Johannes Brahms's Magelone Romanzen, op. 33. have sparked decades of scholarly debate over their potentially cyclic construction and the degree of their connection to the source of their poetic texts. Ludwig Tieck's Wundersame Liebesgeschichte der schönen Magelone und des Grafen Peter von Provence. Following recent scholarship, this thesis regards the mixed-genre (Mischgedicht) construction of Tieck's literary work as the model for Brahms's Romanzen. Moving beyond genre analysis, however. l argue that both Tieck's and Brahms's choices of mixed genre are based ultimately in musical aesthetics - aesthetics principally expounded in three essays from Tieck's Phantasien über die Kunst. für Freunde der Kunst. Through close reading of Tieck's philosophy. literary analysis of the Wundersame Liebesgeschichte. and musical analysis of Brahms's Romanzen, my work explores the intricate connections between conception and creation in these works, proposing Tieck's concept of musical fantasy as a philosophical solution to the musical ambiguities of op. 33.

Zugl.: Konstanz, Univ., Diss., 2007

Zugl.: Tübingen, Univ., Diss., 2006

Thesis (Ph. D.)--University of Wisconsin--Madison, 1968. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (Ph. D.)--University of Chicago, Department of Comparative Literature, December 2000. / Includes bibliographical references (p. 544-569). Also available on the Internet.

Thesis--Freiburg i. Br. / Vita.

Zugl.: Hamburg, Universiẗat, Diss., 2006.

Zugl.: Hamburg, Univ., Diss., 2007

Thesis (doctoral)--Universität Leipzig, 1909. / Master Negative No. 91-1935. Vita. Also published under title: Die Ironie als Entwicklungsgeschichtliches Moment. Jena : E. Diederichs, 1909.

This dissertation draws on contemporary philosophical and sociological approaches to trust and engages them in a dialog with literary, poetological, and philosophical texts from the nineteenth century. In doing so it seeks to explore both what other disciplines have to offer to literary studies with regard to the interpretation of trust as a literary motif, as well as to show how literary texts evoke compelling scenarios in which the conceptual and semantic complexities of the phenomenon of trust take on theatrical, rhetorical, and narrative forms that can both illustrate and challenge sociological or philosophical claims. Close readings of texts by Ludwig Tieck, Heinrich von Kleist, Franz Grillparzer, and Friedrich Nietzsche offer new interpretations of canonical texts and discuss the relationship of trust to aesthetics, cultural memory, mythography, and performativity.