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In his short essay about Chopin (1945), Pasternak poses the question:What does realism in music mean?The answer to this question is far from obvious. And certainly the answer given byPasternak, in which he points to Chopin, together with Bach, as one of the great realistsin music; realist, that is, in the same meaning of the word as was Lev Tolstoj  - this answer can of course be disputed. But perhaps even more interesting than theanswer is the question, what it was in Chopin's music that for Pasternak made it into analmost paradigmatic example of realism, not only in music, but in art in general?To try to get an understanding of the possible motives behind such a view, we need totake a closer look at the biography of Boris Pasternak, the development of his views ofart and music in particular, his philosophical view of reality (the possible lastinginfluence from Hermann Cohen and the Marburg school), his idea of realism in generaland his relationship to the ruling idea of socialist realism. In particular, analyzingPasternak's view of realism, as it is expressed in Lejtenant Shmidt (1927), and theviews expounded in Shopen (1945) we will try to discern the development - if any -that has taken place in the 18 years that separate these two works. Other works byPasternak that are central to getting closer to understand his views on realism are Neskol'ko polozhenij (1922), Okhrannaja gramota (1931), which is a kind ofminiature autobiography, as is also Ljudi i polozhenija (1956), equally important.

<p> My thesis investigates and evaluates Hermann Cohen's interest in and critiques of Protestant biblical criticism. In this thesis, I argue that Cohen's interest in Protestant biblical criticism stems from his quest to rejuvenate Jewish learning, foster relations between Jewish and Christian scholars and develop a philosophically sophisticated method for the study of the Hebrew Bible. To argue this point, I look at Cohen's philosophical construction of concepts such as monotheism, messianism and social justice, his methodology for the study of texts, his philosophical conception of "Jewish sources", and how this conception reflects contemporary interactions and tensions in Germany between scholarly biblical criticism, Jewish intellectual culture, and antisemitism. In doing so, I also examine how Cohen's complicated relationship with Protestant biblical criticism can be seen as part of Cohen's attempts to balance the assumptions he shared with Protestant biblical scholars, such as Julius Wellhausen, with his polemical response to Protestant biases in the work of other biblical scholars, such as Rudolf Kittel. This thesis, then, looks at both Cohen's implicit and explicit critiques of Protestant biblical scholarship in several of his "Jewish Writings" and in his Religion of Reason Out of the Sources of Judaism, and investigates how Cohen's interactions with Protestant biblical criticism influenced his own methodology for the study of Judaism and the Hebrew Bible. </p> / Thesis / Doctor of Philosophy (PhD)

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A pesquisa consiste em aproximações aos Sonâmbulos, de Hermann Broch, e privilegia aspectos históricos e construtivos dessa trilogia composta de Pasenow ou o romantismo, Esch ou a anarquia e Huguenau ou a objetividade. Está dividida em duas partes. Na primeira, predomina a discussão do contexto literário e histórico, do pensamento do autor e de questões teóricas do romance como gênero. Aqui, tomamos a trilogia por um comentário sem igual à crise do romance de seu tempo, as ideias de Broch por uma ética da totalidade, e propomos uma retórica realista e metafísica como recurso-base do texto dos Sonâmbulos. Na segunda parte, prevalecem observações sobre a configuração da narrativa e investimos no jogo das semelhanças e diferenças dos três títulos. O objetivo é organizar um quadro para o entendimento do lugar dos Sonâmbulos e de sua especificidade literária. Impaciência do conhecimento, em Broch, significa poesia apta a se adiantar à ciência, romance capaz de se adiantar à filosofia. / This research is devoted to Herman Brochs trilogy The sleepwalkers. The focus of our interest lies on the historical and constructive aspects of the novels Pasenow the romantic, Esch the anarchist and Huguenau the realist. The study is divided in two parts. The first one contains a discussion on the literary and historical context, on the authors thought and on theoretical questions about the novel as a genre. In our view, the trilogy offers a unique commentary upon the crisis of the novel around 1930. Moreover, we take Brochs ideas as an ethics of totality and we propose a realist and metaphysical rhetoric as a key device of the text of The sleepwalkers. The second part consists of observations on the narrative composition, in which we analyze the dynamics of similarities and differences among the three titles. Our aim is to provide a framework for the understanding of the trilogys literary place and specificity. Impatience of knowledge in Broch means poetry capable of anticipating science, novel being able to anticipate philosophy.

Entre 1894 e 1916, período em que esteve sob a gestão do zoólogo Hermann von Ihering, o Museu Paulista conseguiu reunir coleções de dimensão considerável, que englobavam objetos pertinentes às diferentes disciplinas às quais a instituição se dedicava. Por meio dessas coleções, o Museu pôde produzir e veicular conhecimentos sobre a natureza e o homem sul-americano. Embora intrínsecos à prática da História Natural, a reunião e uso de coleções podem ser problematizados e investigados com algum grau de profundidade, trazendo à tona dimensões insuspeitas da história dos museus e das ciências naturais. Sendo assim, objetiva-se, nesta dissertação, investigar aspectos de processos de aquisição e uso de coleções de História Natural praticados no Museu Paulista de Ihering. Pretende-se, dessa forma, contribuir para a compreensão do que foram a implantação e o desenvolvimento do primeiro museu público do estado de São Paulo. Mais do que isso, almeja-se entender o papel central reservado aos espécimes científicos na produção e veiculação de conhecimentos sobre a natureza sul-americana. Para tanto, examinaremos as principais etapas envolvidas na curadoria das coleções: a aquisição de objetos, sua mobilização para produção de conhecimento e sua exibição no âmbito das exposições públicas / Between 1894 and 1916, the Museu Paulista was under the management of the zoologist Hermann von Ihering. During this period, the museum gathered collections of considerable size, which encompassed objects concerning to different disciplines. Through these collections, the Museum was able to produce and communicate knowledge about the nature and the man of South America. Gather and use collections are procedures intrinsic to the practice of Natural History. However, they may be deeply investigated, bringing out unsuspected dimensions of the history of museums and natural sciences. This dissertation aims to investigate the acquisition and use of collections of Natural History in the Museu Paulista of Ihering. We intend, therefore, to contribute to the understanding of the development of the first public museum in the state of São Paulo. More than that, we aim to understand the central role of scientific specimens in the production and communication of knowledge about the South American nature. To do so, we will examine the major steps involved in curating the collections: the acquisition of objects, its mobilization for the production of knowledge and its display in the public exhibitions. Keywords: material culture; collections; scientific specimens; Museu Paulista; Hermann von Ihering

vii, 56 p. This thesis is written in German. / My thesis focuses on the question of how intertextuality can operate as a form of cultural memory. Drawing on the cultural-semiological model of intertextuality developed by Renate Lachmann, my analysis of Hermann Broch's novel <italic>Die Schlafwandler</italic> examines how the incorporation of intertexts enriches and changes the interpretation of a manifest text. I am focusing in particular on Broch's references to Johann Wolfgang von Goethe and Immanuel Kant in the chapters "Zerfall der Werte" to exemplify how intertextuality operates in this novel. The focus on two specific sources of intertextual references allows me a thorough analysis of the new interpretive dimensions that are created through intertextuality and at the same time the delineation of new perspectives for the further study of intertextuality in relation to Broch's work. / Committee in charge: Prof. Martin Klebes, Chairperson; Prof. Kenneth Calhoon, Member; Prof. Alexander Mathäs, Member

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Thesis (doctoral)--Universität, Marburg, 2006. / Includes bibliographical references (p. 261-276).

Texte remanié de : Dissertation : lettres : University of Illinois at Urbana-Champaign : 1987. / Bibliogr. p. 145-153. Index.