By exploring the symbolism of the wanderer motif, we can trace its path in German literature, first through the mind of Johann Wolfgang Goethe, specifically focusing on some of his poetry from early on in his career during the Sturm und Drang Period. We then travel to the Romantic Period, as we focus on works from Wilhelm Müller with the help of musical interpretations of Franz Schubert, and finally end the journey with Aus dem Leben eines Taugenichts, a novella by Joseph von Eichendorff in the late Romantic Period. The wanderer, as we will see, is not the aimless figure normally associated with it today, but rather one who is transformed through his journey. These writers each had a different purpose for using the motif, and each plays a part in making the wanderer a prominent figure during the Age of Goethe.

Most pianists and music scholars consider Schubert's Wanderer Fantasy his most virtuosic piano work. The piece was written in November 1822 when the composer was twenty-five. By that time, Schubert was known for his lieder and some four-hand piano works, which were written in a very lyrical style. In comparison to these works, the Fantasy was written with a demanding technique requiring a richer, orchestral sound. The technical demands of the Wanderer Fantasy at times cause pianists to injure their arms. Even if this does not happen, the instrument, nonetheless, can sound harsh. This type of thick texture may have prompted Robert Schumann's comments in his 1828 review of the Fantasy (M.J.E. Brown, Schubert, A Critical Biography [London: Macmillan & Co., 1958], 124.): Schubert would like, in this work, to condense the whole orchestra into two hands... This essay will address two main subjects: first, the Fantasy will be considered from an orchestral perspective with reference to Schubert's own symphonic writing; second, this essay will seek to assist the pianist in producing a better sound, as well as avoiding injury. It is this essay's thesis that Schubert, when composing the Wanderer Fantasy, was actually constructing an orchestral plan under the guise of a piano score. In order to analyze Schubert's orchestral writing, this essay will be divided into four chapters. Chapter one will offer the historical background of the Wanderer Fantasy, chapter two will discuss Schubert as a symphonist as well as the Unfinished Symphony, which was written only two weeks before the Fantasy. Chapter three, based on the parallel orchestral elements found in the Unfinished Symphony piano sketch, will discuss the relationship between the piano sketch of the Symphony and the Wanderer Fantasy. Following this comparative analysis, chapter three will also offer practical performance suggestions based on previously discussed orchestral elements for the pianist. Chapter four presents conclusions offered by the author. The conclusions reached in this essay are presented in the hope that they will assist the pianist to achieve a more meaningful performance when performing the Wanderer Fantasy.

This paper consists of the different components of the introduction to “The Wanderer: a Hypertext Edition” presently housed on the server of the University of Saskatchewan’s Digital Research Centre. All the contents of this paper are available as part of that edition, although in a somewhat different format. This thesis contains two parts: the general introduction concerns the poem’s contents, context, and manuscript circumstance while the editorial introduction argues the rationale for this edition and the particulars of my editorial decisions. The editorial introduction explores how the single extant manuscript witness of “The Wanderer” has been inaccurately represented in transcription as well as the importance of transparency in one’s choices as an editor. The editorial introduction explains how this edition’s principles of transparency and interpretation over authority are based on clear objectives that were made after a survey of scholarly resources freely available on the web that revealed a great need for a freely available critical edition. These principles inform the edition’s rationale and specific editorial choices. The product of such an introduction is an edition that presents its editorial decisions in a transparent manner so that the user can distinguish between aspects of the text present in the document and those introduced by the editor.

A dissertação é o resultado do entrecruzamento de três categorias artísticas: dança, artes plásticas e literatura. Ela tem início através do embate com a performance Outdoor Piece, do artista plástico Tehching Hsieh, feita idealizável quando comparada à questão do movimento bem como a outros artistas e obras literárias. Sempre a partir da proposta feita ao movimento impulso a pesquisa propõe a aceitação do ceticismo em relação à abrangência da linguagem artística, declinando o declínio do conceito Dança. O impulso é pensado como palavra de movimento, transitória e trivial, que recepciona as imagens do mundo. Enquanto ação andarilha, propõe o estado de trânsito como argumento para a arte e sua história. Através da vivência de seu experimento a arte encontra a condição anacrônica, revelando a tolerância da artisticidade para com as imagens do mundo e com a própria história da arte; o impulso apresenta o ordinário como condição artística. / The dissertation is the result of the intersection between three different artistic categories: dance, visual arts and literature. It originates from the confrontation with the performance Outdoor Piece, by the visual artist Tehching Hsieh, which was made ideal when compared to the movement issues as well as to other artists and artworks. Always stemming from the proposal of movement as impulse, the research sustains the argument of skepticism in relation to the art languages as a possibility of the survival of Dance as a concept. The impulse can be thought of as a trivial and transitory word movement used to translate the images of the world. The wanderer attitude is the argument presented to art and art history when they can reveal themselves more tolerant to the world and historical images and more anachronous. The impulse presents the ordinary as an art condition.

This thesis seeks to portray how an objectifying intra-diegetic gaze influences and constructs the plot devices Frances Burney uses in her four novels: Evelina, Cecilia, Camilla, and The Wanderer. Burney creates a literary reality within her four novels’ narratives and breaks that reality down with the influence of the gazes and judgments of her novels’ characters upon each of her heroines. The gaze is an almost microscopic examination that objectifies and depersonalizes all of Burney’s heroines. Burney shows how the gaze shifts perspectives and manipulates that which it objectifies. Burney places her audience and her heroines into unfamiliar situations and then she shows the costs and benefits of reasserting one’s gaze. This thesis will show how Burney portrays the power of objectification in her novels upon her heroines, and the consequences that arise from the tensions of bombarding social gazes in all their duplicitous forms.

A dissertação é o resultado do entrecruzamento de três categorias artísticas: dança, artes plásticas e literatura. Ela tem início através do embate com a performance Outdoor Piece, do artista plástico Tehching Hsieh, feita idealizável quando comparada à questão do movimento bem como a outros artistas e obras literárias. Sempre a partir da proposta feita ao movimento impulso a pesquisa propõe a aceitação do ceticismo em relação à abrangência da linguagem artística, declinando o declínio do conceito Dança. O impulso é pensado como palavra de movimento, transitória e trivial, que recepciona as imagens do mundo. Enquanto ação andarilha, propõe o estado de trânsito como argumento para a arte e sua história. Através da vivência de seu experimento a arte encontra a condição anacrônica, revelando a tolerância da artisticidade para com as imagens do mundo e com a própria história da arte; o impulso apresenta o ordinário como condição artística. / The dissertation is the result of the intersection between three different artistic categories: dance, visual arts and literature. It originates from the confrontation with the performance Outdoor Piece, by the visual artist Tehching Hsieh, which was made ideal when compared to the movement issues as well as to other artists and artworks. Always stemming from the proposal of movement as impulse, the research sustains the argument of skepticism in relation to the art languages as a possibility of the survival of Dance as a concept. The impulse can be thought of as a trivial and transitory word movement used to translate the images of the world. The wanderer attitude is the argument presented to art and art history when they can reveal themselves more tolerant to the world and historical images and more anachronous. The impulse presents the ordinary as an art condition.

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This paper serves to explore how female subjects are represented in films featuring a woman on the road in ways that can create a female gaze, as an alternative to the male gaze. It looks for answers in four films from the 1970s to 2016, all made by female filmmakers, which are Je, Tu, Il, Elle (1974), Vagabond (Sans Toit Ni Loi) (1978), Wendy and Lucy (2008) and American Honey (2016). All four films share approaches that reject objectification in the depiction of females, but each is distinctive in their filmi strategies. Focusing on each work individually while attempting to make comparisons with others, this paper also aims to connect the shift of strategies in these works to the related discussion in feminist film theories.