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The compositional language of Russian composer-pianist Nikolai Medtner (1880-1951) demonstrates an evolution of the traditional forms and harmony. Following the classical and romantic traditions, Medtner's compositional technique reveals his individual and original approaches to form and harmony. The unique architectonic in his works is achieved through particular tonal-harmonic juxtapositions of the sections, the frequent prevalence of the monothematic principle, the increased role of the developmental material in the exposition, and contrapuntal combination of themes. Harmonic vocabulary is characterized by chromatic harmony, altered dissonant chords, augmented triads, complex chains of modulations, and usage and combination of modes and octatonic scale. Counterpoint is of great importance toward understanding the chord progression found in his music. Skazki (fairy tales) are pieces in small form, such as preludes, or novelettes; they hold an important place in Medtner's oeuvre. The fairy tale genre is associated with many artistic traditions, including Russian folk art. Medtner's 38 fairy tales, varied in imagery and character, were composed during different periods of his life. The evolution of the genre is seen in form and harmonic language. The lyrical, subjective mood of the fairy tales of the earlier period, such as op. 8, op. 9 and op. 14, evolve into large-scale works, such as fairy tales op. 20 and op. 35. In his later years, in fairy tales from op. 42, Medtner imbues the form with a greater clarity of expression, a tendency to move toward simpler musical expression, and an expanded use of thematic Russian folklore sources, including more definite ties with song and dance genres.

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Die vorliegende Studie ist die erste werkmonographische Arbeit zu dem deutschen Gegenwartsautor Alban Nikolai Herbst. Im Zentrum stehen das Hauptwerk des Autors – eine lose Pentalogie von Die Verwirrung des Gemüts (1983) über Wolpertinger oder Das Blau (1993) zur Anderswelt-Trilogie, von der Thetis (1998) und Buenos Aires (2001) einbezogen wurden – sowie das von ihm seit 2004 geführte literarische Weblog Die Dschungel. Zum einen dient die Studie als grundlegende Einführung in die komplexen, schwer zugänglichen Romane und Herbsts Poetik im Allgemeinen, zum anderen stehen bei den Textanalysen Fragen der Identität und der Auffassung von Realität bzw. Wirklichkeit im Fokus.

The dissertation focuses on the early piano sonatas of Russian composer Nikolai Karlovich Medtner (1880–1951). It approaches them in the context of genre history, confronts them with other composers' works, and discusses them from various analytic perspectives. A special goal is to consider the pieces in the aesthetic environment of their time, and to regard them as peculiar instances of the ›sonata principle‹, an ageless conception of musical form. The study is subdivided in three large parts, the first of which presents a summary of sonata composition before Medtner, exploring lines of tradition in Western Europe and Russia. The second part concentrates on Medtner’s musical language and its stylistic features. The third and most comprehensive part provides detailed examinations of eight of Medtner’s piano sonatas, including aspects of their genesis and reception, and making use of recent methods of musical analysis. / Die Dissertation widmet sich den frühen Klaviersonaten des russischen Komponisten Nikolaj Karlovič Metner (1880–1951), die im Kontext ihrer Gattungsgeschichte und im Vergleich mit Musik anderer Urheber betrachtet werden. Ein Hauptanliegen der multiperspektivischen Analysen ist es, den Werkkorpus in ästhetische Kontexte der Entstehungszeit einzubetten und die Einzelwerke als Spezialfälle des ›Sonatenprinzips‹, eines zeitlosen Formkonzepts, darzustellen. Die Studie gliedert sich in drei Sektionen, deren erste die Entwicklungen des Sonatenkomponierens vor Metner zusammenfasst und Traditionslinien in Westeuropa und Russland nachzeichnet. Der zweite Teil ist eine Darstellung der Tonsprache Metners und ihrer stilistischen Merkmale. Der dritte und umfangreichste Teil präsentiert Detailanalysen von acht Klaviersonaten Metners und untersucht die Notentexte mit Hilfe aktueller Analysemethoden.

The dissertation focuses on the early piano sonatas of Russian composer Nikolai Karlovich Medtner (1880–1951). It approaches them in the context of genre history, confronts them with other composers' works, and discusses them from various analytic perspectives. A special goal is to consider the pieces in the aesthetic environment of their time, and to regard them as peculiar instances of the ›sonata principle‹, an ageless conception of musical form. The study is subdivided in three large parts, the first of which presents a summary of sonata composition before Medtner, exploring lines of tradition in Western Europe and Russia. The second part concentrates on Medtner’s musical language and its stylistic features. The third and most comprehensive part provides detailed examinations of eight of Medtner’s piano sonatas, including aspects of their genesis and reception, and making use of recent methods of musical analysis. / Die Dissertation widmet sich den frühen Klaviersonaten des russischen Komponisten Nikolaj Karlovič Metner (1880–1951), die im Kontext ihrer Gattungsgeschichte und im Vergleich mit Musik anderer Urheber betrachtet werden. Ein Hauptanliegen der multiperspektivischen Analysen ist es, den Werkkorpus in ästhetische Kontexte der Entstehungszeit einzubetten und die Einzelwerke als Spezialfälle des ›Sonatenprinzips‹, eines zeitlosen Formkonzepts, darzustellen. Die Studie gliedert sich in drei Sektionen, deren erste die Entwicklungen des Sonatenkomponierens vor Metner zusammenfasst und Traditionslinien in Westeuropa und Russland nachzeichnet. Der zweite Teil ist eine Darstellung der Tonsprache Metners und ihrer stilistischen Merkmale. Der dritte und umfangreichste Teil präsentiert Detailanalysen von acht Klaviersonaten Metners und untersucht die Notentexte mit Hilfe aktueller Analysemethoden.

Submitted by Erika Demachki (erikademachki@gmail.com) on 2014-09-26T20:27:29Z No. of bitstreams: 2 Cesaro, Patrícia Souza Silva-2012-dissertação.pdf: 2464854 bytes, checksum: 532712a329cd48a09f59cb655120e2a6 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Jaqueline Silva (jtas29@gmail.com) on 2014-09-26T21:15:48Z (GMT) No. of bitstreams: 2 Cesaro, Patrícia Souza Silva-2012-dissertação.pdf: 2464854 bytes, checksum: 532712a329cd48a09f59cb655120e2a6 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2014-09-26T21:15:48Z (GMT). No. of bitstreams: 2 Cesaro, Patrícia Souza Silva-2012-dissertação.pdf: 2464854 bytes, checksum: 532712a329cd48a09f59cb655120e2a6 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2012-12-14 / The myth of the double is part of a set of the most antique human myths which permeate man`s imaginary since his own existence. It has as its main manifestations the cases of persons resembling one another, identical twins, the fact that someone sees himself in another one, the duality. The term used to designate the double, coined by German writer Jean-Paul Richter, is doppelgänger, and it means the one who walks by the side or close by, the travelling companion or fellow traveler. It has to do with one‘s experience of him/her in alterity or otherness. Some examples of occurrences of the myth of the double in literatures can be, among other: Shakespeare‘s A Comedy of Errors, Plato`s The Banquet, Robert Louis Stevenson‘s Dr. Jekyll and Mr. Hyde, Mary Shelley‘s Frankenstein, Dostoyevsky‘s The Double. This thesis has as the object of its analysis the recurrence (and reoccurrence) of the myth of the double in literature and in order to do that it concentrates on the examination of four works which are similar through the manifestation of the double in portraits. Three of them are short stories and the last one is a novel: Nathaniel Hawthorne‘s ―The Prophetic Pictures,‖ Edgar Allan Poe‘s ―The Oval Portrait,‖ Nikolai Gogol‘s ―The Portrait [Портрет],‖ and Oscar Wilde‘s The Picture of Dorian Gray. The theoretical support for the thesis concentrates on a larger use or presence of the idea of the double, as in the Romanticism, and in the development of some themes dear to the 19th Century, such as the fragmentation of the self, the new notions of myth, the idea of the double and specifically the myth of the double. The main theoreticians or theorists used where, among others, are Sigmund Freud, Otto Rank, Arnold Hauser, Anatol Rosenfeld, J. Guinsburg, and Jean-Pierre Vernant. / O mito do duplo faz parte de um conjunto de mitos dos mais antigos, que permeiam o imaginário do homem desde a sua própria existência. Tem por principais manifestações os casos de sósias, gêmeos idênticos, o ver a si mesmo em outro, a dualidade. O termo consagrado para designar o duplo, cunhado pelo escritor alemão Jean-Paul Richter, é doppelgänger, e significa aquele que caminha ao lado, o companheiro de estrada. Tem a ver com uma experiência de si na alteridade. Alguns exemplos de recorrência ao mito do duplo na literatura, entre outros, podem ser: A comédia dos erros, de Shakespeare, O banquete, de Platão, O médico e o monstro, de Stevenson, Frankenstein, de Mary Shelley, O duplo, de Dostoiévski. Esta dissertação tem o objetivo estudar a recorrência do mito do duplo na literatura e, para isso, foram selecionadas quatro obras, que se assemelham pela manifestação do duplo em retratos. São três contos e um romance: ―Os retratos proféticos‖, de Nathaniel Hawthorne, ―O retrato oval‖, de Edgar Allan Poe, ―O retrato‖, de Nikolai Gogol, e O retrato de Dorian Gray, de Oscar Wilde. O suporte teórico da dissertação se concentra no maior uso ou presença da ideia do duplo, como no Romantismo e no desenvolvimento de temas caros ao século XIX, como a fragmentação do sujeito, as novas noções de mito, de duplo e especificamente do mito do duplo. Os principais teóricos são, entre outros, Sigmund Freud, Otto Rank, Arnold Hauser, Anatol Rosenfeld, J. Guinsburg, Jean-Pierre Vernant.

The purpose of this study was to gain insights into the educational system in Finland, where art seem to be valued, and America, where it seems to struggle. I first studied how policies that promote a business-like ideology and standardized testing in schools have impacted art education in the United States. Then I investigated Finland’s educational system, which does not rely on standardized testing to monitor student learning and teachers. During my research I noticed that Finland uses a noncompetitive approach to education, which I assumed was connected to the art Folk School that originated in Denmark and moved throughout Europe. Based upon this information, I anticipated that art education was valued more in Finland than in the United States. I also anticipated that Finland’s educational success had a connection to its non-competitive system and its inclusion of the arts. In order to explore this idea, I investigated Finland’s approach to art education by interviewing Finnish professionals in the art education field.

Zugl.: Mainz, Univ., Diss., 2000

Painted in 1937 as part of the centenary celebration of the death of Alexander Pushkin, Nikolai Ulyanov's A. S. Pushkin and his Wife, N. N. Pushkina at the Imperial Ball has been lauded as the quintessential example of Soviet history painting. Modern scholars have followed the lead of Soviet critics, who praised the painting for its insight into the psychology of the brilliant poet repressed by the tyrannical tsarist regime. According to this interpretation, Soviet viewers in the 1930s were to ponder on the tragedy of Pushkin's demise and rejoice that the victory of Socialism had freed them from such repression. However, this thesis suggests that Ulyanov embedded a secondary, subversive message in his masterpiece. Through careful manipulation of Pushkin's complex semiotic significance, Socialist Realist dialectics, and the Aesopian method, Ulyanov crafted an image that could be celebrated for its adherence to Soviet ideology, while simultaneously suggesting to those who detected his clues that artistic repression had not ended with the revolution. In this subversive reading, Ulyanov's masterwork becomes a psychological self-portrait of an artist living under Stalinist oppression during the Great Terror.