Inaug.-Diss.--Ludwig-Maximilians-Universität zu München. / Bibliography: p. 179-198.

Thesis (Ph. D.)--University of Iowa, 2000. / Supervisor: Adalaide Morris. Title-page, preliminaries, Certificate of approval, and Table of contents issued in paper (x, 6 leaves ; 28 cm.). Includes bibliographical references. Also issued on CD-ROM (35 files, 132 megabytes).

Diss.--Urbana-Champaign, Ill., 1993. / Bibliogr. p. 189-201. Index.

Texte remanié de: Habilitationsschrift--Fachbereich 2--Darmstadt--Technische Hochschule, 1994. Titre de soutenance : Vom intellektuellen Nonkonformismus zum kulturellen Erfolg : die Wege der Annales-Historiographie von Marc Bloch zur nouvelle histoire, 1945-1975. / Bibliogr. p. 520-569. Index.

The period from the end of World War I through the 1950s has been called “the Golden Age of Drama on Broadway.” Subsumed within this period is another sort of golden age, of music in the American spoken theater, Broadway and beyond, c. 1935-60. Unlike more familiar, and better-studied, genres of dramatic music such as opera, ballet, and the Broadway-style musical, music composed for spoken dramas is neither a definitive part of the dramatic form nor integral to the work’s original conception. Rather, it is added in production, like sets, costumes, and lighting. This study traces the roots of this rich period of spoken-dramatic music to the collaboration of producer John Houseman, director Orson Welles, and composer Virgil Thomson on the Federal Theatre Project, beginning in 1936. The musical ramifications of that collaboration eventually extended to include composers Paul Bowles and Marc Blitzstein, influential theater companies such as the Theatre Guild and Group Theatre, innovative directors such as Elia Kazan and Margo Jones, and major playwrights such as Lillian Hellman and Tennessee Williams. Following a consideration of the forces that gave rise to this musically rich nexus and the people, materials, and practices involved, three high-profile theatrical collaborations are examined, along with three scores that resulted from them: Thomson’s score for Houseman’s 1957 “Wild West” Much Ado About Nothing; Blitzstein’s score for Welles and the Mercury Theatre’s 1937-38 “anti-Fascist” Julius Caesar; and Bowles’s score for the original production of Williams’s The Glass Menagerie (1944-45). Each score is located within the musico-dramatic history that produced it, and analyzed within the context of the production for which it was written. This work aims to begin to recover a vast body of forgotten American dramatic music, to limn the role of the spoken theater in the careers of these three noteworthy American musical artists, to probe a busy intersection of high and commercial art forms, and to suggest music’s important role in the development of the American spoken theater.

O presente exercício reflexivo visa fazer uma análise do papel político desempenhado por César Augusto durante a construção, a consolidação e a legitimação do sistema político do Principado romano. Tomaremos como base analítica os discursos e as ações de Augusto na cena política romana em prol da restauração da República. Para tanto, propomo-nos abordar o modo como o príncipe se apropriou da artimanha de construção dos estereótipos de seus rivais, Marco Antônio e Cleópatra, no intuito de elevar sua própria posição na cena política romana. A forma como ele se utilizou de discursos do eu e do outro permeia nosso olhar, sobretudo com relação ao mundo oriental que serviu como elemento num plano discursivo e prático de difamação de seus rivais e de apresentação deles como uma ameaça à República romana, a qual ele pretendia salvaguardar e elevar aos melhores tempos. / This reflective exercise aims to analyze the political role performed by Caesar Augustus during the construction, consolidation and the legitimacy of the political system of the Roman Principality. We will take as analytical basis the discourses and actions of Augustus in the Roman political scene on behalf of restoration of the Republic. Therefore, we propose to board the way how the Prince appropriated the trick of construction of stereotypes of his rivals, Marc Antony and Cleopatra, in order to raise his own position in the Roman political scene. The way he used speeches of me and other permeates our gaze, especially concerning the Eastern world that served as an element in a discursive and practical plan to defamation his rivals and their presentation as a threat to the Roman Republic, which he intended to safeguard and raise the best times.

La "Parole de Vie" est pour le chrétien à la fois parole humaine et parole divine : le Christ est vrai Dieu et vrai homme. La théologie s'expose à une constante tension : en effet, elle ne doit sacrifier un des deux aspects au profit de l'autre. Aussi doit-elle accorder une place aux sciences humaines et naturelles sans perdre sa spécificité. Le lieu originel de la théologie serait alors l'Alliance nouvelle et éternelle que Dieu a conclue avec son peuple dans le Christ : toute la réalité humaine y trouve sa place, se dirigeant vers son accomplissement eschatologique. La théologie s'enracine donc dans la spiritualité comme expérience de l'Alliance en même temps qu'elle approfondit la connaissance de celle-ci à travers le mouvement continu d'une pensée qui rend compte du rapport des deux pôles en relation, Dieu et son peuple. Consacrées respectivement au rapport de la spiritualité à la Bible, au dogme, à l'eschatologie, aux lettres et aux sciences, les cinq parties de ce dossier explorent ce mouvement elliptique et prêtent une attention particulière à la problématique interdisciplinaire / For Christians, the "Word of Life " is both human and divine : Christ is true God and true man. Theology experiences a constant tension as it mustn't sacrifice either one of the two aspects : in fact, it has to take into account the contribution of the human and natural sciences without losing its own specificity. The original place of theology would be the new and everlasting covenant, into which God entered with his people in Christ: all human reality finds its due place in it, moving towards its eschatological perfection. Thus theology is rooted in spirituality as the experience of the covenant, of which it deepens the knowledge as a continuous reasoning moving around the two poles that are in constant relation : God and his people. Dedicated to the relationship spirituality has respectively with the Bible, dogma, eschatology, literature and sciences, the five parts of this thesis explore this elliptical movement of theological reasoning and pay special attention to interdisciplinary questions

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