La thèse se propose d’illustrer le « phénomène » Heine en France et en Italie d'environ 1850 à 1950, tant du point de vue littéraire que musical. Heine a entretenu avec la France un rapport privilégié: il s'est installé à Paris en 1831, où il a élu domicile jusqu'à sa mort, en 1856. Très nombreux ont été, en France et en Italie, les traducteurs du poète, mais aussi les poètes et les écrivains qui ont été influencés par ses idées et son art poétique. Beaucoup de compositeurs ont également mis en musique la traduction de ses poèmes. La présente thèse propose d'étudier le rôle et l'impact des traducteurs et des musiciens qui ont été conquis par le génie du poète allemand. Les traducteurs commencèrent très tôt à publier les versions de Heine pour les nombreuses revues parisiennes, jusqu’à la publication de la traduction du Lyrisches Intermezzo de Gérard de Nerval dans la Revue de Deux Mondes en 1848. Les compositeurs suivirent cette tendance quelques années plus tard et mettront en musique les poèmes de Heine notamment entre 1870 et 1930. / The thesis intends to illustrate the Heine “phenomenon” in France and in Italy from around 1850 to 1950, from both a literary as well as a musical point of view. Heine enjoyed a privileged relationship with France. He arrived in Paris in 1831 and established the French capital as his home until his death in 1856. The poet had countless translators in both France and Italy and many were the poets and writers who were influenced by his ideas and his poetry. Many composers composed romances and melodies for his works. This thesis intends therefore to study the role and the impact of the translators and musicians who were won over by the genius of the German musician. The translators began very early to publish their own versions in the numerous Parisian revues, right up to the publication of the Lyrisches Intermezzo by Gérard de Nerval in the “Revue de Deux Mondes” in 1848. The composers would follow this tendency some years later and would set to music Heine’s poetry, especially in the years from around 1870 to 1930.

Univ., Diss.--Erlangen, 1999.

Die Romanze in G-Dur für Violine und Klavier wurde für ein Konzert an der Hochschule für Musik und Theater Hannover komponiert, das genau unter dem im Werktitel genannten Motto stand. Es erinnert an die Melodienseligkeit romantischer Romanzen und verfremdet sie doch, zunächst dadurch, dass die Violine begleitet statt zu führen. Das tut sie in der ersten von vier Variationen, denen kein eigentliches Thema vorausgeht, durch Doppelgriffe in tiefer Lage und in der zweiten Variation durch zum Teil extrem hoher Lage. Die dritte Variation, im forte stehend, bringt den „Ausbruch“ aus der Innigkeit der Romanze, bei dem der Klavierpart die Extremlagen aufsucht. Darauf folgt in der vierten Variation der „Abbruch“ der Romanze.

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Das Dissertationsprojekt befasst sich mit der australischen Autorin Dymphna Cusack, deren Popularität in Ost und West zwischen 1955 und 1975 ihren Höhepunkt erreichte. In diesem Zeitraum wurde sie nicht nur in den westlichen Industriestaaten, in Australien, England, Frankreich und Nord Amerika viel gelesen, sondern auch in China, Russland, der Deutschen Demokratischen Republik und in vielen Sowjetrepubliken. Im Verlauf ihres Schaffens wurde ihr grosse Anerkennung für ihren Beitrag zur australischen Literatur zuteil; sie erhielt die &bdquo;Commonwealth Literary Pension&ldquo;, die &bdquo;Queen&prime;s Silver Jubilee Medal&ldquo; und 1981 den &bdquo;Award of her Majesty&ldquo;. Trotz dieser Unterstützung durch den Staat in Australien und England äusserte Cusack immer wieder feministische, humanistisch-pazifistische, und anti-faschistisch bzw. pro-sowjetische Sozialkritik. <br /> Sie war auch für ihren starken Nationalismus bekannt, plädierte dafür, eine &bdquo;einheimische&ldquo; Literatur und Kultur zu pflegen. Besonders das australische Bildungssystem war das Ziel ihrer Kritik, basierend auf ihren Erfahrungen als Lehrerin in städtischen und ländlichen Schulen, die sie ihrer Autobiographie beschrieb. 'Weder ihr Intellekt, noch ihre Seele oder ihre Körper wurden gefördert, um ganze Männer oder ganze Frauen aus ihnen zu machen. Besonders letztere wurden vernachlässigt. Mädchen wurden ermutigt, ihren Platz dort zu sehen, wo deutsche Mädchen ihn einst zu sehen hatten: bei Kindern, Küche, Kirche.' Cusack engagierte sich stark für Bildungsreformen, die das Versagen australischer Schulen, das erwünschte liberal-humanistische Subjekt zu herauszubilden, beheben sollten. <br /> Der liberale Humanismus der Nachkriegszeit schuf ein populäres Bedürfnis nach romantischem Realismus, den man in Cusacks Texten finden kann. Um verstehen zu können, wie Frauen sich zwischen &bdquo;Realismus und Romanze&ldquo; verfingen, biete ich eine Dekonstruktion von Geschlecht innerhalb dieses &bdquo;hybriden&ldquo; Genres an. Mittels feministischer Methodik können Einblicke in die konfliktvolle Subjektivität beider Geschlechter in verschiedenen historischen Perioden gewonnen werden: die Zeit zwischen den Kriegen, während des Pazifischen Krieges und den Weltkriegen, während des Kalten Krieges, zur Zeit der Aborigine-Bewegung, des Vietnamkrieges, sowie zu Beginn der zweiten feministischen Bewegung in den siebziger Jahren. Eine Rezeptionsanalyse des romantischen Realismus und der Diskurse, die diesen prägen, sind in Kapitel zwei und drei untersucht. <br /> Die Dekonstruktion von Weiblichkeit und eines weiblichen Subjekts ist in Kapitel vier unternommen, innerhalb einer Diskussion der Art und Weise, wie Cusacks romantischer Erzählstil mit dem sozialen Realismus interagiert. Nach der Forschung von Janice Radway, werden Cusacks Erzählungen in zwei Tabellen unterteilt: die Liebesgeschichte versagt, ist erfolgreich, eine Parodie oder Idealisierung (s. &bdquo;Ideal and Failed Romances&ldquo;; &bdquo;Primary Love Story Succeeds or Fails&ldquo;). Unter Einbeziehung von Judith Butlers philosophischem Ansatz in die Literaturkritik wird deutlich, dass diese Hybridisierung der Gattungen das fiktionale Subjekt davon abhält, ihr/sein Geschlecht &bdquo;sinnvoll&ldquo; zu inszenieren. Wie das &bdquo;reale Subjekt&ldquo;, der Frau in der Gesellschaft, agiert die fiktionale Protagonistin in einer nicht intelligiblen Art und Weise aufgrund der multiplen Anforderungen an und den Einschränkungen für ihr Geschlecht. <br /> Demnach produziert die geschlechtliche Benennung des Subjektes eine Vielfalt von Geschlechtern: Cusacks Frauen und Männer sind geprägt von den unterschiedlichen und konfliktvollen Ansprüchen der dichotom gegenübergestellten Genres. Geschlecht, als biologisches und soziales Gebilde, wird danach undefinierbar durch seine komplexen und inkonsistenten Ausdrucksformen in einem romantisch-realistischen Text. Anders gesagt führt die populäre Kombination von Liebesroman und Realismus zu einer Überschreitung der Geschlechtsbinarität, die in beiden Genres vorausgesetzt wird. <br /> Weiterführend dient eine Betrachtung von Sexualität und Ethnie in Kapitel fünf einer differenzierteren Analyse humanistischer Repräsentationen von Geschlecht in der Nachkriegsliteratur. Die Notwendigkeit, diese Repräsentationen in der Populär- und in der Literatur des Kanons zu dekonstruieren, ist im letzten Kapitel dieser Dissertation weiter erläutert. / In her lifetime, Dymphna Cusack continually launched social critiques on the basis of her feminism, humanism, pacificism and anti-fascist/pro-Soviet stance. Recalling her experi-ences teaching urban and country schoolchildren in A Window in the Dark, she was particularly scathing of the Australian education system. Cusack agitated for educational reforms in the belief that Australian schools had failed to cultivate the desired liberal humanist subject: 'Neither their minds, their souls, nor their bodies were developed to make the Whole Man or the Whole Woman - especially the latter. For girls were encouraged to regard their place as German girls once did: Kinder, Küche, Kirche - Children, Kitchen and Church.' I suggest that postwar liberal humanism, with its goals of equality among the sexes and self-realisation or 'becoming Whole', created a popular demand for the romantic realism found in Cusack&prime;s texts. This twentieth century form of humanism, evident in new ideas of the subject found in psychoanalysis, Western economic theory and Modernism, informed each of the global lobbies for peace and freedom that followed the destruction of World War II. <br /> Liberal ideas of the individual in society became synonymous with the humanist representations of gender in much of postwar, realistic literature in English-speaking countries. The individual, a free agent whose aim was to 'improve the life of human beings', was usually given the masculine gender. He was shown to achieve self-realisation through a commitment to the development of &ldquo;mankind&rdquo;, either materially or spiritually. Significantly, the majority of Cusack&prime;s texts diverge from this norm by portraying women as social agents of change and indeed, as the central protagonists. <br /> Although the humanist goal of self-realisation seems to be best adapted to social realism, the generic conventions of popular romance also have humanist precepts, as Catherine Belsey has argued. The Happy End is contrived through the heroine&prime;s mental submission to her physical desire for the previously rejected or criticised lover. As Belsey has noted, desire might be considered a deconstructive force which momentarily prevents the harmonious, permanent unification of mind and body because the body, at the moment of seduction, does not act in accord with the mind. In popular romance, however, desire usually leads to a relationship or proper union of the protagonists. <br /> <br /> In Cusack&prime;s words, the heroine and hero become &ldquo;whole men and women&rdquo; through the &ldquo;realistic&rdquo; love story. Thus romance, like realism, seeks to stabilise gender relations, even though female desire is temporarily disruptive in the narrative. In the end, women and men become fully realised characters according to the generic conventions of the love story or the consummation of potentially subversive desire. It stayed anxieties associated with women seeking independence and self-realisation rather than traditional romance which signalled a threat to existing gender relations.<br /> <br /> I proposed that an analysis of gender in Cusack&prime;s fiction is warranted, since these apparently unified, humanist representations of romantic realism belie the conflicting aims and actions of the gendered subjects in this historical period. For instance, when we examine women&prime;s lives immediately after the war, we can identify in both East and West efforts initiated by women and men to reconstruct private/public roles. In order to understand how women were caught between &ldquo;realism and romance&rdquo;, I plan to deconstruct gender within the paradigm of this hybrid genre. <br /> <br /> By adopting a femininist methodology, new insights may be gained into the conflictual subjectivity of both genders in the periods of the interwar years, the Pacific and World Wars, the Cold War, the Australian Aboriginal Movement at the time of the Vietnam War, as well as the moment of second wave Western feminism in the seventies. My definition of romantic realism and the discourses that inform it are examined in chapters two and three. A deconstruction of femininity and the female subject is pursued in chapter four, when I argue that Cusack&prime;s romantic narratives interact in different ways with social realism: romance variously fails, succeeds, is parodic or idealised. Applying Judith Butler&prime;s philosophical ideas to literary criticism, I argue that this hybridisation of genre prevents the fictional subject from performing his or her gender. <br /> <br /> Like the &ldquo;real&rdquo; subject - actual women in society - the fictional protagonist acts in an unintelligible fashion due to the multifarious demands and constraints on her gender. Consequently, the gendering of the sexed subject produces a multiplicity of genders: Cusack&prime;s women and men are constituted by differing and conflicting demands of the dichotomously opposed genres. Thus gender and sex become indefinite through their complex, inconsistent expression in the romantic realistic text. In other words, the popular combination of romance and realism leads to an explosion of the gender binary presupposed by both genres. Furthermore, a consideration of sexuality and race in chapter five leads to a more differentiated analysis of the humanist representations of gender in postwar fiction. The need to deconstruct these representations in popular and canonical literature is recapitulated in the final chapter of this Dissertation.

Questo lavoro presenta uno studio comparativo dei principali caratteri della terminologia specialistica della Smart City in lingua francese, italiana e inglese, e si propone di approfondire la conoscenza dell’ambito disciplinare in analisi. Viene adottato un modello descrittivo ampio, fondato su diversi approcci metodologici. Lo studio è articolato in tre parti, precedute da una premessa dedicata all’analisi diacronica del termine urbanisme. La prima sezione ha lo scopo di delineare e definire il concetto di Smart City, con particolare riguardo alle motivazioni dell’emergere di tale modello urbano all’inizio del XXI secolo, ai principali soggetti coinvolti nella sua realizzazione e al contenuto semantico-retorico che nel tempo ha acquisito l’aggettivo smart, epiteto tutt’altro che neutro o alla moda. Successivamente vengono esaminate la neologia specialistica e le politiche linguistiche romanze: dopo i riferimenti teorici, si procede alla verifica delle potenzialità neologiche delle lingue francese e italiana in relazione alle neoformazioni inglesi nel settore specifico della Smart City. Infine, la terza parte è dedicata alla costruzione di una risorsa terminologica – un glossario plurilingue, allegato al lavoro – intesa come contributo alla definizione e alla divulgazione del concetto di Smart City. In conclusione, si ripercorrono i risultati salienti della ricerca e si delineano ulteriori prospettive di indagine. / This work presents a comparative study of the main features of Smart City terminology in French, Italian and English, and it aims at deepening the knowledge of the disciplinary field analysed. A broad descriptive model is adopted, based on several methodological approaches. The study is divided into three parts, preceded by a preface with the diachronic analysis of the French term urbanisme. The first section aims at outlining and defining the Smart City concept, with particular emphasis on the causes of the emergence of this urban model at the beginning of the 21st century, its main stakeholders, and the semantic-rhetoric content of the adjective smart, which is far from being a neutral or fashionable label. Then, terminological neology and normalization in the Romance languages are investigated: the theoretical framework is followed by the study of the neological potential of French and Italian compared to the new English terms appearing in the Smart City domain. Finally, the third part focuses on realizing a terminological resource – a multilingual glossary, in annex – which is designed as a contribution to the definition and dissemination of the Smart City concept. The conclusion includes the main research outcomes and further perspectives of study.

Master of Music / School of Music, Theatre, and Dance / Reginald L. Pittman / This Master’s Report is an examination of four vocal song cycles for the baritone voice. Song cycles researched, interpreted, and performed include An die ferne Geliebte (1816) by Ludwig van Beethoven, Sei Romanze (1838) by Giuseppe Verdi, Don Quichotte à Dulcinée (1932-1933) by Maurice Ravel, and Let Us Garlands Bring (1938-1942) by Gerald Finzi. In this report you will find information on the history of vocal song cycles, biographical information about composers and poets/lyricists, compositional analysis, historical breakdowns of the musical periods, musical and poetic interpretations, original texts and English translations, pedagogical and performance practice insights, and never before published transpositions of “Non t’accostare all’urna,” “More, Elisa, lo stanco poeta,” and “Nell’orror di note oscura” from Giuseppe Verdi’s Sei Romanze (1838). Songs in this report are: “Auf dem Hügel sitz ich spähend,” “Wo die Berge so blau,” “Leichte Segler in den Höhen,” “Diese Wolken in den Höhen,” “Es kehret der Maien, es blühet die Au,” and “Nimm sie hin den diese Lieder” from An die ferne Geliebte by Ludwig an Beethoven. “Non t’accostare all’urna,” “More, Elisa, lo stanco poeta,” “In solitaria stanza,” and “Nell’orror di note oscura” from Sei Romanze by Giuseppe Verdi. “Chanson romanesque,” “Chanson épique,” and “Chanson à boire” from Don Quichotte à Dulcinée by Maurice Ravel. “Come away, come away, death,” “Who is Silvia?,” “Fear no more the heat o’ the sun,” “O Mistress Mine,” and “It was a lover and his lass” from Let Us Garlands Bring by Gerald Finzi. The graduate recital was presented in partial fulfillment of the requirements for the Master of Music degree in vocal performance on April 9th, 2017 in All Faiths Chapel on the campus of Kansas State University. The recital featured the talents of baritone Matthew D. Cyphert and pianist Mitchell S. Jerko.