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The Global ETD Search service is a free service for researchers
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Showing 1 to 6 of 6 (0.046 seconds)Spelling suggestions: "subject:"reichardt"" "subject:"schuchardt""
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Sprachen der Freundschaft : Rudolf Borchardt und die Arbeit am ästhetischen Menschen /Hofman, Franck. January 2004 (has links)
Diss.--Freie Universität Berlin, 2001. / Bibliogr. p. [271]-286.
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Rudolf Borchardt and the Middle Ages translation, anthology, and nationalism /Wagner, Fred, January 1900 (has links)
Thesis (Ph. D.)--University of Cambridge. / Includes bibliographical references (p. 171-178) and index.
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Schriftstelleranthologien in Deutschland und Frankreich / Anthologies of authors in Germany and France / Les anthologies d'écrivains en France et en AllemagneStraubel, Hella 21 June 2013 (has links)
Cette thèse s’interroge sur les anthologies d’écrivain, un objet littéraire très intéressant, mais encore insuffisamment étudié à ce jour. Nous entreprenons dans un premier chapitre d’esquisser le champ théorique dans lequel se situe notre analyse en évoquant brièvement les théories du canon littéraire avant de nous tourner vers la notion de ‘musée’ qui guide notre interprétation dans la suite de ce travail. Notre corpus est constitué de six auteurs, trois de langue française (André Gide, Paul Éluard et André Breton) et trois de langue allemande (Hugo von Hofmannsthal, Rudolf Borchardt et Walter Benjamin). Dans la partie centrale de notre travail, nous analysons et interprétons les anthologies (de poésie et prose) que ces auteurs ont publiées dans des buts très différents. Nous observons que pour les auteurs de langue allemande, c’est la notion de ‘nation’ qui se trouve au centre de leur travail éditorial ; il s’y agit donc de l’effort, né d’un sentiment de crise et absence de cadre identitaire dans les années 1920/30, d’établir un sentiment d’appartenance à quelque chose qui unirait les Allemands. Du côté des Français nous observons aussi une impression de crise, cependant essentiellement différente, et une concentration sur le champ littéraire dans leur travail éditorial. À la fin, nous essayons de relier ces aspects à l’idée du musée de la littérature dans toute sa variété, telle qu’elle se présente dans nos anthologies. / In this thesis, we study an object which, despite the great interest it presents, only little attention has been paid: anthologies of authors. In our first chapter, we try to define the theoretical field which determines our reflections by outlining, in the first place, the most important aspects of literary theories concerning the canon and, in a second step, exploring the notion of ‘museum’ that will guide our reflections throughout our paper. Our corpus includes three French-speaking and three German-speaking authors (André Gide, Paul Éluard and André Breton on the French side, and Hugo von Hofmannsthal, Rudolf Borchardt and Walter Benjamin on the German/Austrian one). Analyzing and interpreting their collections of poetry and prose, assembled with very different objectives, constitutes the core of our study. We observe that for the German-speaking authors, it’s the concept of ‘nation’ that takes the most prominent place in their work; deriving from a sentiment of crisis in the 1920s and 30sand of the lack of an identity frame that could unite Germany. Whilst a great part of their editorial work consists in an effort to establish that idea of a common German identity, the French authors on the other hand, confronted with a substantially different consciousness of crisis, try to develop a more literary solution. At the end of our study, we try to unite the different aspects of our interpretation by refining the idea of a “museum of literature” as it presents itself in the texts analyzed.
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Autonomie und Tradition innovativer Konservatismus bei Rudolf Borchardt, Harold Bloom und Botho StraussZils, Harald January 2009 (has links)
Zugl.: Freiburg (Breisgau), Univ., Diss.
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Walter Benjamin und die Kunst des GraphischenMatsui, Takaoki 16 June 2008 (has links)
Als Bild- und Medientheoretiker hinterließ Walter Benjamin nicht nur die berühmte „materialistische“ Auratheorie, sondern auch scheinbar esoterische Theorien der bildenden Kunst. Der Zusammenhang und Inhalt der beiden Theorien können erhellt werden, wenn wir genauer sehen, wie er sich dort mit der Beschreibung der Kindheit beschäftigte. Der Ursprung seiner Auratheorie liegt in seiner „Tagebuch“-Literatur, wo er in die melancholisch gefärbten Visionen der „Jugend“ zu versinken pflegte. Der topologische Aufbau dieser Visionen – ihre eigenartig „photo-graphische“ Struktur – soll mithilfe der Zweiten Topik Freuds analysiert werden. Und aufgrund dieser Analyse werden wir eine Revision der üblichen (übersimplifizierten) Gegenüberstellung von seinem historischen Materislismus und dem „apolitischen Formalismus“ Clement Greenbergs vornehmen. Greenbergs Kunstkritik dient aber auch zur Entschlüsselung der „esoterischen“ Bildtheorien Benjamins. Die letzteren verwirren uns vor allem deshalb, weil dort das Sehen der Kinder zuerst (um 1915) irreführender Weise nach den üblichen Dichotomien der Romantik (Linie / Farbe; männlich / weiblich; erwachsen / kindlich…) beschrieben worden war; ihren eigentlichen Inhalt konnte Benjamin erst präzisieren, als er – anhand seiner Betrachtungen der graphischen „Horizontalität“ und nach seinen Spekulationen über das magische Wesen von „Zeichen“ und „Mal“ (1917) – eine Trichotomie der Bildgattungen (Malerei / Graphik / getuschtes Bild) aufgestellt hatte. Wir rekonstruieren diese Theorieentwicklungen nicht nur durch detaillierte Bild- und Textanalysen, sondern auch unter Heranziehung seines „materialistischen“ Spätwerks (der Passagenarbeit und der „Berliner Kindheit“), da erst im letzteren der einzigartige Zusammenhang zwischen seinen frühen Bildtheorien und seiner Geldtheorie als „Konstellation“ sichtbar werden sollte. / Walter Benjamin’s writings on visual arts include not only the famous „materialistic“ essays on aura but also seemingly esoteric notes on painting and the graphic arts. The content and correlation of all these writings become clear once we grasp how they perform the task of describing childhood experience. His theory of aura was prefigured in his philosophical „Diaries“ where his struggle with his depression was often followed (or interrupted) by dreamlike visions of "youth". The discursive structure of these visions – which will prove to be a strangely „photo-graphic“ one – is to be analyzed by using the second Freudian topology as a comparison. Through this analysis we will be able to reconsider the well-known (oversimplified) antagonism between his historical materialism and the „apolitical formalism“ of Clement Greenberg from a new viewpoint. Greenberg’s criticism helps us also to decipher the „esoteric“ texts of Benjamin. They puzzled scholars especially because they described children’s vision at first (about 1915) misleadingly in accordance with the conventional dichotomies of Romanticism (line / color; masculine / feminine; adult / child…); Benjamin could specify their original implication only after he had set up – based on his reflexions on the „horizontality“ of the graphic arts, and by speculating further on the magic nature of „Zeichen“ and „Mal“ (1917) – a trichotomy of genres (painting / the graphic arts / ink and watercolor illustrations). We will reconstruct this development of his theory not only through detailed analyses of related works of art but also in view of his „materialistic“ late writings (the Arcades Project and „Berlin Childhood“), for it is only there that we find out an essential relation – a singular „constellation“ – of his early art theory and his theory of money.
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The Association of Libarians in colleges of advanced education and the committee of Australian university librarians: The evolution of two higher education library groups, 1958-1997Oakshott, Stephen Craig, School of Information, Library & Archives Studies, UNSW January 1998 (has links)
This thesis examines the history of Commonwealth Government higher education policy in Australia between 1958 and 1997 and its impact on the development of two groups of academic librarians: the Association of Librarians in Colleges in Advanced Education (ALCAE) and the Committee of Australian University Librarians (CAUL). Although university librarians had met occasionally since the late 1920s, it was only in 1965 that a more formal organisation, known as CAUL, was established to facilitate the exchange of ideas and information. ALCAE was set up in 1969 and played an important role helping develop a special concept of library service peculiar to the newly formed College of Advanced Education (CAE) sector. As well as examining the impact of Commonwealth Government higher education policy on ALCAE and CAUL, the thesis also explores the influence of other factors on these two groups, including the range of personalities that comprised them, and their relationship with their parent institutions and with other professional groups and organisations. The study focuses on how higher education policy and these other external and internal factors shaped the functions, aspirations, and internal dynamics of these two groups and how this resulted in each group evolving differently. The author argues that, because of the greater attention given to the special educational role of libraries in the CAE curriculum, the group of college librarians had the opportunity to participate in, and have some influence on, Commonwealth Government statutory bodies responsible for the coordination of policy and the distribution of funding for the CAE sector. The link between ALCAE and formal policy-making processes resulted in a more dynamic group than CAUL, with the university librarians being discouraged by their Vice-Chancellors from having contact with university funding bodies because of the desire of the universities to maintain a greater level of control over their affairs and resist interference from government. The circumstances of each group underwent a reversal over time as ALCAE's effectiveness began to diminish as a result of changes to the CAE sector and as member interest was transferred to other groups and organisations. Conversely, CAUL gradually became a more active group during the 1980s and early 1990s as a result of changes to higher education, the efforts of some university librarians, and changes in membership. This study is based principally on primary source material, with the story of ALCAE and CAUL being told through the use of a combination of original documentation (including minutes of meetings and correspondence) and interviews with members of each group and other key figures.
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