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This work deals with the analysis of selected works by the famous Austrian writer Arthur Schnitzler. For the purpose of zeitgeist illustration the dramas Anatole and Reigen were used. The analysis of the works is preceded by theoretical section with a closer description of the socio-historical situation in Vienna at the turn of the 19th and 20 century. A part of the main section is a short treatise on the importance of one-act plays cycle in the development of the author´s works, dramas analysis and characterization of the characters, on the basis of which the conclusions are drawn about the image of Victorian society, which the author deals with in his works . The last part concludes the analysis and provides an outline description of the image and the zeitgeist as it can be deduced on the basis of both Schnitzler´s dramas compared to socio-historical knowledge of that time.

Around 1900, Vienna became the city with the greatest number of Czech-language speakers. Members of the Czech minority founded important community institutions and engaged in a wide range of cultural activities - music among them. The most important markers characterizing the contemporary Czech minority in Vienna are (1) several variously motivated and differently politically determined waves of voluntary, but also involuntary, migration, (2) presence of descendants of those Czechs who stayed on the territory of the former Austro-Hungarian Empire, and (3) coexistence of several generations and groups of people with different political orientation and attitudes towards integration into Austrian society. At present, the Czech Viennese minority is a heterogeneous community with different "culture cohorts". Using fieldwork, thus the participant observation of musical events together with the semi- structured interviews and combining the theoretical perspectives of ethnomusicology and diaspora studies, this dissertation deals with the three interrelated questions: How do the musical creativity and participation at musical events reflect the heterogeneity of the contemporary Czech Viennese minority? How does the migrant situation determine the creativity, respectively the participation at musical events? And how...

Around 1900, Vienna became the city with the greatest number of Czech-language speakers. Members of the Czech minority founded important community institutions and engaged in a wide range of cultural activities - music among them. The most important markers characterizing the contemporary Czech minority in Vienna are (1) several variously motivated and differently politically determined waves of voluntary, but also involuntary, migration, (2) presence of descendants of those Czechs who stayed on the territory of the former Austro-Hungarian Empire, and (3) coexistence of several generations and groups of people with different political orientation and attitudes towards integration into Austrian society. At present, the Czech Viennese minority is a heterogeneous community with different "culture cohorts". Using fieldwork, thus the participant observation of musical events together with the semi- structured interviews and combining the theoretical perspectives of ethnomusicology and diaspora studies, this dissertation deals with the three interrelated questions: How do the musical creativity and participation at musical events reflect the heterogeneity of the contemporary Czech Viennese minority? How does the migrant situation determine the creativity, respectively the participation at musical events? And how...

The Cuban-born artist Ana Mendieta (1948-1985) created the Silueta Series during the 1970s and ‘80s. It consists of earth-body works in situ featuring the silhouette of the artist's body fashioned from mud, plants, rocks, gunpowder and other materials. Underlying the creation of the Silueta Series is Mendieta's belief that the elements are sentient and powerful beings. This perception is particularly strong in the Afro-Cuban religion Santeria, a creolized form of the Òrìsà tradition of the Yoruba of West Africa introduced to the Americas during the trans-Atlantic slave trade. While scholars have noted Mendieta's incorporation of Santeria in her art, a thorough analysis of the iconographical references to the deities have yet to be explored. This thesis aims to provide such an analysis of Mendieta's works; thus enriching the current discourse on the Silueta Series.

This study presents pertinent information for singers and teachers of singers about selected vocal works written by three significant composers who were active during the first half of the twentieth century: Arnold Schoenberg, Anton Webern, and Alban Berg, also referred to as The Second Viennese School. The vocal works of these composers are often neglected due to the assumption that the works will be atonal and, therefore, musically unachievable for performers and unsatisfying for audiences. For each composer, information about his educational background and compositional style is provided, in addition to commentary on representative vocal works supported by musical examples. A significant part of this research includes interviews with renowned singers who supply advice for practice and performance-related suggestions. In order for singers and teachers to obtain essential information regarding these solo vocal works, a complete catalog is provided. / Introduction -- Arnold Schoenberg -- Anton Webern -- Alban Berg -- Vocal and rehearsal techniques -- Conclusions and suggested further research. / School of Music

Theodor Adorno’s view of Arnold Schoenberg can be seen in light of his criticism of Immanuel Kant. Critiquing Kant’s concept of Enlightenment and his dualist philosophy, Adorno also critiques common misconceptions about Kant's work in bourgeois society. Similarly, in Schoenberg's oeuvre Adorno finds radical musical creation but also a reversion to formulaic composition in its reception by Richard Hill among others. In both Kant and Schoenberg, Adorno identifies a tripartite movement: (1) A radical work (philosophical or musical) is created by a member of bourgeois society. (2) The work adopts the function of a societal critique. (3) However, bourgeois society is incapable of understanding the work as critique and erases its radical nature. Seen in light of Adorno's thought, the thesis explores the transactional nature of idea production and reception in society.

Theodor Adorno’s view of Arnold Schoenberg can be seen in light of his criticism of Immanuel Kant. Critiquing Kant’s concept of Enlightenment and his dualist philosophy, Adorno also critiques common misconceptions about Kant's work in bourgeois society. Similarly, in Schoenberg's oeuvre Adorno finds radical musical creation but also a reversion to formulaic composition in its reception by Richard Hill among others. In both Kant and Schoenberg, Adorno identifies a tripartite movement: (1) A radical work (philosophical or musical) is created by a member of bourgeois society. (2) The work adopts the function of a societal critique. (3) However, bourgeois society is incapable of understanding the work as critique and erases its radical nature. Seen in light of Adorno's thought, the thesis explores the transactional nature of idea production and reception in society.

Auteur emblématique de la Modernité viennoise, Hofmannsthal valorise pourtant systématiquement les notions de classicisme et de tradition littéraire, selon lui davantage instituées en France que dans les pays germanophones. Cette thèse étudie sa perception de l’héritage de la culture française, qui représente à ses yeux, d’une manière rendue critique dans le contexte de crise du tournant des XIXe et XXe siècles, un modèle esthétique et civilisateur. Elle montre la coïncidence surprenante établie par Hofmannsthal entre la création théâtrale et la référence française, toutes deux placées sous le signe d’un lien social. Elle procède pour ce faire en analysant chronologiquement le regard que porte l’auteur autrichien sur les siècles de la littérature française classique, de ses prémices, à l’époque de la Renaissance, à ses variantes tardives, sous les Lumières. Elle y distingue une continuité dans l’exigence humaniste, une certaine posture moraliste, un idéal de littérature populaire et un modèle formel et générique canonique, quoique empreint de légèreté, qui selon Hofmannsthal fait cruellement défaut en Allemagne et en Autriche. Elle révèle également à quel point son œuvre, et particulièrement son théâtre, se nourrit de cette littérature étrangère, au point de revendiquer à travers elle une forme de classicisme. Elle montre ainsi comment Hofmannsthal, en cherchant à accroître les échanges intellectuels entre la France et son pays, incarne une figure d’auteur paradoxalement originale, à mi-chemin entre une vocation diplomatique européenne et une forme de moralisme moderne. / Hofmannsthal, considered to be one of the eminent members of Viennese Modernity, systematically emphasizes, however, the notions of classicism and literary tradition, which are, according to him, more established in France than in german-speaking countries. This dissertation studies his perception of the inheritance of French culture, which represents for him an aesthetical and civilizing pattern, in a way that becomes problematic in the context of cultural crisis at the turn of the 20th century. It shows the surprising coincidence Hofmannsthal points out between the process of creating for the theatre and the reference to France, which are both deemed to contribute to the fabric of society. It proceeds to analyse the look the Austrian author casts on the history of French classic literature in chronology, from its beginnings, in the Renaissance, to its late variations, in the age of Enlightenment. It underlines a continuity in the humanistic involvement, an attitude that stresses the importance of moral choices, an ideal of popular literature and a formal and generic canonic pattern which, though also marked by a certain lightness, is strongly missing, according to him, in Germany and Austria. It also reveals how much his works, and especially his plays, find their impulse in this foreign literature, so that, through it, they seem to claim a kind of classicism. It shows then how Hofmannsthal, by trying to develop intellectual exchanges between France and his country, embodies a paradoxically original type of author, at the crossroads between a European diplomatic vocation and modern moralism.

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