Texte remanié de: Diss.--Literaturwissenschaft--Berlin, B.R.D., 1980. / Bibliogr. p. 216-222.

Begun in Berlin, completed in exile in Paris, and premiered on both sides of the Atlantic, Kurt Weill's Symphony No. 2 sets up the symphony circa 1933 as both resolutely international and messily interdisciplinary, and spotlights how fundamentally a transnational approach is needed in order more comprehensively to understand both the genre and the localised political and social issues shaping symphonic discourse at this time. Taking the issues raised by Weill's symphony as a starting point, and borrowing fine-grained, historically synchronic approaches from year studies, this thesis examines the symphonic genre in 1933 through four other case-study works composed or premiered in that year. I thus position the symphony as a site of cultural exchange between and within the major contexts traversed by Weill and his work: Berlin, Paris, and a messier U.S. East-Coast nexus that centres on New York and Boston, via Mexico City, looking in detail at Hans Pfitzner's Symphony in C-sharp minor, Roy Harris's Symphony 1933, Aaron Copland's Short Symphony, and Arthur Honegger's Mouvement Symphonique nr. 3. The Germanic genre has long been associated with nationalism, monumentality, and power display, wedded to Germanic Enlightenment philosophical discourses about universalised selfhood and its relationship to society. 1933, the year in which Hitler took power and the Great Depression reached its peak, was politically and economically fraught, concentrating social questions that intersect with symphonic issues about power, selfhood, space, and mass audiences. It is also a neglected year within symphonic surveys. The thesis combines archival work and hermeneutic perspectives to foreground those social and political discourses historically associated with the genre. I argue for the significance of their differing legacies in co-existent contexts, for the complicity of the genre in establishing and perpetuating political and colonial hegemonies, and for the urgency of rethinking the symphony as an international phenomenon.

This thesis describes the unique transition of the German Alliance-Mission (GAM) from an interdenominational faith mission to a denominational church mission agency. This process was begun and developed by the affiliation on the Federation of Free Evangelical Churches in Germany (FFEC). The GAM was in the beginning stage an intentionally interdenominational mission agency. Their founding fathers Carl Polnick and Fredrik Franson were against denominationalism. Therefore they could not imagine approaching one particular denomination to work together. However, in the 1920's the GAM became more denominationally minded through the influence of the new mission leaders. After World War II the leaders of GAM and FFEC began to negotiate about cooperation. In 1960 the FFEC leaders asked their individual congregations to support the GAM only. In 1975, it became necessary to record an agreement. This agreement made the GAM the official world mission organisation of the FFEC in Germany. / Christian Spirituality, Church History and Missiology / M.Th. (Missiology)

The objective of this thesis is to create the documentation for building construction.Designed building is a sports center, which is used for playing tennis. The project is located in the cadastral Holostřevy, a small village near the town of Plzen. Construction will be visible from the highway D5, which is widely used by German, Austrian and Czech drivers and her attendance and payback will be more effectiv. And the architectural appearance shoud be also contribute. Project documentation has been prepared in compliance with applicable laws, regulations and standards. The building is functionally, operationally and structurally divided into two parts. The first part is called "zázemí" (background). It is the skeleton construction of reinforced concrete with cross reinforced the plate. Packing construction is only between the base and the ceiling and itsn't supporting. In the "zázemí" there are dressing rooms, sanitary facilities, but also a café. The second part is a "hala" (hall). It only serves to playing tennis. The supporting construction is a lamellar wood trusses and central column in "zázemí" supporting it. It is interesting that on the 2nd floor which serves as a grandstand, are formed two parts, one of which serves as an auditorium for interior court and the other as an auditorium for exterior court.

Johann Nepomuk David (1895–1977) lebte und wirkte von 1934 an für gut ein Jahrzehnt in Leipzig. Untersuchungen seiner Werke aus jenen Jahren und ihrem unmittelbareren zeitlichen Umfeld stehen im Zentrum dieses Bandes. Die Autorinnen und Autoren nehmen je ein Werk bzw. ein Werkkonvolut Davids in den Blick, vorzugsweise solche für öffentlichkeitswirksame Bereiche wie für Orchester und für Chor. Eine Unterhaltung über in den dreißiger Jahren entstandene Männerchöre, eine zeitgeschichtliche Untersuchung und ein Gespräch über das Verhältnis von Werk und öffentlichem Handeln Davids ergänzen die Beiträge. Der Band verdankt sich einer Initiative der Fachrichtung Komposition/Tonsatz der Hochschule für Musik und Theater „Felix Mendelssohn Bartholdy“ Leipzig. In seinem Kern ging er aus Vorträgen hervor, die bei einem halbtägigen Symposium im Wintergarten des Bläserhauses gehalten wurden, das im November 2011 im Rahmen der David-Tage stattfand.

No description available.

Als Maltechniker, Restaurator, Radiologe und Hochschullehrer ist Kurt Wehlte für die Berufsgeschichte der Konservierung-Restaurierung eine wegweisende Persönlichkeit. Seine interdisziplinäre Arbeits- und Denkweise prägte ein Berufsbild des Restaurators, welches bis heute nachwirkt. Anhand seines wissenschaftlichen Nachlasses, insbesondere dem sogenannten Röntgenarchiv, wird die Entwicklung der kunstwissenschaftlichen Radiografie in der ersten Hälfte des 20. Jahrhunderts beschrieben und Wehltes Anteil an dieser Entwicklung nachvollzogen. Das Röntgenarchiv dokumentiert seine Tätigkeit als Radiologe zwischen 1931 und 1963 anhand von rund 600 Röntgenaufnahmen, vielfältigem Bildmaterial zu weiteren bildgebenden Verfahren und zahlreichen Schriftquellen. Unterteilt in Kurt Wehltes Lebensstationen in Dresden, Berlin und Stuttgart wird im Band 1 der Arbeit sein vielfältiges Schaffen beleuchtet und die inhaltliche Verknüpfung seiner unterschiedlichen Tätigkeitsfelder auf dem Gebiet der kunstwissenschaftlichen Radiografie aufgezeigt. Wissenschaftsgeschichtliche Bedeutung erlangten vor allem seine frühen Röntgenaufnahmeserien an Museen in Deutschland für Alan Burroughs Röntgenbildarchiv am Fogg Art Museum der Harvard University Mass./USA. Ebenso seine interdisziplinären Forschungen, in denen er wegweisende verfahrenstechnische Neuerungen entwickelte, neue Erkenntnisse zur Auswertung von Gemälde-Röntgenaufnahmen erlangte und die Unbedenklichkeit der Untersuchungsmethode endgültig nachwies. Kurt Wehlte verdankte seine erfolgreiche Laufbahn auch einem politischen Opportunismus. Die Zusammenarbeit mit Organisationen und Kulturbehörden während der Zeit des Nationalsozialismus ist Zeugnis deutscher Kultur- und Wissenschaftsgeschichte. Band 2 der Arbeit stellt eine neu entwickelte Arbeitsmethode für die systematische Erfassung von kunsttechnologischen Phänomenen im Röntgenbild vor, die ebenso für die Bewertung historischer Röntgenbildauswertungen genutzt werden kann. Möglichkeiten und Grenzen der systematischen Erfassung werden anhand von Fallbeispielen diskutiert. Diese sind thematisch mit dem wissenschaftsgeschichtlichen Teil der Arbeit über die Röntgenbildkonvolute der Gemälde von Vincent van Gogh und Rembrandt van Rijn verbunden.:Vorwort Einleitung I. Die kunstwissenschaftliche Radiografie Entwicklungen von 1895 bis 1928 II. Das sogenannte »Röntgenarchiv« im Nachlass Kurt Wehltes Beschreibung des Bestandes III. Vom Kunstmaler und Restaurator zum Maltechniker und „Röntgenologen“ Dresden 1925–1930 IV. Ein Spezialist für „maltechnische Röntgenographie“ Berlin 1930–1949 V. Die kunstwissenschaftliche Radiografie in Forschung und Lehre Karlsruhe und Stuttgart 1949–1963 VI. Systematische Auswertung von Röntgenbildern Erfassung und Verwertung von Bildinformationen aus digitalen und historischen Röntgenbildbeständen VII. Schlussbetrachtung Kurt Wehlte als forschender Maler VIII. Anhang / As a painting technician, conservator-restorer, radiologist and university teacher, Kurt Wehlte is a seminal figure in the professional history in the field of conservation-restoration. His interdisciplinary way of working and thinking shaped a professional image of the restorer that still has an impact today. Based on Kurt Wehlte's scientific estate, in particular the so-called X-ray archive, the development of art-scientific radiography in the first half of the 20th century and Wehlte's part on it is described. The estate documents his activities as a radiologist between 1931 and 1963 based on around 600 X-radiographs, also a wide range of other technical images, like early UV-photographs and IR-photographs and numerous written sources. Volume 1, divided into Kurt Wehlte's stations in life (Dresden, Berlin and Stuttgart), sheds light on his multifaceted work and shows how his activities in the field of art-scientific radiography are linked in terms of content. Particular his series of X-radiographs taken in German Museums for Alan Burroughs' Collection of X-radiographs at the Fogg Art Museum (today part of Harvard Art Museums), gained importance in the history of science. The same applies to his interdisciplinary research, in which he developed procedural innovations, gained new insights into the evaluation of X-radiographs of paintings, and definitively proved the harmlessness of the examination method. Kurt Wehlte also owed his successful career to political opportunism. His cooperation with organizations and cultural authorities during the National Socialist era is also a testimony to German cultural and scientific history. Volume 2 presents a newly developed working method for the systematic recording of art technological phenomena in X-radiographs, which can equally be used for the assessment of historical X-radiographs evaluations. Possibilities and limitations of systematic recording are discussed. This is based on case studies, which are thematically linked to the scientific historical part via X-radiographs of paintings by Vincent van Gogh and Rembrandt van Rijn.:Vorwort Einleitung I. Die kunstwissenschaftliche Radiografie Entwicklungen von 1895 bis 1928 II. Das sogenannte »Röntgenarchiv« im Nachlass Kurt Wehltes Beschreibung des Bestandes III. Vom Kunstmaler und Restaurator zum Maltechniker und „Röntgenologen“ Dresden 1925–1930 IV. Ein Spezialist für „maltechnische Röntgenographie“ Berlin 1930–1949 V. Die kunstwissenschaftliche Radiografie in Forschung und Lehre Karlsruhe und Stuttgart 1949–1963 VI. Systematische Auswertung von Röntgenbildern Erfassung und Verwertung von Bildinformationen aus digitalen und historischen Röntgenbildbeständen VII. Schlussbetrachtung Kurt Wehlte als forschender Maler VIII. Anhang

No description available.

We firstly numerically recalculate the Ricci tensor of non-stationary axisymmetric space-times (originally calculated by Chandrasekhar) and we find some discrepancies both in the linear and non-linear terms. However, these discrepancies do not affect the results concerning linear perturbations of a Schwarzschild black hole. Secondly, we use these Ricci tensors to derive the Zerilli and Regge-Wheeler equations and use the Newman-Penrose formalism to derive the Bardeen-Press equation. We show the relation between these equations because they describe the same linear perturbations of a Schwarzschild black hole. Thirdly, we illustrate heuristically (when the angular momentum (l) is 2) the relation between the linearized solution of the Einstein vacuum equations obtained from the Bondi-Sachs metric and the Zerilli equation, because they describe the same linear perturbations of a Schwarzschild black hole. Lastly, by means of a coordinate transformation, we extend Chandrasekhar's results on linear perturbations of a Schwarzschild black hole to the Bondi-Sachs framework. / Mathematical Sciences / M. Sc. (Applied Mathematics)

This thesis analyzes narrative strategies of Kurt Vonnegut as a postmodern author with a specific style. The first part defines postmodernism as opposed to modernism and explains all essential notions to provide the theoretical background. This part also includes a biographical element, describing the important events of the author's life, as these had a major influence on his work. Second part of the thesis analyzes the narrative style of the two selected books, Breakfast of Champions and Mother Night. The conclusion summarizes the most important specifics of the author's narrative strategies and style in the given books. This thesis presents Kurt Vonnegut as a significant and influential representative of postmodern American literature of the second half of the 20th century. Vonnegut fully employs the narrative strategies typical for this period, and by experimenting he creates his own unique style.