This dissertation is a comprehensive study of the life and work of the Viennese woodwind instrument maker Theodor Lotz. Lotz is central to many of the most significant developments in woodwind instrument manufacture and compositions of late 18th century Vienna, and is associated with some of the greatest players and composers of the day. Despite this, no study has been undertaken into his life and many of his surviving instruments have not been studied. This study corrects this by examining both the biographical and organological aspects of this maker. In Chapter 1, the current knowledge of Lotz’s biography is examined for veracity. This has been achieved through consultation of archival sources such as birth and marriage registers and contemporary newspaper announcements. The biographies of the other significant Viennese makers have also been examined in order to determine their relationship to Lotz. Particular attention has been paid to those makers known to have associated with him. Chapter 2 is a comparative study of clarinets. The surviving clarinet by Lotz is the main focus, and it is compared to earlier Viennese instruments as well as other contemporary instruments in order to place Lotz’s instruments in context. Basset horns are the instruments for which Lotz is best known. Chapter 3 is a comparative study of the surviving basset horns, and includes instruments by Lotz which have not previously been studied. The comparative aspect of the study focuses most particularly on instruments by Doleisch, who also made significant numbers of basset horns in nearby Prague during Lotz’s lifetime. This chapter also includes a discussion on the basset clarinet. Chapter 4 studies Lotz’s work with bassoons and contrabassoons. As with Chapter 3, it includes a number of Lotz’s instruments which have not been studied before. It continues the comparative theme and examines not only Viennese instruments, but particularly those by August Grenser, whose bassoons are widely copied by modern makers. The attribution of the surviving flute by Lotz is examined in Chapter 5. Lotz’s involvement with the flute is examined through documentary evidence and the output of his students is examined in order to determine his level of influence on this instrument. Chapter 6 is a study of the two surviving oboe fragments by Lotz as well as the surviving cor anglais. As internal measurements have been impossible to obtain for many of these instruments, the comparative study has instead focussed on external aspects of decoration and design. The conclusion gives a summation of the evidence presented in the preceding chapters and is used to demonstrate Lotz’s unique contributions as an instrument maker and his impact on the future and design of woodwind instruments.

The musicians in E. T. A. Hoffmann's tales and essays demonstrate traits remarkably similar to those of shamans. Hoffmann uses the same imagery to describe the journey of the composer into the "realm of dreams," where he receives inspiration, as the shaman uses to describe the spirit world to which he journeys via music. Hoffmann was a major force in changing the 18th-century view of music as an "innocent luxury" to the 19th-century idea of music as a higher art. As a German Romantic,author, he subscribed to the idea championed by the Schlegels that true poetry is based on myth. In this thesis, Hoffmann's writings are compared with shamanic mythology to demonstrate a similarity beyond mere coincidence, without drawing conclusions about influence.

Reading Pekař. Four Interpretations of one Text Marek Fapšo Abstract of Final Thesis Following thesis is an empirical contribution to the theory of historiography. It starts with analysis of current situation in the historical sciences, which can be epistemologically called as methodological pluralism. That means, there are many equal but often antagonistic points of view on the past. In the center, the thesis offers four analytical interpretations of Josef Pekař's text Czechs as the Apostles of Barbarism, which was written by this famous Czech historian in 1897. Four analysis are based on four methodological concepts: Émile Durkheim's sociology of religion, Alexandre Koyre's history of science, Roman Ingarden's phenomenology of literature and Walter Benjamin's philosophy of history. This quasi-empirical part is finished and completed by theoretical reflection of the four attempts. It leads to a theory of historiography inspired by philosophy of Hans-Georg Gadamer. The main task of following thesis is to consider relation between chosen method and historical knowledge (of truth).

D.Litt.et Phil. / Please refer to full text to view abstract

Made available in DSpace on 2015-04-14T13:54:55Z (GMT). No. of bitstreams: 1 406673.pdf: 166587 bytes, checksum: d9a0873c4c2f8eb77cc65652e0308375 (MD5) Previous issue date: 2008-08-25 / Um estudo sobre o pensamento de Theodor W. Adorno, que destaca as suas caracter?sticas como filosofia. Trata-se de uma filosofia consciente de seu exerc?cio debaixo de uma sombra catastr?fica que tudo cobre, inclusive ela pr?pria; e que gira em torno de um n?cleo vazio, nome?vel s? pela nega??o dos nomes: Auschwitz. Nestas condi??es, a filosofia v? sua tarefa como a da interpreta??o. A concep??o adorniana de filosofia como interpreta??o (Deutung) ? o tema do Primeiro Movimento deste trabalho. De dentro dele surge o Segundo Movimento, a rela??o entre o conceito de interpreta??o e a discuss?o hermen?utica na filosofia contempor?nea. O pensamento de Adorno ? visto como contribuindo para esta discuss?o com sua ?nfase nos gestos corporais de base que levam ao e sustentam o esfor?o da interpreta??o. Nele o gesto mais b?sico ? o da (des)esperan?a. O Terceiro Movimento perfila esta (des)esperan?a ? luz do di?logo de Adorno com a filosofia da esperan?a de Ernst Bloch. Dele resulta uma desconstru??o de uma ontologia da esperan?a em favor de uma hermen?utica da (des)esperan?a. Esta hermen?utica ser? desdobrada no Quarto e no Quinto Movimentos, em forma especular. Primeiro ela ? vista desde o lado da desesperan?a da esperan?a, atrav?s de uma an?lise da perspectiva de negatividade radical que permeia o pensamento de Adorno. Depois, o trabalho se concentra na esperan?a na desesperan?a, examinando a quest?o da positividade neste pensamento e concluindo com uma discuss?o da rela??o entre negatividade e positividade, entre desesperan?a e esperan?a. Em Adorno, esta rela??o ? de espelho, em perspectiva de simultaneidade. A tarefa (imposs?vel) da filosofia ? mirar nos olhos a negatividade completada, na esperan?a de que deste modo ela se transforme em escrita inversa do seu contr?rio, a positividade cuja esperan?a n?o deve ser nomeada nem imageada.

Made available in DSpace on 2015-04-14T13:55:04Z (GMT). No. of bitstreams: 1 425381.pdf: 1143214 bytes, checksum: 66ddb8b44e380716b36bd6211e8ca0e7 (MD5) Previous issue date: 2010-08-06 / Este estudo revisita Adorno desde o prisma do sentido de seu pensamento. A refer?ncia principal ? sua obra Minima moralia, um conjunto de 153 aforismos escritos entre os anos de 1944 e 1947. A relev?ncia filos?fica da referida obra apresenta como caracter?stica marcante o fato de ser contr?ria ? euforia. Por esse motivo, Nietzsche ? criticado como representante de uma mensagem excessivamente confiante com sua no??o de ci?ncia alegre. Em contrapartida, Adorno pauta sua cr?tica desde uma triste ci?ncia. Para tal, Adorno desmembra a potencialidade dial?tica do pensamento como dimens?o humana por excel?ncia, a qual distingue homem de natureza, homem de Deus. A prerrogativa inadi?vel ? de que o mundo humano tem de ser constru?do desde o sentido humano, ou seja, desde a consci?ncia do uso da raz?o. Assim, ? observado que a raz?o instrumental descaracteriza o humano e, por isso, ela produz o inumano. Rompendo com o uso instrumental da raz?o, Adorno busca uma produ??o cuja pr?xis esteja comprometida com a viabiliza??o racional do desenvolvimento humano. Por isso, o trabalho intelectual combina apenas com a decep??o. Nesse sentido, determinada sociologia do trabalho ? necessariamente questionada por Adorno. A produ??o humana ter de ser reavaliada, na medida em que se mostra capaz de estabelecer uma vida deformada, atrav?s de uma falsa humaniza??o oriunda do pensamento administrado. Adorno identifica a estupidez [Dummheit] como experimento de inibi??o intelectual, que provoca uma cultura semiformada [Halbbildung], a qual constitui uma cr?tica extremamente fraca ao contexto da falsa humaniza??o. Explorando o car?ter exclusivista da subjetividade moderna, o aparelho publicit?rio projeta falsas imagens para o sempre id?ntico. A produ??o humana se envolve nessa ess?ncia adulterada [Unwesen]. Um modelo de produ??o trabalho intelectual [Kopfarbeit] que sai desse la?o ? o ensaio, o qual luta conscientemente contra o m?todo cartesiano do conhecimento. O paradigma da reden??o [Erl?sung] se apresenta para Adorno na 7 tentativa de restabelecer a dimens?o consciente do pensamento: o ser humano que n?o destr?i seu sentido. Por essa raz?o, a filosofia pode ultrapassar o aspecto ut?pico, a pr?pria negatividade, tendo como argumento a urg?ncia do pensamento consciente. A tese aqui defendida ? a seguinte: a hist?ria somente se humaniza atrav?s de uma pr?xis verdadeiramente delicada em contraponto com a pot?ncia dial?tica do pensamento.

This thesis traces and explicates the changes in Theodor Fontane's landscape depiction in the years 1887- 1892. I examine his novels Cecile (1887), Irrungen, Wirrungen (1888), and unwiederbringlich (1892). I show that Fontane, as though discarding a relic of the Romantic past, used increasingly less landscape in his narratives. He focused on the actions and conversation of his characters, and on their immediate surroundings. When these surroundings were urban, they tended to disappear. The progressive minimalization of landscape, and of cityscape in particular, foreshadowed the appearance in German literature of twentieth-century man: man alienated from nature in cities, and less aware of empirically observable surroundings than of internal forces and realities.

Die vorliegende Arbeit stellt einen Beitrag zur gesprächslinguistischen Analyse literarischer Dialoge dar. Da Theodor Fontane in der Forschung als Schriftsteller gilt, der dem Gespräch und seiner sprachlichen Gestaltung einen besonders hohen Stellenwert zuschreibt, ist sein letzter großer Roman Der Stechlin aus linguistischer Sicht besonders reizvoll. In ihm wird die Gesellschaft des 19. Jahrhunderts durch das Mittel des Gesprächs eindrucksvoll charakterisiert. In einem theoretischen Teil dieser Arbeit werden zunächst die Besonderheiten des literarischen Dialogs in Abgrenzung zum Alltagsgespräch geklärt sowie der historische Kontext, also die Höflichkeits- und Gesprächskultur in adeligen Kreisen des 19. Jahrhunderts, beleuchtet. Auf dieser Basis steht die detaillierte Analyse von drei Dialogausschnitten aus dem Roman im Mittelpunkt: ein offizieller Besuch, ein Tischge-spräch, ein Klatschgespräch unter Bekannten. / This paper contributes to the analysis of literary dialogue from the perspective of conversation lin-guistics. Since Theodor Fontane is widely considered by researchers to be an author who accords paramount importance to linguistic composition, his last great novel, Der Stechlin, is particularly interesting from a linguistic point of view. The novel strikingly characterizes 19th-century society by way of conversation. The theoretical section of this paper aims to clarify the particularities of literary dialogue as opposed to those of day-to-day conversation, as well as the historical context, that is to say, the culture of courtesy and conversation in 19th-century aristocratic circles. This section theoretically grounds the chief focus of this paper, the detailed analysis of three excerpts of dialogue from the novel: an official visit, a table conversation, and a fragment of gossip amongst acquaintances.

The present dissertation examines conceptions of masculinity in the works of Theodor Storm, a representative of German Poetic Realism. It shows how variations of masculinities are arranged, constructed and performed in Storm’s novellas within the bourgeois order of the supposedly 'stable' 19th century. The different types of masculinities are viewed and analysed in selected areas, as represented in the following four texts: Schweigen, Der Herr Etatsrat, Ein Doppelgänger and Der Schimmelreiter. Simultaneously, they constitute different research fields within Men's Studies, such as family, body/health, power/violence and also society/"male spaces". The main thesis of the dissertation is that Storm expands contemporary 19th-century perceptions of masculinity and femininity by making traditional gender stereotypes converge in his late novellas. The characters only partially match the bourgeois, bipolar gender model, and masculinity should be understood as a variation rather than as an opposition to femininity. Furthermore, the dissertation proposes that Storm should be considered a precursor to literary modernity to a larger extent than has previously been assumed. Therefore, the dissertation focuses on internal differentiation of the hegemonic bourgeois masculinity typical of the 19th century in Storm's works. Here, free spaces are observed between gender identities traditionally conceived as binary. Using Robert Connell's theoretical concept of hegemonic masculinity as a basis, the relationship between inferior, marginalized masculinities and normative ideals is particularly emphasized. Furthermore, the dissertation analyses the depiction of bourgeois self-conflicts in the text, through which Storm exposes the hegemonic stereotype of masculinity.

Målet med uppsatsen är att jämföra likheter och skillnader i gestaltningen av främlingskap i Ivar Lo- Johanssons roman Kungsgatan och i Theodor Kallifatides roman Utlänningar. Uppsatsen jämför förhållandet mellan stad och land i Kungsgatan med förhållandet mellan hemland och nytt land i Utlänningar. Socialpsykologiska perspektiv på främlingskap, identitet och acklimatisering i kombination med litteraturteoretiska begrepp från postkolonial litteraturteori används för att undersöka hur romanerna fiktivt gestaltar uppbrotts- och acklimatiseringsprocesser. Analysen indelas i förhållandet mellan stad/land och hemland/nytt land, kvinnans dubbla främlingskap, språkets inverkan på identiteten samt individens förmåga eller oförmåga att anpassa sig till en ny miljö. Det skildrade främlingskapets anknytning till en ny dubbel identitet analyseras för att tolka karaktärernas hantering av främlingskapet. Uppsatsens jämförelse av främlingskapsskildringar under två skilda perioder i Sveriges historia visar hur romanerna bidrar till en större förståelse för hur distansering från och diskriminering av ”den andre ” oavsett utgångspunkt manifesteras på liknande sätt och kan utlösa liknande identitetskonflikter för individen.