Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

The thesis "The Wölfling Case. Resignation of Leopold Ferdinand of Tuscany from the Archduke's Position and His Life as an Ordinary Citizen" discusses the events associated with the departure of Archduke Leopold Ferdinand (1868-1935) from the Habsburg-Lorraine House. The thesis deals with the Imperial Austrian Family Statute, individual cases of resignation to the rank of Archduke, as well as the issue of violation of family norms in the Habsburg-Lorraine family. The focus is on events surrounding the escape of Archduke Leopold Ferdinand from the court and his subsequent resignation from the Archduke rank. Attention is paid to the cause of this, as well as the dramatic negotiations surrounding his final resignation from the imperial court and family. The thesis also charts the career of the former Archduke (since 1903 Leopold Wölfling) in the position of an ordinary citizen.

[pt] Esta dissertação analisa metáforas para linguagem encontradas no Curso de Lingüística Geral, de Ferdinand de Saussure. Tomando por base aspectos da Teoria Cognitiva da Metáfora e a leitura clássica de Roy Harris para o Curso, a análise demonstra a presença de uma tensão entre duas visões concorrentes de linguagem e significado, a saber, uma perspectiva representacionista, hegemônica na história do pensamento lingüístico, e uma concepção oposta, próxima à que se encontra nas Investigações Filosóficas, de L. Wittgenstein. / [en] This study analyses metaphors for language in Saussures Course in General Linguistics. The analysis is based on the Cognitive Theory of Metaphor, and on Roy Harriss classical reading of the Course. The presence of a tension between two divergent views on language and meaning is demonstrated, where a traditional representationalist perspective is shown to coexist with an opposing view, similar to the one found in L. Wittgensteins Philosophical Investigations.

Thesis (Ph. D.)--University of Wisconsin, 1939. / Typescript; in 178 and 4 leaves. Includes bibliographical references (p. [175]-178).

Submitted by Fabio Sobreira Campos da Costa (fabio.sobreira@ufpe.br) on 2016-07-29T13:54:33Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Tese_RaulFerreira_BC.pdf: 1769138 bytes, checksum: fc9a08552e3536553423dbd602e17779 (MD5) / Made available in DSpace on 2016-07-29T13:54:33Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Tese_RaulFerreira_BC.pdf: 1769138 bytes, checksum: fc9a08552e3536553423dbd602e17779 (MD5) Previous issue date: 2016-03-09 / Este trabalho oferece uma reflexão sobre o discurso produzido pela crítica literária que surge na primeira metade do século XIX e se desenvolve até as últimas décadas dos oitocentos. São considerados como seus marcos históricos duas publicações: o Resumé de l'histoire litteráire du Brèsil, de Ferdinand Denis, publicado em 1826, e a História da literatura Brasileira, de Sílvio Romero, publicada em 1888. Para certa historiografia recente da literatura brasileira, a crítica praticada no final do século XIX, a chamada crítica cientificista, diferiu radicalmente da que foi produzida durante o período romântico. Entre um e outro modelo haveria uma ruptura devida sobretudo à adoção das novas ideias científicas que vinham da Europa. Outras leituras, no entanto, preferiram enfatizar a continuidade da ideologia nacionalista e viram na passagem da crítica romântica para a crítica cientificista mais uma continuidade de ideias do que um rompimento traumático. A partir de uma reflexão sobre a teoria do discurso de linha francesa, a pesquisa que aqui é conduzida investiga as diversas possibilidades de dinâmica discursiva dos enunciados de forma a verificar o funcionamento dos discursos inerentes aos dois modelos de crítica literária. Isto permitiu avaliar a pertinência das leituras que alegam a ruptura e a continuidade e concluir que nenhuma das duas abordagens consegue dar conta da complexidade da questão. Ao invés de mera ruptura ou continuidade, conclui-se que as críticas romântica e cientificista constituem dois momentos distintos de uma mesma formação discursiva sobre a literatura. Elas constituem um discurso que se dinamiza em função das vicissitudes históricas e das transformações políticas atravessadas pela nação. / This research offers a reflection on the discourse produced by literary criticism that appears in the first half of the nineteenth century and develops until the last decades of the eight hundred. It is considered as its landmarks two publications: the Resumé de l'histoire litteraire du Bresil, by Ferdinand Denis, published in 1826, and the history of Brazilian literature, by Sílvio Romero, published in 1888. For some recent historiography of Brazilian literature, the criticism practiced in the late nineteenth century, the so called scientistic critical, radically differs from what was produced during the romantic period. Between one and another model there would be a break due mainly to the adoption of new scientific ideas coming from Europe. Other readings, however, preferred to emphasize the continuity of nationalist ideology and saw in the passage of the romantic critical to the scientistic criticism more a continuity of ideas than a traumatic breakup. From a reflection on the French theory of discourse, the research that is conducted here investigates the different possibilities of discursive dynamics of statements in order to verify the behavior of the discourses inherent in two models of literary criticism. This allowed to assess the relevance of the two hypotheses and to conclude that neither approach can account for the complexity of the issue. Rather than merely break or continuity, it is concluded that the romantic criticism and scientistic are two different moments of the same discourse on literature. A speech that oscillates depending on the historical events and political transformations crossed the nation.

Submitted by Fabio Sobreira Campos da Costa (fabio.sobreira@ufpe.br) on 2016-08-03T12:33:19Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Tese_RaulFerreira_BC.pdf: 1769138 bytes, checksum: fc9a08552e3536553423dbd602e17779 (MD5) / Made available in DSpace on 2016-08-03T12:33:19Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Tese_RaulFerreira_BC.pdf: 1769138 bytes, checksum: fc9a08552e3536553423dbd602e17779 (MD5) Previous issue date: 2016-03-09 / Este trabalho oferece uma reflexão sobre o discurso produzido pela crítica literária que surge na primeira metade do século XIX e se desenvolve até as últimas décadas dos oitocentos. São considerados como seus marcos históricos duas publicações: o Resumé de l'histoire litteráire du Brèsil, de Ferdinand Denis, publicado em 1826, e a História da literatura Brasileira, de Sílvio Romero, publicada em 1888. Para certa historiografia recente da literatura brasileira, a crítica praticada no final do século XIX, a chamada crítica cientificista, diferiu radicalmente da que foi produzida durante o período romântico. Entre um e outro modelo haveria uma ruptura devida sobretudo à adoção das novas ideias científicas que vinham da Europa. Outras leituras, no entanto, preferiram enfatizar a continuidade da ideologia nacionalista e viram na passagem da crítica romântica para a crítica cientificista mais uma continuidade de ideias do que um rompimento traumático. A partir de uma reflexão sobre a teoria do discurso de linha francesa, a pesquisa que aqui é conduzida investiga as diversas possibilidades de dinâmica discursiva dos enunciados de forma a verificar o funcionamento dos discursos inerentes aos dois modelos de crítica literária. Isto permitiu avaliar a pertinência das leituras que alegam a ruptura e a continuidade e concluir que nenhuma das duas abordagens consegue dar conta da complexidade da questão. Ao invés de mera ruptura ou continuidade, conclui-se que as críticas romântica e cientificista constituem dois momentos distintos de uma mesma formação discursiva sobre a literatura. Elas constituem um discurso que se dinamiza em função das vicissitudes históricas e das transformações políticas atravessadas pela nação. / This research offers a reflection on the discourse produced by literary criticism that appears in the first half of the nineteenth century and develops until the last decades of the eight hundred. It is considered as its landmarks two publications: the Resumé de l'histoire litteraire du Bresil, by Ferdinand Denis, published in 1826, and the history of Brazilian literature, by Sílvio Romero, published in 1888. For some recent historiography of Brazilian literature, the criticism practiced in the late nineteenth century, the so called scientistic critical, radically differs from what was produced during the romantic period. Between one and another model there would be a break due mainly to the adoption of new scientific ideas coming from Europe. Other readings, however, preferred to emphasize the continuity of nationalist ideology and saw in the passage of the romantic critical to the scientistic criticism more a continuity of ideas than a traumatic breakup. From a reflection on the French theory of discourse, the research that is conducted here investigates the different possibilities of discursive dynamics of statements in order to verify the behavior of the discourses inherent in two models of literary criticism. This allowed to assess the relevance of the two hypotheses and to conclude that neither approach can account for the complexity of the issue. Rather than merely break or continuity, it is concluded that the romantic criticism and scientistic are two different moments of the same discourse on literature. A speech that oscillates depending on the historical events and political transformations crossed the nation.

of History of the chapel at the Konopiště castle The deal of work is a trial to give an assistance in exploring of chapel at the Konopiště castle and to bring a comprehensive scene of its history, interferences of particular holders, inner equipment's changes and to outline spiritual life of the former centuries. The work contains six parts. The first one briefly informs about the history of the Konopiště castle from its foundation to expropriation by the Czechoslovak republic. The second part analyzes architectural evolution of the chapel, that presents basic and the oldiest part of whole object. The following chapter describes inventory of the chapel. The main attention is given to rococo inventory and to collections of Franz Ferdinand d'Este, which are at the chapel in the majority part still today. In the fourth chapter there is written the church celebrations and feasts, made during the days of Franz Ferdinand d'Este. In rich photographical inventory fund there has been preserved many photographs from these occasions, mainly from the celebration of Corpus Christi, which had been periodically organized. In the present this tradition has been returned. By this I come to write of the fifth chapter, the present. The castle is now in keeping of National heritage institut and it is opened for...

Die Ausstellung veranschaulicht vom 24. Januar bis 14. April 2013 mittels einiger ausgewählter Handschriften und Drucke die Entstehung und Bedeutung der Bibliothek Carl Ferdinand Beckers. Es werden erste Stücke der Sammlung, seltene Drucke, unikale Quellen und Objekte gezeigt, die aufgrund ihrer Provenienz kulturgeschichtlich und musikhistorisch wertvolle Informationen enthalten. Oft besprochen, aber selten zu bewundern, überragt dabei das „Andreas- Bach-Buch“, eine Sammelhandschrift mit größtenteils einmaligen Klavier- und Orgelkompositionen des 17. und 18. Jahrhunderts aus dem Umfeld und partiell von der Hand Johann Sebastian Bachs die anderen Exponate.

Ce mémoire décrit l'évolution des principaux vecteurs de l'imaginaire célinien de Voyage au bout de la nuit à D'un château l'autre -dont chacun correspond à l'une des deux grandes Guerres du siècle dernier -en restant fidèle à la poétique élaborée par l'auteur dans les textes entourant sa production romanesque, qui placent au coeur de l'invention stylistique la question de l'émotion. L'exploration de cette dimension de l'écriture permet de mettre en évidence le double mouvement de plongée et de fuite mis en scène à l'intérieur des romans. En raison d'une culpabilité reçue en héritage et d'une certaine curiosité en regard des phénomènes de mort, Céline n'a pas cessé, tout au long de sa vie, de courir au devant des malheurs; l'écriture est porteuse de cette culpabilité qui préfigure le destin de l'homme et de l'oeuvre. Si la plongée au coeur du désastre est alimentée par la réponse favorable du sujet à toute une part de la demande mortifère de l'Autre, l'écart résulte d'une sagesse corporelle, qui est introduite dans les romans et dont on peut suivre l'évolution au fil de l'oeuvre. Au contact du désastre, le corps met en place différents moyens de défense, dont plusieurs sont de l'ordre de la pulsion de mort, pour échapper aux sommes d'excitation excessives. Ces moyens de défense sont mis en scène dans la répétition de l'écriture, qui permet d'échapper après coup à la mort. Les enjeux de l'écriture célinienne peuvent être interrogés avec profit en fonction des structures dans lesquelles s'insère le parcours du sujet, mais aussi dans la signification que l'on peut attribuer à la mise en scène de ce parcours, qui correspond à un cheminement réel dans la pensée. L'observation du travail de l'écrivain sur le matériau verbal permet d'éclairer la fonction de l'oeuvre, qui est de guider le lecteur sur les sentiers d'une vérité qu'il porte déjà en lui comme quelque chose de propre à l'humain et dont la voie d'accès est déjà rendue possible par l'expérience du temps, du corps et du monde dans ses variations en intensité. Le travail régulier, minutieux et raffiné qu'a été celui de Céline sur la langue est à l'origine d'un monde en soi, où s'impose une présence particulière, dont les effets confirment l'engagement réel de l'écrivain. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Louis-Ferdinand Céline, Voyage au bout de la nuit, D'un château l'autre, Style, Pulsion de mort, Culpabilité.

Bereits in jungen Jahren hatte Carl Ferdinand Becker eine Sammelleidenschaft an jeglicher Art von musikhistorischer Betrachtung. Vor allem Musikdrucke und –handschriften sowie musikhistorische Werke aus dem 15. Jahrhundert bis zu seiner Zeit gerieten in sein Blickfeld. Das zu seiner Zeit völlig vernachlässigte und unbekannte Repertoire wird heute als musikalische Universalbibliothek angesehen. Im Jahre 1865 übergab Becker seinen „Schatz“ an die Stadtbibliothek Leipzig. In den Jahren 2010-2012 wird die gesamte Sammlung nun in die internationale Quellendatenbank RISM und in den SWB eingepflegt.