Zugl.: Bonn, Univ., Diss., 2005/06

Thesis (Ph. D.)--University of Wisconsin--Madison, 1960. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 325-339).

Berlin, Freie Universiẗat, Diss, 2003.

Texte remanié de: Diss.--Neuphilologische Fakultät--Universität Tübingen, 1993. / Bibliogr. p. 539-554. Index.

No description available.

O propósito desta dissertação é examinar como mulheres percebem e vivenciam a experiência de serem diagnosticadas com câncer de mama. A pesquisa social de campo envolve um universo de oito mulheres que passaram por esta trajetória sendo uma delas a própria autora, que traça uma auto-análise de sua experiência com este diagnóstico. Um aspecto específico com o qual a pesquisa busca se ocupar é identificar o lugar que a espiritualidade ocupa na história das mulheres entrevistadas. O câncer de mama apresenta um alto índice da doença no Rio Grande do Sul. Conforme a Revista Gaúcha de Enfermagem, o câncer de mama é a maior causa de morte de mulheres entre 30 a 50 anos de idade. De acordo com as estatísticas do Instituto Nacional do Câncer, o câncer de mama é o segundo tipo mais freqüente de câncer do mundo. Assim sendo, o câncer de mama ainda é uma doença que leva à morte, mesmo com o enorme avanço da medicina. Mas, há quem sobreviva o temido e assustador processo da descoberta e tratamento do câncer. Com a doença do câncer vem também a angústia da finitude. O presente trabalho baseia suas reflexões teóricas em Eugen Drewermann e Paul Tillich e como os mesmos descrevem a angústia existencial do ser humano, diferenciando-a do medo real, que tem o seu objeto definido, enquanto que a angústia existencial tem como fonte de sua permanente ameaça o nada. A angústia e a culpa estão relacionadas, estando a culpa ligada ao afastamento de Deus. A aceitação do ser finito, através da coragem do ser, ato de fé por graça divina, substitui, em última análise, a angústia por confiança no Deus da Vida. Os autores, ambos os teólogos, apontam para a interdisciplinaridade. A proposta dessa pesquisa é de atuar em colaboração com outras ciências, de maneira especial com a Psicologia Analítica. Uma pessoa em crise, que trabalha seus processos interiores, poderá ter facilitado sua entrega confiante a Deus. É ainda sucintamente apresentado, conforme Drewermann, como o patológico se manifesta na vida de pessoas que, assim como todas as demais pessoas, carecem da experiência da graça de Deus para sua libertação. A pesquisa finaliza trazendo a abordagem de Erika Schuchardt, formulada no modelo de uma espiral de oito fases, pelas quais passam as pessoas em crise. / The purpose of this dissertation is to examine how women perceive and live the experience of receiving a diagnostic of breast cancer. Field research involves a total of eight women who have experienced this situation, one of them being the authors self-reflection on a cancer diagnostic. A specific aspect of the present research is to identify the place that spirituality takes in the life history of the interviewed women. The State of Rio Grande do Sul presents a high rate of breast cancer. According to the agency Revistal Gaúcha de Enfermagem, breast cancer is the death main cause among women between thirty and fifty years old. Statistics of the National Cancer Institute indicates that breast cancer occupies the second place among the different sorts of cancer. Even though medicine has shown great advance in the last decades, breast cancer still continues to be a deadly disease. However, there are people who survive the fearsome and frightening fatal process caused by this disease. With cancer comes along the human finitude anxiety. The present work bases its reflection on how Eugen Drewermann and Paul Tillich describe the human existential anxiety distinguishing it from real fear. According to the authors real fear has its object defined, while existential anguish has as source of its permanent threat, the nothingness. Anguish and guilt are connected, but guilt is associated to the alienation from God. Acceptance of the existence as finite, through the courage of Being, which is an act of faith by divine grace, replaces anguish by trust in the God of Life. The authors above, both theologians, aim at interdisciplinarity. The purpose of this research is to act in collaboration with other sciences, specially with Analytical Psychology. A person in crisis working her/his interior processes might have facilitated the confident surrender to God. It is also briefly presented, according to Drewermann, how pathology evidences itself in the life of a person who, as all other persons, lacks the experience of the grace of God to his/her liberation. Concluding, the research approaches Erika Schuchartds theory formulated in the model for working through crisis in eight spiral phases.

Militärmarsch auf die Melodie "Prinz Eugen, der edle Ritter" zur Schlacht bei Belgrad 1717, die erhalten ist in "Musikalische Rüstkammer auf die Harffe", Leipzig, begonnen 1719, aber dort ein NACHTRAG blind geschätzt 1800, und einer nicht total identischen Doublette davon als Einzelblatt unbekannter Herkunft des Heeresgeschichtlichen Museums, Wien. Die musikalische Verarbeitung folgt NICHT der preussisch-deutschen Tradition, sondern steht in der k.u.k. österreichisch-ungarischen Tradition der sogenannten "(Musik-) Militärbanda" und besitzt eine gewisse "Italienita". Das Werk wurde von der Abteilung Militärmusik beim Österreichischen Bundesheer angenommen. Weitere Papierausgaben mit Einzelstimmen befinden sich in der National Szechenyi Library, Budapest und in der Deutschen Nationalbibliothek. Wegen des Content-Schutzes fehlt das Einzelstimmenpaket. / On the melody of "Prince Eugene, the wright honourable knight" in the Battle of Belgrad 1717 as preserved in "Musikalische Rüstkammer auf die Harffe", Lipsiae, started in 1719, but there an APPENDIX from estimated only around 1800, a doublette of which as single sheet of unknown origin is in Museum for Army History, Vienna. Musical treatment is NOT following Prussian-German traditions - but "k.u.k. Austrian-Hungarian" traditions of socalled "(Military) Banda" with some "Italienita" in it. This work has been accepted by today Austrian Army, Military Music Branch and complete paper-editions are additionally avaiable in National Szechenyi Library, Budapest and in German National Library. For the reason of content-protection, single voices pack is missing here.

Militärmarsch auf die Melodie "Prinz Eugen, der edle Ritter" zur Schlacht bei Belgrad 1717, die erhalten ist in "Musikalische Rüstkammer auf die Harffe", Leipzig, begonnen 1719, aber dort ein NACHTRAG blind geschätzt 1800, und einer nicht total identischen Doublette davon als Einzelblatt unbekannter Herkunft des Heeresgeschichtlichen Museums, Wien. Die musikalische Verarbeitung folgt NICHT der preussisch-deutschen Tradition, sondern steht in der k.u.k. österreichisch-ungarischen Tradition der sogenannten "(Musik-) Militärbanda" und besitzt eine gewisse "Italienita". Das Werk wurde von der Abteilung Militärmusik beim Österreichischen Bundesheer angenommen. Weitere Papierausgaben mit Einzelstimmen befinden sich in der National Szechenyi Library, Budapest und in der Deutschen Nationalbibliothek. Wegen des Content-Schutzes fehlt das Einzelstimmenpaket. / On the melody of "Prince Eugene, the wright honourable knight" in the Battle of Belgrad 1717 as preserved in "Musikalische Rüstkammer auf die Harffe", Lipsiae, started in 1719, but there an APPENDIX from estimated only around 1800, a doublette of which as single sheet of unknown origin is in Museum for Army History, Vienna. Musical treatment is NOT following Prussian-German traditions - but "k.u.k. Austrian-Hungarian" traditions of socalled "(Military) Banda" with some "Italienita" in it. This work has been accepted by today Austrian Army, Military Music Branch and complete paper-editions are additionally avaiable in National Szechenyi Library, Budapest and in German National Library. For the reason of content-protection, single voices pack is missing here.

L’objectif principal de cette thèse est d’explorer et d’analyser la réception de l’œuvre d’Eugen Wüster afin d’expliquer comment ses travaux ont influencé le développement disciplinaire de la terminologie. Du point de vue historique, les travaux de Wüster, en particulier la Théorie générale de la terminologie, ont stimulé la recherche en terminologie. Malgré des opinions divergentes, on s’entend pour reconnaître que les travaux de Wüster constituent la pierre angulaire de la terminologie moderne. Notre recherche vise spécifiquement à explorer la réception de l’œuvre wüsterienne en étudiant les écrits relatifs à cette œuvre dans la littérature universitaire en anglais, en espagnol et en français entre 1979 et 2009, en Europe et en Amérique. Réalisée dans le cadre du débat sur la réception de l’œuvre de Wüster, cette étude se concentre exclusivement sur l’analyse des critiques et des commentaires de son œuvre. Pour ce faire, nous avons tenu compte de la production intellectuelle de Wüster, de sa réception positive ou négative, des nouvelles approches théoriques en terminologie ainsi que des études portant sur l’état de la question en terminologie entre 1979 et 2009. Au moyen d’une recherche qualitative de type exploratoire, nous avons analysé un corpus de textes dans lesquels les auteurs : a. ont cité textuellement au moins un extrait d’un texte écrit par Wüster ; b. ont référé aux travaux de Wüster dans la bibliographie de l’article ; ou c. ont fait un commentaire sur ces travaux. De cette manière, nous avons cerné les grandes lignes du débat autour de la réception de son œuvre. Les résultats de notre étude sont éloquents. Ils offrent une idée claire de la réception des travaux de Wüster dans la communauté scientifique. Premièrement, Wüster représente une figure centrale de la terminologie moderne en ce qui concerne la normalisation terminologique. Il fut le premier à proposer une théorie de la terminologie. Deuxièmement, la contextualisation appropriée de son œuvre constitue un point de départ essentiel pour une appréciation éclairée et juste de sa contribution à l’évolution de la discipline. Troisièmement, les résultats de notre recherche dévoilent comment les nouvelles approches théoriques de la terminologie se sont adaptées aux progrès scientifiques et techniques. Quatrièmement, une étude menée sur 166 articles publiés dans des revues savantes confirme que l’œuvre de Wüster a provoqué des réactions variées tant en Europe qu’en Amérique et que sa réception est plutôt positive. Les résultats de notre étude font état d’une tendance qu’ont les auteurs de critiquer les travaux de Wüster avec lesquels, dans la plupart des cas, ils ne semblent cependant pas être bien familiarisés. La « méthodologie des programmes de recherche scientifique », proposée par Lakatos (1978) et appliquée comme un modèle interprétatif, nous a permis de démontrer que Wüster a joué un rôle décisif dans le développement de la terminologie comme discipline et que la terminologie peut être perçue comme un programme de recherche scientifique. La conclusion principale de notre thèse est que la terminologie a vécu des changements considérables et progressifs qui l’ont aidée à devenir, en termes lakatosiens, une discipline forte tant au plan théorique que descriptif. / The main objective of this dissertation is to explore and analyze the reception of Eugen Wüster’s work with the goal of explaining how it has influenced the development of terminology as a discipline. In the history of terminology, Wüster’s work, especially his general theory of terminology, has been an inspiration for terminology research studies. Nowadays, the reactions to Wüster’s work have been both positive and negative. His legacy is still considered the cornerstone in the field of terminology. Our specific undertaking is to explore the reception of Wüster’s work by studying what has been said about it in the academic literature written in English, French and Spanish, between 1979 and 2009, in Europe and the Americas. This study, carried out within the context of debate on the reception of Wüster’s work, focuses on analyzing the responses to and comments on his work. It takes into account his work, its positive and negative reception, new theoretical approaches to terminology and studies that have concentrated on analyzing the state of the art of terminology. The research process follows an exploratory method, focusing on studying texts where authors quote, cite or make reference to Wüster’s work. It also falls under descriptive research studies as it accurately portrays the characteristics of the debate around the reception of his work. The results are revealing, and lead to a more refined view of what comprises the reception of Wüster’s work. First, Wüster is recognized as an important founding figure in modern terminology, as a pioneer of terminology standardization, and as the first author to propose a theory of terminology. Second, an adequate contextualization is an essential starting point for an accurate and appropriate appreciation of Wüster’s contribution to the development of the discipline. Third, results uncovered how new theoretical approaches to terminology have coped with advances in technology and science. These approaches have also identified new methods, methodologies, applications and uses for terminology. Forth, a sample study of 166 academic journal articles confirms that Wüster work has generated mixed reactions in Europe and the Americas, and that its reception has been more positive than negative. Results indicate a strong interest in criticizing Wüster’s work, yet a lack of familiarity with it seems to exist. The “methodology of scientific research programmes” proposed by Lakatos (1978), applied as an interpretive model, demonstrates that the reception of Wüster’s contribution to terminology has influenced the development of the academic field and that terminology is now perceived as a research programme. The main conclusion is that terminology has undergone substantial changes leading, in Lakatos’ terms, to a stronger theoretical and descriptive discipline.

This thesis reconstructs the Prague premiere of the opera Tiefland by Eugen d'Albert and describes how this performance differed from earlier ones. The sources cited are original materials from the archives of the National Theatre including musical scores and references from the contemporary press. The thesis also provides an overview of opera premieres and the repertory of the Neues Deutsches Theater in the period 1888-1910 and details of d'Albert's visit to Prague before the time of the Tiefland premiere.