Diss.--Universität Erlangen-Nürnberg, 1992.

x, 74 p. : ill. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / Although the earliest depictions of Faustus portray him as an astrologer, very few publications to date have touched on the role of astrology in the life of this infamous character. Parallel to the decline in astrological sciences beginning in the seventeenth century, post-Scientific Revolution depictions of Faust have deemphasized astrology as a primary pursuit of the figure. I examine the status of astrology in four versions of the Faust(us) myth: The anonymous Historia von D. Johann Fausten and its English translation/adaptation as The English Faust Book, Christopher Marlowe's Doctor Faustus, Johann Wolfgang von Goethe's Faust, and Thomas Mann's Doktor Faustus. I argue that the decline in the status of astrology corresponds to historically weakening belief in the analogy of microcosm and macrocosm as epistemologically relevant and analyze the implication of the Faust figure in genuinely modem quandaries of skepticism and aesthetic representation. / Committee in Charge: Martin Klebes, Chair; Dorothee Ostmeier; Ken Calhoon

It is the intent of this thesis to shed a new investigative light upon a musician whose importance as a creative personality and aesthetician has been sorely underestimated or at least unappreciated by fellow musicians and audiences of his own and succeeding generations, a musician who formulated a new musical aesthetic which involved the utilization of compositional techniques diametrically opposed to those which had held dominant influence over the musical world for more than half a century, a musician who attempted to fuse the Italian sense of form and clarity with Teutonic profundity, complexity, and symbolism. This musician was Ferruccio Busoni. This thesis will concentrate on the history of the Faust legend and Busoni's final work, his opera Doktor Faust (c. 1924), the creative problems opera imposed upon Busoni, and his attempt to solve them vis-a-vis his own personal aesthetic.

No description available.

La Damnation de Faust d'Hector Berlioz est une oeuvre inclassable parmi les genres musicaux usuels. A mi-chemin entre la pièce de concert et l'opéra, elle est inspirée du Faust de Goethe (dans la traduction de Nerval), mais semble-t-il également, de la vie du compositeur. Cette thèse décrit le processus de composition et met en lumière les éléments autobiographiques. Ces derniers ont été divisés en deux catégories. La première catégorie explore les éléments autobiographiques supposés, à savoir les anecdotes des Mémoires et de la correspondance concordant avec le scénario de La Damnation, l'analogie de certains personnages réels avec ceux du livret et enfin, les influences musicales et littéraires que le compositeur a pu recevoir. La seconde regroupe les éléments autobiographiques avérés englobant la réutilisation de certaines compositions du jeune Berlioz, l'application des préceptes du traité et leur insertion dans La Damnation. / Hector Berlioz's Damnation of Faust cannot be classified among the usual musical genres. Halfway between the piece of concert and the opera, it is not only inspired by Goethe's Faust (translated by Nerval), but apparently also, by the composer's life. This thesis describes the composition process and highlights the autobiographical elements. These were divided into two categories. The first category investigates the supposedly autobiographical elements, namely the anecdotes of Berlioz's memoirs and correspondence consistent with the synopsis of the Damnation, the analogy of some genuine persons with those of the libretto and finally, the musical and literary influences the composer may have received. The second category regroups the proven autobiographical elements, including the reuse of some of his early compositions, the application of the precepts of the treaty and their integration into La Damnation.

Thesis advisor: Michael Resler / Thesis advisor: Rein Uritam / This undergraduate thesis examines the philosophical intersections underpinning Schrödinger's understanding of quantum physics and Schoenberg's atonal compositional techniques through the focusing prism of Goethe's Faust. The analysis begins with an exposition of the basics of quantum mechanics, and progresses to the unifying concept of form Schrödinger derives from this framework. Following a similar overview of tonal and atonal composition theory, the similarities between Schoenberg's parallel concept of idea and Schrödinger's form are discussed. Both of these concepts are then examined through Goethe's Faust, with particular attention to the concept of "soul-form" by which Faust achieves ultimate salvation and fulfillment. Finally, these symmetric ideas are applied to a range of contemporary sociocultural issues. / Thesis (BS) — Boston College, 2010. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: College Honors Program. / Discipline: German Honors Program. / Discipline: German Studies.

Inaug.-diss.--Würzburg.

Inaug.-diss.--Würzburg.

A presente tese investiga a forma pela qual a ideia de reconhecimento poderia nortear a leitura das interpretações fáusticas da primeira metade do século XX, a saber: Tragédia Subjectiva de Fernando Pessoa, Dr. Fausto de Thomas Mann e Meu Fausto de Paul Valéry. Ou seja, as apropriações do mito por Thomas Mann, Pessoa e Paul Valéry seriam apreensões distintas da tragédia do conhecimento cujo desenvolvimento residiria na ideia de uma falha de reconhecimento: falência ou impossibilidade de reconhecer. O conceito de reconhecimento será estudado a partir dos ensaios e livros do filósofo americano Stanley Cavell, entendendo-se reconhecimento enquanto denominador comum entre a ideia de tragédia e do ceticismo: ambos resultam de falhas no reconhecimento. Assim, o presente estudo busca compreender como as três interpretações fáusticas vivem a falência do reconhecimento reiterando, dessa maneira, o afastamento da tradição goetheana / This thesis aims at investigating the way in which the idea of acknowledgment could guide the reading of the Faustian interpretations written in the first half of the twentieth century: Tragédia Subjectiva by Fernando Pessoa, Dr. Fausto by Thomas Mann and Meu Fausto by Paul Valéry. That is, the appropriations of the myth by Thomas Mann, Pessoa and Paul Valéry would all be different interpretations on the tragedy of knowledge whose development lies in the idea of a failure of acknowledgement: failure or impossibility to acknowledge. The study of the concept of acknowledgment will be based on Stanley Cavells essays and books, by understanding that acknowledgment is the common denominator between the ideas of tragedy and skepticism: both result from a failure or impossibility to acknowledge. Thus, this present studys aim is to understand how the three Faustian interpretations deal with the failure of acknowledgment and therefore reiterate their distance from Goethes tradition

A presente tese investiga a forma pela qual a ideia de reconhecimento poderia nortear a leitura das interpretações fáusticas da primeira metade do século XX, a saber: Tragédia Subjectiva de Fernando Pessoa, Dr. Fausto de Thomas Mann e Meu Fausto de Paul Valéry. Ou seja, as apropriações do mito por Thomas Mann, Pessoa e Paul Valéry seriam apreensões distintas da tragédia do conhecimento cujo desenvolvimento residiria na ideia de uma falha de reconhecimento: falência ou impossibilidade de reconhecer. O conceito de reconhecimento será estudado a partir dos ensaios e livros do filósofo americano Stanley Cavell, entendendo-se reconhecimento enquanto denominador comum entre a ideia de tragédia e do ceticismo: ambos resultam de falhas no reconhecimento. Assim, o presente estudo busca compreender como as três interpretações fáusticas vivem a falência do reconhecimento reiterando, dessa maneira, o afastamento da tradição goetheana / This thesis aims at investigating the way in which the idea of acknowledgment could guide the reading of the Faustian interpretations written in the first half of the twentieth century: Tragédia Subjectiva by Fernando Pessoa, Dr. Fausto by Thomas Mann and Meu Fausto by Paul Valéry. That is, the appropriations of the myth by Thomas Mann, Pessoa and Paul Valéry would all be different interpretations on the tragedy of knowledge whose development lies in the idea of a failure of acknowledgement: failure or impossibility to acknowledge. The study of the concept of acknowledgment will be based on Stanley Cavells essays and books, by understanding that acknowledgment is the common denominator between the ideas of tragedy and skepticism: both result from a failure or impossibility to acknowledge. Thus, this present studys aim is to understand how the three Faustian interpretations deal with the failure of acknowledgment and therefore reiterate their distance from Goethes tradition