This thesis deals with the philosophical works of Austrian thinker, Rudolf Steiner (1861-1925). Focusing mainly on his epistemological thinking, its main objective is to interpret Steiner's Theory of Knowledge. This work is structured in four chapters. After giving the reader insight into Steiner's life, it goes on to deal with the development of his thinking and work, with particular attention paid to the substance of his first and truly philosophical (not yet theosofical- anthroposofical) phase of working life. Following from this is a passage on his relationship with J. W. Goethe, whose intellectual (and especially scientific) legacy served as Steiner's main source of inspiration, while also laying out the basic form of Goethe's scientific methodology and its epistemological background, namely its empirical and simultaneously objective idealism, which deeply spoke to Steiner and motivated him to write his first philosophical work: Grundlinien einer Erkenntnistheorie der Goetheschen Weltanschauung (1886). The third chapter approaches this particular work, in which Steiner presents and describes the theory of knowledge, as aligned with that of Goethe. Analysed and interpreted are the three main successive sections of his work, in which he expresses his notion of experience, thinking and knowledge....

This thesis investigates the intertextual links between The Sufferings of Young Werther by Johann Wolfgang Goethe, which was published originally in 1774, and Utrpení knížete Sternenhocha (The Sufferings of Prince Sternenhoch) by Ladislav Klíma. Their affinities remained unnoticed when the latter text was published for the first time in 1928, although the texts share topics as well as narrative strategies. In both texts, the presence of the beloved person is suplemented by writing, their bodies by a simulacrum. Goethe aestheticises the love suffering drawing on the sentimental tradition of the epistolary novel, whereas Klíma transforms it in his palimpsest employing manneristic techniques and parodies it by excessively thematising the body. In both cases is the writing of the heroes - work, but also fabrication of memory - works as an evidence and a constructed phantasm of their love, the only thing that survives its author in order to preserve the testimony of the love for the reader. The thesis is divided into two parts. The first part, called Convergence, show explicit as well as implicit links between the analysed texts. The second, called Divergence, contextualises both texts to find their position within several relevant theoretical categories, such as the fantastic, the gothic and mannerism....

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The great novelist and poet Johann Wolfgang von Goethe (1749 – 1832) arguably made his most significant contribution to the artistic world with his literary masterpiece Faust I. Goethe’s love of music and melody is evident throughout all of Faust, particularly in the expressive poetry of the character of Gretchen, whose meaningful words gave inspiration to a variety of musical manifestations, especially in German Lied. This document serves as a performance guide for vocalists. It provides vital information on the setting and arrangement of the poetry within the musical settings, the background and significance of the composer and his works, and the organization of the music. The examination of each piece will involve assessment of musical phrasing, tessitura, and overall vocal complexity in eight German Lieder settings of Gretchen’s soliloquy “Ach neige, du Schmerzenreiche” from Goethe’s Faust. The suggestions within the investigations are based on examination of pedagogical practices as well as personal experience and discoveries made while singing and performing these pieces. Through an investigation of each piece, the singer will be able to attain a successful understanding of the framework and approach to the music and poetry, and thereby achieve awareness of accurate performance practice. This document examines in order of composition, the settings by Bettina von Arnim, Franz Schubert (including the completed fragment as arranged by Benjamin Britten), Conrad Kreutzer, Bernhard Klein, Johann Loewe, Robert Schumann, Hugo Wolf, and Fredric Joseph Kroll. Because this document serves to investigate only German Lieder settings, it will not examine the choral works of Hans Pfitzner, Antoni Radziwill, Julius Röntgen, Giuseppe Verdi’s Italian setting “Deh, pietoso, oh Addolorata,” nor Richard Wagner’s Melodram. This document will also very briefly discuss the lost and inaccessible settings of Gretchen’s prayer, including those of Carl Debrois van Bruyck, Edmund von Freyhold, Moritz Hauptmann, Justus Lecerf, Leopold Lenz, Louis Schlottmann, and Hans Sommer.

"Minstrels in the Drawing Room" is an investigation of the representation of musical listening in the nineteenth-century novel. Theoretical accounts of the novel have tended to see it as a universal form, one that opportunistically subsumes all others as its represented content; descriptions of the novel's implied audience often interpret novel-reading as an essentially absorptive activity linking private reading to public belonging through an act of identification. For the writers I discuss here, however, musical listening is interesting because it is a rival mode of shared aesthetic experience that, before the advent of sound recording, was necessarily social. This dissertation draws on recent developments in the history of reading and media theory to describe how novels by three central figures of the European novelistic canon - Goethe, Scott, and Eliot - turn to musical listening to reflect upon the ways in which the absolutely open nature of the novel's mode of address is nevertheless prone to limitation. The dissertation thus complicates often all-or-nothing theories of novel-reading, offering instead a description of how novels model a distanced identification between reader and text.

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The thesis is a structural biography of Harald Molander (1858-1900), stage manager, author, translator and critic.The investigation is based on his literary works and the reviews of these. Articles, letters and the director's comprehensive manuscripts and other documents are analyzed. The reactions of the audience are studied.Molander's authorship and directing were artistically coherent. In accordance with the theories of Felix Vodicka and Jan Mukarovsky a model of description is formulated for the study of the period norm. The structure of Molander's literary works, the reception of them, and the modern conception of stage management are related to the changes in the norm.As an. author Molander successively associated himself with tradition, with the realism of the modern breakthrough and the interest in historical subject. His works were often shaped by literary impressions. His works as an author and stage manager were frequently religiously tinged.As a director Molander was a transitional figure. He began as an author-director and gradually took up modern stage management. In this thesis his work as a director is studied as part of the division of labour in the theatre, as staging-procedure and as an expression of principles of style and artistic viewpoint. His directing was chiefly aimed at realizing the author's vision on the stage. He wanted to transform the possibilities of the drama into scenic reality.As a stage manager Molander was influenced by the Meininger Company and Wagner. As a director he was very systematic. He distanced himself from the kind of theatre which was dominated by the actors, from Romanticism and ideal realism, and he studied naturalism. Tradition, fidelity to authors, realism, historicism, ensemble-acting and the harmonization of the means of expression of the theatre characterized his stage managing. Molander also had a didactic view of the theatre; he wanted to discuss societal and psychological problems and he wanted to amuse his audience.Molanderwas active both in Sweden and in Finland. The highlight of his early period was the staging of Goethe's Faust (1889). He shaped it into a realistic-fantastic Gesamtkunstwerk. He made pictorially attractive stagings of Strindberg's historical dramas, Mäster Olof (1897), Gustaf Vasa and Erik XIV (1899). The staging of Hauptmann's The Weavers was his masterpiece. The instruction of the masses in this strike drama was consistent. The Swedish labour movement greeted the play with enthusiasm. / digitalisering@umu

Originally presented as the author's Thesis (doctoral)--Universität Heidelberg, 1983. / Includes bibliographical references (p. 187-208).

Inaug.-diss.--Leipzig. / Lebenslauf.

Universidad Complutense, Diss--Madrid, 2006.