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This thesis analyzes a crucial period in the relations between the Federal Republic of Germany and the United States of America, through the use of US government internal documents. Willy Brandt brought forth a new vision of Ostpolitik that was starkly different from policies that the US had dealt with before, subsequently leaving the Nixon Administration largely unsure of how to react. The change in FRG economic positioning vis-à-vis the United States, and catalyst political events in the 1960’s, created the impetus for Brandt’s vision of OStpolitik, which culminated in the interim West German control of the Western Alliance’s Eastern Politics.

Willy Burkhard (1900–1955) was one of the most prolific Swiss composers of the twentieth century. His works comprise ninety-nine opuses and include a multitude of genres. Burkhard was awarded the Swiss Composersʼ Prize and the Music Prize of the City of Zürich. He held teaching positions at the conservatories in Bern and Zürich and was a Swiss Musiciansʼ Society board member for thirteen years. Indicating his importance to Swiss musical history, the Willy Burkhard Gesellschaft was founded in Bern in 1964. This dissertation examines Burkhardʼs solo and chamber music for flute, including the Suite en miniature für Flöte und Klavier, Op. 71, No. 2 (1944), the Serenade für Flöte und Gitarre, Op. 71, No. 3 (1944), the Serenade für Flöte und Klarinette, Op. 92 (1953), and the Suite for Flöte solo, Op. 98 (1955). These works represent Burkhardʼs mature compositional style and their study provides insight into Burkhardʼs musical language and processes. Burkhardʼs music straddles the line between the tonal and atonal worlds. He often creates a tonal center through repetition of the tonic pitch class or harmony. However, he avoids diatonic scales in favor of chromatic and octatonic pitch sets. The formal structure of the music is closely related to Burkhardʼs treatment of tonality. Pitch and rhythmic motives are integral to Burkhardʼs music and appear in both melodic and secondary lines. He uses ostinato figures in the accompaniment that may either complement or contradict the melody. Burkhardʼs use of intervals is deeply intertwined with all of these elements, as he is partial to the minor second, minor third, major third, and perfect fourth. These intervals serve to create both local and long-distance connections. Of lesser importance is Burkhardʼs use of harmony, in which he generally chooses smooth linear motion and color over function. Burkhard also explores different textures in his music, regardless of instrumentation. The knowledge gained through analysis is then used as a basis for notes regarding the performance of these works, with the goal of inspiring an appropriate stylistic interpretation. In addition to these suggestions, technical information and practice ideas are provided when applicable. / Suite en miniature für Flöte und Klavier, op. 71, no. 2 -- Serenade für Flöte und Gitarre, op. 71, no. 3 -- Serenade für Flöte und Klarinette, op. 92 -- Suite für Flöte solo, op. 98. / School of Music

Also published as author's dissertation--Hannover, 2007. / Includes bibliographical references (p. 351-402).

Orientador: Luis Carlos Ribeiro / Dissertação (mestrado) - Universidade Federal do Paraná / Resumo: O presente trabalho concentra suas discussões sobre o estudo das pressões socioculturais existentes entre o personagem Willy Barth e as comunidades do Oeste paranaense, durante os anos iniciais de sua colonização: 1945 a 1965. Neste espaço, busca-se visualizar variados ângulos que moldam a constituição de um mito político que integra elementos relacionados aos mitos modernos. Com isso, evidenciam-se aspectos que circulam em torno de questões culturais e poderes que referendam sensibilidades políticas, apresentando este sujeito enquanto um significativo componente da memória coletiva. Tal característica destaca Willy Barth e o universo de suas ações, inseridas no contexto das comunidades desta região. / Abstract: The present work concentrates its discussions on the study of the existente sociocultural pressures between the character Willy Barth and the communities of the West "paranaense", during the initial years of its colonization: 1945 to 1965. In this space, it is looked for to visualize varied angles that mold the constitution of a political myth that integrates elements related to the modern myths. With that, aspects are evidenced that circulate around cultural subjects and powers that refering political sensibilities, introducing this subjects while a significant component of the collective memory. Such characteristic highlights Willy Barth and the universe of its actions, inserted in the context of the communities of this area.

Made available in DSpace on 2016-12-08T16:59:56Z (GMT). No. of bitstreams: 1 123818.pdf: 1494652 bytes, checksum: a70862b2978be6a1297db386e72f0116 (MD5) Previous issue date: 2015-07-01 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research, which is entitled Art and politics in Willy Zumblick work , has as objective to analyze the relations between the production of the artist called Willy Alfredo Zumblick and the State cultural policies in the 1940s to 1970s. The writing of this work, which it was developed based on a research about articles in newspapers, magazines, newsletters, invitations to exhibitions, images of paintings and photographs, contemplates the incentives that local folklorists received from State political powers, enabling the research and the production of narratives for appreciation of local folklore, which is one of the main elements turned into a symbol of ethnic and cultural identity of Santa Catarina. The spread of these speeches developed by intellectuals people of the State, through events and several publications, it was added with the action of some artists, who were from the capital of the state and from the inner cities, and they were interested in the subject, and created, in their paintings, representations of colonial material heritage and the traditional demonstrations of the coast of Santa Catarina and at the villages of this state. It is in this context of official incentives for research, and narratives about the state folkloric diversity and the influence of this performance about the activity of artists in Santa Catarina, that Willy Zumblick, keeping in touch with many of these scholars, and interested in their research, produced his art gallery using a folkloric theme. His exhibitions have received praises which were published in the media within and outside the State, and because of his consecration, his works have been presented in newspapers and magazines in the surroundings of Santa Catarina as a symbol of ethnic and cultural identity of Santa Catarina, what serves the political interests which aimed at the maintenance and the permanence of hierarchy and social order. / Este trabalho, intitulado A arte e a política na obra de Willy Zumblick, analisa as relações entre a produção do artista plástico catarinense Willy Alfredo Zumblick e as políticas culturais do Estado durante as décadas de 1940 a 1970. A escrita desse trabalho, desenvolvida com base em uma pesquisa debruçada sobre artigos de jornais, revistas, boletins, convites para exposições, imagens de pinturas e fotografias, contempla os incentivos que os folcloristas catarinenses receberam dos poderes políticos estaduais, possibilitando a pesquisa e a produção de narrativas de valorização do folclore local, sendo este um dos principais elementos transformados em símbolo da identidade étnica e cultural catarinense. A propagação desses discursos criados pelos intelectuais do Estado, por meio de eventos e publicações diversas, somou-se à ação de alguns artistas plásticos, da capital e do interior, que manifestaram interesse pelo tema, e criaram em suas pinturas representações do patrimônio material colonial e das manifestações populares tradicionais do litoral e das vilas catarinenses. É nesse contexto de incentivos oficiais à pesquisa, de narrativas sobre a diversidade folclórica estadual e de influência dessas falas sobre a atividade dos artistas plásticos de Santa Catarina que o tubaronense Willy Zumblick, mantendo contato com muitos desses eruditos, e interessado em suas pesquisas, produziu sua pinacoteca de temática folclórica. Suas exposições conquistaram críticas elogiosas publicadas nas mídias dentro e fora do Estado, e devido à sua consagração, seus trabalhos foram apresentados em jornais e revistas catarinenses como símbolos da identidade étnica e cultural catarinense, atendendo aos interesses políticos que visavam à manutenção e à permanência da hierarquia e da ordem social.

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This study is an archetypal literary analysis of Arthur Miller’s play Death of a Salesman and Homer’s The Odyssey. The analysis aims to demonstrate how Arthur Miller’s protagonist, Willy Loman, in Death of a Salesman demonstrates several stages of Carl Gustav Jung’s theory of the individuation process, similar to Odysseus in Homer’s The Odyssey. This is done by identifying set archetypes and stages of Jung’s individuation process, the persona, the shadow, the anima, and the self. After that, the stages are applied to both Miller’s play and Homer’s epic poem. The analysis shows that both protagonists demonstrate and complete Jung’s individuation process. Willy Loman completes a symbolic journey, whereas Odysseus completes a physical one.

Föreliggande uppsats analyserar framställningen av kvinnans villkor i Willy Kyrklunds roman Solange från 1951. Äktenskapskildringen av makarna Solange och Hugo har i tidigare forskning tolkats som en allegori över kampen mellan två olika moralfilosofiska principer för och emot frihet, mellan ett manligt förnuft och ett kvinnligt oförnuft. Syftet med denna undersökningen har istället varit att avläsa Solanges öde utifrån romanens sociala kontext. Yvonne Hirdmans studier om folkhemmets systematiska underordning av kvinnan i svensk folkhemspolitik placerar Solange i sitt historiska sammanhang och belyser relationen mellan romanen och dess samtid. Hirdman i sin tur läses jämsides med Michel Foucaults syn på korrelationen mellan makt och kunskap i det biopolitiska samhället. Analysen redovisar olika infallsvinklar som berör kontinuiteten mellan maktens inflytande över Solanges vardagliga liv och hur maktrelationen i äktenskapet konstitueras av en viss typ av vetande. Via Hirdman knyter det teoretiska perspektivet an till den feministiska kritiken av Foucaults generaliserande av maktens specifika inbegripande på kvinnan och kvinnokroppen. Slutet av uppsatsen diskuterar hur Solanges irrationella beteende kan läsas som ett resultat av en dominerande patriarkal rationalitetstradition.

Uppsatsen undersöker arbetets roll i Willy Kyrklunds roman Solange (1951), med utgångspunkt i Paul Lafargues arbetskritiska verk Le droit á la paresse (Rätten till lättja) och Karl Marx teori om det alienerade arbetet. Uppsatsens frågeställningar rör romanfigurernas ekonomiska förutsättningar, romanens skildringar av arbete och fritid, samt arbetets påverkan på huvudpersonerna Solange och Hugo. Tidigare forskning tenderar att behandla Solange som en idéroman som diskuterar en existentiell frågeställning om människans frihet, där de två huvudpersonerna representerar var sin princip och ställningstagande. Denna uppsats syftar till att vidga diskussionen och visa på den samhälleliga kontext som i lika hög grad bestämmer romanfigurernas livsvillkor. Undersökningens resultat visar att huvudpersonernas materiella tillgångar i hög grad påverkar deras tillvaro och möjligheter att styra sina liv, samt att arbetet har en tydligt nedbrytande och alienerande effekt som tar sig uttryck på olika sätt hos de båda romanfigurerna.