reading of the theoretical legacy of the Prague School in conjunction with recent contributions in the field of theatre studies by Elinor Fuchs, Martin Puchner and other scholars whose work will be discussed here.

This dissertation examines the renovation of the modernist stage, from the beginning of the twentieth century to the late 1930s, via a retrieval of three artistic forms that had marginal importance in the commercial theatre of the nineteenth century. These three paths are the tradition of the commedia dell’arte, puppetry and marionettes, and, finally, what I denominate mysterium, following Elinor Fuch’s terminology in The Death of Character. This dissertation covers the temporal span of the first three decades of the twentieth century and, at the same time, analyzes modernist theatre in connection with the history of Western drama since the consolidation of the bourgeois institution of theatre around the late eighteenth century. The Theatrical Pendulum: Paths of Innovation in the Modernist Stage studies the renovation of the bourgeois institution of theatre by means of the rediscovery of artistic forms previously relegated to a peripheral status in the capitalist system of artistic production and distribution. In their dramatic works, Nikolai Evreinov, Josef and Karel Čapek, Massimo Bontempelli, and Federico García Lorca present fictional actors, playwrights and directors who resist the fact that their work be evaluated as just another commodity. These dramatists collaborate with the commercial stage of their time, instead of adopting the radical stance that characterized avant-garde movements such as Italian futurism and Dadaism. Yet they also question the illusionist fourth wall separating stage and audience in order to denounce the subjection of the modernist artist to the expectations of bourgeois spectators. Jan Mukařovský’s concept of practical function in art is central to understanding the didactic nature of the dramatic texts studied in this dissertation. By claiming the importance of Mukařovský’s phenomenological structuralism, I propose a new reading of the theoretical legacy of the Prague School in conjunction with recent contributions in the field of theatre studies by Elinor Fuchs, Martin Puchner and other scholars whose work will be discussed here.

Diss.--Würzburg Univ., 2001.

Thesis (Ph. D.)--Johns Hopkins University. / Vita. Includes bibliographical references.

Zugl.: Klagenfurt, Univ., Diss., 2009

I situate Škvorecký’s novel as both a primary document in the historical record of transitional justice and as a literary creation in the author’s larger oeuvre. In creating this work of autobiographical fiction, Škvorecký deals with the ambiguities of a tumultuous historico-political moment and creates an appropriately complex work of art. I combine social science research with close-reading of the text in the tradition of new historicism. In the introduction I explain the historico-political background, specifically transitional justice and lustration in Czech Republic in the early 1990s, that engendered Two Murders. In my first chapter, I examine the book reviews, Czech and English, that appeared following the two language-respective publications of Two Murders. In the remaining three chapters I present my analysis of the novel based on close-reading and applied historical information. Chapters two and three discuss different but interconnected manifestations of distance. Chapter two examines memory as the temporal distance of the mind, while chapter three explores exile as spatial distance. Škvorecký invests memory and exile with enormous significance, and uses both concepts to depict his characters’ isolation. In the final chapter, I discuss rumor and reputation in the novel’s two distinct story-lines, demonstrating how they come together to create a cohesive artistic work. Approaching the novel as both a historical document and a work of art, I hope to critically examine this complicated historical moment and appraise Škvorecký’s contribution to the post-communist Czech dialogue. / text

The purpose of this study was to examine the controversial personage of Dr. Josef Mengele, who was the chief physician of the Third Reich's Polish extermination camp, Auschwitz-Birkenau. Until very nearly the completion of this project, virtually no scholarly research had been conducted pertaining to Mengele's life, and therefore, the value of this inquiry is easily discernable. After forty years of eluding Israeli assassins and Nazi hunters, principally in several South American countries, Mengele's alleged remains were discovered, and subsequently exhumed for forensic analysis, near Sao Paulo, Brazil, in early June 1985. In the aftermath of intensive forensic examination, performed by an international team of experts, which included American, West German, and Brazilian scientists, the skeletal remains were pronounced to be those of Mengele within a reasonable scientific certainty. Skeptics not only had misgivings about the initial reports of Mengele's death, but also questioned the veracity of the preliminary medical report, pointing to both errors of omission and commission contained in the report's findings. Despite additional dental evidence discovered nearly one year after the disinterment of the Brazilian remains, which incidentally provided positive identification of the remains as those of Mengele, skeptics continued to discount the expert's opinions and resumed the search for Mengele with renewed vigor. It was concluded that the Brazilian remains were indeed those of Mengele. While the uncertainty over Mengele's apparent death has been resolved, it is recommended that further research be conducted into Mengele's pre-war life, as well as his clandestine post-war existence.

Thesis (Ed.D.)--Teachers College, Columbia University, 1993. / Includes tables. Typescript; issued also on microfilm. Sponsor: Justin Schorr. Dissertation Committee: Angiola Churchill. Includes bibliographical references (leaves 153-163).