Zugl.: Konstanz, Universiẗat, Diss., 2005.

Thesis (Ph. D. in History)--Vanderbilt University, Aug. 2005. / Includes bibliographical references (p. 256-266).

Em meio aos debates (tão profícuos e numerosos quanto beligerantes) sobre os rumos da composição musical em meados do século XX, o questionamento sobre a natureza da relação a ser estabelecida com o passado (com a história da música) foi um tema privilegiado. Desde então sua pertinência crescente, na atrofia de uma prática social (e de uma linguagem comumente compartilhada) na música erudita, faz com que esse debate transcenda o contexto inicial da música de vanguarda das décadas de 1950 e 1960 e possa ser visto como um problema de base para a criação musical em nosso tempo. No enfrentamento em larga escala dessas questões, destacam-se as trajetórias de dois compositores, tanto em seu pensamento como em sua obra musical: Henri Pousseur (1929- 2009) e Willy Corrêa de Oliveira (nascido em 1938). A premissa dessa discussão, a saber, a oposição à tabula rasa da arte do passado (simbolizada aqui pela imagem das \"tábuas\" que não foram privadas de suas inscrições, \"tabulae scriptae\"), é enfrentada inicialmente pela contextualização das discussões sobre a abordagem da música erudita como linguagem em meados do século XX (e em torno da música contemporânea), para em seguida expandirmos esse universo com apontamentos de uma interpretação semiótica dessa linguagem e de sua relação com o modo de produção capitalista. Pousseur e Willy chegam paralelamente a conclusões similares, na apreciação da situação crítica da música contemporânea na sociedade atual como decorrente de uma crise generalizada das relações humanas, o que conduz a uma situação metalingüística: na ausência de uma linguagem comum, funcional, universalizante, a atividade do compositor se volta para a reflexão sobre a própria linguagem, no questionamento das premissas do processo de criação. As obras de Willy e Pousseur, de maneiras distintas (e autônomas, desenrolando-se paralelamente), registram um reflexo desse pensamento no recurso constante às mais diversas formas de operação metalingüística direta, na recuperação de materiais e procedimentos do passado (sob novas roupagens) na composição musical. Em capítulos separados, sucessivos, propomos uma apreciação panorâmica de cada uma dessas trajetórias para apontar a pertinência da operação metalingüística em suas obras de maneira geral, detalhando-a eventualmente em análises de algumas obras-chave. Antes de refletir sobre os pontos em comum e as diferenças mais marcantes entre essas duas trajetórias, insere-se ainda um testemunho de uma adesão a suas propostas, com a análise de composições de minha própria autoria / Among the debates (that were as useful and plentiful as they were belligerent) about the paths of musical composition in the middle of the 20th century, the question of which kind of relation was to be established with the past (with the history of music) was a favoured one. Since then its growing pertinence, alongside the atrophy of common practice (and of a thoroughly shared musical language) in contemporary music, makes this discussion surmount its original context (within avantgarde music of the 1950s and 60s) and become a fundamental problem for the creation of music in our time. In the large-scale confrontation of these questions, the paths of two composers stand out, in their musical thought inasmuch as in their compositions: Henri Pousseur (1929-2009) and Willy Corrêa de Oliveira (born in 1938). The premise of this discussion, the denial of the tabula rasa of the art of the past (represented here by the image of the \"table\" whose writings haven\'t been erased, \"tabulae scriptae\"), is faced with the contextualization of the debates on music as language in the middle of the 20th century (and around the contemporary music medium). This context is expanded pointing out to semiotics and to the relations of musical language and capitalist means of production. Henri Pousseur and Willy Oliveira come to the similar conclusions, approaching the critical situation of contemporary music in hodiernal society as a result of a generalized crisis on human relations. This leads to a consideration of the present state of musical practice as a metalanguage: in the absence of a common universal language, the composer\'s work turns to the reflexion on language itself and on the nature of the creative process. The musical works of Willy Corrêa and Henri Pousseur (independently, and in different ways) show a reflex of this thought in the frequent use of various kinds of metalinguistic procedures in composition, in their recuperation of materials and procedures of the past (in new treatments). In separate chapters, we propose a panoramic view of each of their musical paths, approaching their use of metalinguistics in their works in general, and also analyzing some of their compositions in detail. Before discussing the common points and the striking differences between their paths, one more chapter includes a testimony of an adherence to these principles, with analysis of musical compositions of my own.

Em meio aos debates (tão profícuos e numerosos quanto beligerantes) sobre os rumos da composição musical em meados do século XX, o questionamento sobre a natureza da relação a ser estabelecida com o passado (com a história da música) foi um tema privilegiado. Desde então sua pertinência crescente, na atrofia de uma prática social (e de uma linguagem comumente compartilhada) na música erudita, faz com que esse debate transcenda o contexto inicial da música de vanguarda das décadas de 1950 e 1960 e possa ser visto como um problema de base para a criação musical em nosso tempo. No enfrentamento em larga escala dessas questões, destacam-se as trajetórias de dois compositores, tanto em seu pensamento como em sua obra musical: Henri Pousseur (1929- 2009) e Willy Corrêa de Oliveira (nascido em 1938). A premissa dessa discussão, a saber, a oposição à tabula rasa da arte do passado (simbolizada aqui pela imagem das \"tábuas\" que não foram privadas de suas inscrições, \"tabulae scriptae\"), é enfrentada inicialmente pela contextualização das discussões sobre a abordagem da música erudita como linguagem em meados do século XX (e em torno da música contemporânea), para em seguida expandirmos esse universo com apontamentos de uma interpretação semiótica dessa linguagem e de sua relação com o modo de produção capitalista. Pousseur e Willy chegam paralelamente a conclusões similares, na apreciação da situação crítica da música contemporânea na sociedade atual como decorrente de uma crise generalizada das relações humanas, o que conduz a uma situação metalingüística: na ausência de uma linguagem comum, funcional, universalizante, a atividade do compositor se volta para a reflexão sobre a própria linguagem, no questionamento das premissas do processo de criação. As obras de Willy e Pousseur, de maneiras distintas (e autônomas, desenrolando-se paralelamente), registram um reflexo desse pensamento no recurso constante às mais diversas formas de operação metalingüística direta, na recuperação de materiais e procedimentos do passado (sob novas roupagens) na composição musical. Em capítulos separados, sucessivos, propomos uma apreciação panorâmica de cada uma dessas trajetórias para apontar a pertinência da operação metalingüística em suas obras de maneira geral, detalhando-a eventualmente em análises de algumas obras-chave. Antes de refletir sobre os pontos em comum e as diferenças mais marcantes entre essas duas trajetórias, insere-se ainda um testemunho de uma adesão a suas propostas, com a análise de composições de minha própria autoria / Among the debates (that were as useful and plentiful as they were belligerent) about the paths of musical composition in the middle of the 20th century, the question of which kind of relation was to be established with the past (with the history of music) was a favoured one. Since then its growing pertinence, alongside the atrophy of common practice (and of a thoroughly shared musical language) in contemporary music, makes this discussion surmount its original context (within avantgarde music of the 1950s and 60s) and become a fundamental problem for the creation of music in our time. In the large-scale confrontation of these questions, the paths of two composers stand out, in their musical thought inasmuch as in their compositions: Henri Pousseur (1929-2009) and Willy Corrêa de Oliveira (born in 1938). The premise of this discussion, the denial of the tabula rasa of the art of the past (represented here by the image of the \"table\" whose writings haven\'t been erased, \"tabulae scriptae\"), is faced with the contextualization of the debates on music as language in the middle of the 20th century (and around the contemporary music medium). This context is expanded pointing out to semiotics and to the relations of musical language and capitalist means of production. Henri Pousseur and Willy Oliveira come to the similar conclusions, approaching the critical situation of contemporary music in hodiernal society as a result of a generalized crisis on human relations. This leads to a consideration of the present state of musical practice as a metalanguage: in the absence of a common universal language, the composer\'s work turns to the reflexion on language itself and on the nature of the creative process. The musical works of Willy Corrêa and Henri Pousseur (independently, and in different ways) show a reflex of this thought in the frequent use of various kinds of metalinguistic procedures in composition, in their recuperation of materials and procedures of the past (in new treatments). In separate chapters, we propose a panoramic view of each of their musical paths, approaching their use of metalinguistics in their works in general, and also analyzing some of their compositions in detail. Before discussing the common points and the striking differences between their paths, one more chapter includes a testimony of an adherence to these principles, with analysis of musical compositions of my own.

Zwei Drucke von Willy Wolff, ein Porträt dieses Künstlers von Max Uhlig sowie eine Zeichnung von Curt Querner aus dem Besitz Wolff's wurden der SLUB von Frau Gerda Dudeck geschenkt, die von 1970 bis zum Tod Willy Wolff's 1985 mit dem Künstler zusammenlebte und die dadurch zur besten Kennerin seines Werkes wurde....

Zugl.: Regensburg, Univ., Diss. / Includes bibliographical references (p. 158-164).

Karrieren in Stahlbeton Stahlbeton ist heute ein omnipräsentes Baumaterial, das die Druckfestigkeit des Betons mit der Zugfestigkeit des Stahls kombiniert. Graue Betonoberflächen, die versteckte Metallkerne umhüllen, prägen weite Teile des menschlichen Technotops und werden allenfalls aus ästhetischen Gründen abgelehnt. Ob verschämt mit Natursteinen verkleidet oder selbstbewusst präsentiert – die Funktionalität dieses Materials steht heutzutage nicht ernsthaft infrage. Vor einhundert Jahren war es dagegen keineswegs selbstverständlich, Bauten in Stahlbeton zu konstruieren. Vielmehr blieb es einer kleinen Avantgarde von Bauingenieuren vorbehalten, das Fundament für die heute fest etablierte Stahlbetonbauweise zu legen. Diese Schrift widmet sich einem von ihnen: dem Ordinarius der Technischen Hochschule Dresden Willy Gehler (1876–1953), der hier studierte, lehrte, forschte und mit seinen Bauten im Dresdner Stadtgebiet Spuren hinterlassen hat. Einerseits ist Gehlers Vita von wissenschaftlichem Interesse, da sie eng mit den Pioniertaten des Stahlbetons in Deutschland verbunden ist. Anderseits lässt sich an seinem Beispiel das Wirken von Technikwissenschaftlern in vier unterschiedlichen politischen Systemen untersuchen, da der Protagonist unserer Narration im Deutschen Kaiserreich, in der Weimarer Republik, in der Zeit des Nationalsozialismus und in der DDR aktiv war und als engagierter Vertreter seines Berufsstandes hervortrat. Die Beschäftigung mit Willy Gehler ist mithin geeignet, Kontinuitäten und Brüche in den Biografien bürgerlicher Eliten aufzuzeigen, und exemplarische Schneisen in die Bau-, Hochschul- und Wissenschaftsgeschichte der ersten Hälfte des 20. Jahrhunderts zu schlagen. Die Gliederung orientiert sich dabei an den vielfältigen Rollen, die dieser deutsche Bauingenieur im Laufe seiner Karriere als Student, Konstrukteur, Hochschullehrer, Kollege, Normungsaktivist, Gutachter, Forscher, Materialprüfer und politisch Engagierter ausfüllte. Der Erforschung der wissenschaftlichen Verdienste Gehlers um den Stahlbetonbau sowie seines Lebens in vier politischen Systemen widmet sich das von der Deutschen Forschungsgemeinschaft geförderte Projekt „Willy Gehler (1876–1953) – Spitzenforschung, politische Selbstmobilisierung und historische Rezeption eines bedeutenden Bauingenieurs und Hochschullehrers im ‚Jahrhundert der Extreme‘“ – eine Kooperation des Instituts für Massivbau (Prof. Dr.-Ing. Dr.-Ing. E. h. Manfred Curbach) und des Lehrstuhls für Technik- und Technikwissenschaftsgeschichte (Prof. Dr. Thomas Hänseroth) der TU Dresden – auf dessen bisher erzielte Ergebnisse sich diese Publikation stützt. Die vorliegende Broschüre begleitet zudem eine studentische Ausstellung in der Sächsischen Landesbibliothek – Staats- und Universitätsbibliothek Dresden (SLUB), die im Wintersemester 2016/17 im Rahmen eines Praxisseminars am Institut für Geschichte der Technischen Universität Dresden erarbeitet wurde. Insbesondere Heike Marschner (SLUB) und André Rous (Deutsche Fotothek) sowie Jutta Wiese und Dr. Matthias Lienert (Universitätsarchiv der TU Dresden) ist das Ausstellungsteam für vielfältige Unterstützung zu Dank verpflichtet: Ohne ihre Kooperationsbereitschaft und ihre zahlreichen Hinweise wären Ausstellung und Begleitpublikation nicht zu realisieren gewesen. Dank gilt auch Dr.-Ing. Martin Tasche und Dr.-Ing. Silke Tasche für die Bereitstellung von Planunterlagen des ehemaligen Planarchivs Dyckerhoff & Widmann des Instituts für Baukonstruktion der TU Dresden. / Hinweis: Die Bildunterschrift auf Seite 4 muss lauten: S. 2: Entwurf zu einer Sternkirche von Otto Bartning, aus: Die Koralle. Magazin für alle Freunde der Natur und Technik 3 (1927/28), Heft 9, Titelbild (Ausschnitt).

This study explores the interplay between theme and form in the writings of Willy Kyrklund. It investigates the relationship between the concept of “människans villkor” (the human condition), the rules of literature and the use of mathematics. Using a combined methodology of close reading, according to the principles of new criticism and hermeneutics, with narratology, this study analyses several texts covering a wide span of Kyrklund’s oeuvre. Special attention is devoted to short prose and the narrative strategies and aesthetics of short stories. Furthermore this study looks at the strategies Kyrklund employs in order to dispel the illusions of literature and direct the reader’s attention to the textuality of the text. It concludes that the interest in “människans villkor” and the constructions of literature is widely interconnected and a part of a broader interest in structures and rules. Using the short story format, Kyrklund emphasizes the structures and conditions which shape literature and human existence. This is also achieved through certain narrative strategies heavily characterized by distance. The reader is thereby invited to follow the events from a higher perspective, where the conditions, “människans villkor”, become more evident. The scepticism towards language and literature is also reflected in the praise and use of mathematics, which elevates the human mind beyond the unreliability of language and the general calamity of earthly existence. The laws of mathematics are unreachable, and mathematical language is thus used in order to portray a longing for purity and the absolute, which the human being cannot attain.

As is evident from the title of Arthur Miller’s Death of a Salesman (1949), the protagonist of the play, the salesman Willy Loman, will die. This essay will investigate what role Ben, Willy’s deceased brother, plays in Willy’s suicide. The thesis is that Willy needs Ben’s support in order to commit suicide and therefore needs to bring Ben’s values, at the possible expense of his wife Linda’s, into his superego. Ben is, to Willy, a true example of the American Dream, as he was a very successful businessman. Willy’s ego (or rational mind) seems to realize that his superego (or conscience) needs to replace the humane values of Linda with the economic values of Ben, in order to justify his motivation of an “economically beneficial” suicide. When Willy arrives at his final conclusion of how his favorite son Biff would financially benefit from his “accidental” suicide and thereby being able to attain Willy’s version of the American Dream, the evidence brought forth may suggest that Willy, at that point, allows Ben full access into his mind.        Willy’s mind will be investigated via Freud’s triple model of the psyche; the id, the ego and the superego.

This essay will analyze the protagonist of Arthur Miller’s, Death of a Salesman, Willy Loman, from a psychoanalytical perspective. The purpose is to establish the reason for his suicide. The thesis is that Willy Loman seems to have developed a narcissistic and borderline personality disorder and as a consequence his mentality was affected and that led him to commit suicide. Willy Loman is a self-centered man who has an obsession with success both as a salesman but also as a husband and a father, in such a way that his mental health is questioned. This suggests that his final decision to commit suicide has been affected by some type of mental disorder that derives from his neuroses. Therefore, Willy Loman’s behavior will be investigated by using Freud’s psychoanalytical theory of neuroses and mental disorders.