Diss. Phil. Bern, 1915.

Diss.--Humanwissenschaftliche Fakultät--Universität zu Köln, 2007. / Bibliogr. p. 172-187.

A pesquisa pretende investigar o significado e a origem da influência de Carl Stumpf na terceira investigação lógica intitulada Sobre a teoria dos todos e das partes(Zur Lehre von den Ganzen und Teilen), publicada em 1901, buscando relacioná-la ao desenvolvimento anterior do pensamento de Husserl. Serão abordados o surgimento dos conceitos de auto-suficiência (Selbständigkeit) e não auto-suficiência (Unselbständigkeit) no contexto do problema da origem da representação de espaço e da obra de Stumpf referida ao tema; a interpretação de Husserl destes conceitos; e seu papel sistemático do ponto de vista da evolução da filosofia husserliana em seu período inicial / This research intends to investigate the meaning and origin of the influence of Carl Stumpf on the third logical investigation, entitled On the theory of Wholes and Parts(Zur Lehre von den Ganzen und Teilen), published in 1901, trying to relate it do the former development of Husserls thought. It will be taken into account the birth of the concepts of independence (Selbständigkeit) and dependence (Unselbständigkeit) in the context of the problem of the origin of the representation of space and Stumpfs work related to this theme; the interpretation Husserl gives to these concepts; and their systematic role from the point of view of the evolution of the husserlian philosophy on its initial period

A pesquisa pretende investigar o significado e a origem da influência de Carl Stumpf na terceira investigação lógica intitulada Sobre a teoria dos todos e das partes(Zur Lehre von den Ganzen und Teilen), publicada em 1901, buscando relacioná-la ao desenvolvimento anterior do pensamento de Husserl. Serão abordados o surgimento dos conceitos de auto-suficiência (Selbständigkeit) e não auto-suficiência (Unselbständigkeit) no contexto do problema da origem da representação de espaço e da obra de Stumpf referida ao tema; a interpretação de Husserl destes conceitos; e seu papel sistemático do ponto de vista da evolução da filosofia husserliana em seu período inicial / This research intends to investigate the meaning and origin of the influence of Carl Stumpf on the third logical investigation, entitled On the theory of Wholes and Parts(Zur Lehre von den Ganzen und Teilen), published in 1901, trying to relate it do the former development of Husserls thought. It will be taken into account the birth of the concepts of independence (Selbständigkeit) and dependence (Unselbständigkeit) in the context of the problem of the origin of the representation of space and Stumpfs work related to this theme; the interpretation Husserl gives to these concepts; and their systematic role from the point of view of the evolution of the husserlian philosophy on its initial period

Zugl.: Köln, Univ., Diss., 2007

This dissertation examines the early history of the Berliner Phonogramm-Archiv (Berlin Phonogram Archive) and its role in the institutionalization of comparative musicology. The Berliner Phonogramm-Archiv was established in 1900 by psychologist Carl Stumpf in order to collect and preserve the phonographic recordings of non-European musics that would serve as the primary research materials for the then nascent discipline of comparative musicology. I situate the formation of the Phonogramm-Archiv and the emergence of comparative musicology within the historical contexts of the German cultural sciences and colonialism, and argue that both archive and discipline were informed as much by this immediate intellectual and political background as they were by the arrival of sound recording technologies in Germany. I explore how the other cultural sciences, primarily anthropology and ethnology, served as a model for comparative musicology’s methodological and epistemological framework, as well as for the strategies employed for expanding the Phonogramm-Archiv’s collection. As a cultural science, comparative musicology was governed by the tenet of scientific objectivity, and in sound recording, Stumpf found a means with which it was possible to engage with non-European musics objectively. Yet the scientific method also required the comparison of many different examples in order to determine laws through induction, which necessitated the collection of recordings of as many different musics as possible. In this dissertation, I demonstrate how the Phonogramm-Archiv’s mission to amass recordings and the comparative musicological project these recordings facilitated were both enabled by and dependent on the German colonial apparatus.