Inaug.-Diss.--Münster. / Includes bibliographical references.

Author's Habilitationsschrift--Georg-August-Universität Göttingen. / Includes index.

Thesis (Ph. D.)--Rijks-Universiteit te Utrecht, 1923. / Includes bibliographical references (p. [xv]-xx).

No description available.

No description available.

By exploring the symbolism of the wanderer motif, we can trace its path in German literature, first through the mind of Johann Wolfgang Goethe, specifically focusing on some of his poetry from early on in his career during the Sturm und Drang Period. We then travel to the Romantic Period, as we focus on works from Wilhelm Müller with the help of musical interpretations of Franz Schubert, and finally end the journey with Aus dem Leben eines Taugenichts, a novella by Joseph von Eichendorff in the late Romantic Period. The wanderer, as we will see, is not the aimless figure normally associated with it today, but rather one who is transformed through his journey. These writers each had a different purpose for using the motif, and each plays a part in making the wanderer a prominent figure during the Age of Goethe.

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.

Thesis--Zürich.

Besichtigung des Teatro Olimpico in Vicenza mit einer Führung durch einen deutschlandbegeisterten Italiener, der, neuer Architekt des Goethe-Mythos, des Dichters Aufenthalt in Vicenza für die Reisenden neu erfindet.