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En grundläggande idé inom romantiken är den om att det finns en annan, sannare värld, som människorna kan ana sig till och indirekt komma i kontakt med. För den romantiska människan gäller det att kunna leva i två världar, att leva i den vanliga, vardagliga, samtidigt som man söker efter den andra, sannare. I E.T.A. Hoffmanns verk bryter den andra, ”övernaturliga” världen ofta in i den alldagliga. Så är fallet i berätteleserna ”Der Goldne Topf” och ”Die Bergwerke zu Falun”. Men trots att huvudpersonerna i berättelserna båda konfronteras med denna andra värld, slutar det mycket olika för dem. Medan Anselmus i ”Der Goldne Topf” kommer till ett underbart, poetiskt rike, Atlantis, går Elis Fröbom i ”Die Bergwerke zu Falun” under. I detta arbete analyseras och jämförs de båda huvudpersonernas möten med den ”andra världen” mot bakgrund av romantiska föreställningar och tankarna kring E.T.A. Hoffmanns så kallade ”serapiontiska princip”.

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Die von Friedhelm Brusniak und Ulrich Konrad betreute und angenommene Dissertation nimmt den Briefwechsel zwischen August Heinrich Hoffmann von Fallersleben und dem jüngeren Augsburger Kapellmeister und Komponisten Hans Michael Schletterer in den Jahren 1862 bis 1873 in den Blick und dokumentiert dabei Hoffmanns Einfluss auf den Entstehungsprozess der Vertonungen seiner Lieder, besonders seiner Kinderlieder. Die Arbeit beleuchtet zudem den Erfahrungsschatz, den sich der ‚Dichter-Sänger‘ Hoffmann von Fallersleben auch durch die Zusammenarbeit mit anderen Musikern seiner Zeit, vorrangig Ludwig Christian Erk (1807–1883) und Ernst Heinrich Leopold Richter (1805–1876), erworben hatte. Darüber hinaus werden in der Korrespondenz Themen des gesellschaftlichen und politischen Lebens, der privaten und beruflichen Situation beider wie auch Hoffmanns Rolle als väterlicher Berater Schletterers berührt. Die Arbeit darf als neuer substantieller Beitrag der Hoffmann-Forschung und der interdisziplinären Liedforschung angesehen werden, der insbesondere der Kinderliedforschung neue Impulse verleiht. / The dissertation, supervised by Friedhelm Brusniak and Ulrich Konrad and accepted, looks at the correspondence between August Heinrich Hoffmann von Fallersleben and the younger Augsburg conductor and composer Hans Michael Schletterer from 1862 to 1873 and documents Hoffmann's influence on the creation process of the settings his songs, especially his children's songs. The work also sheds light on the wealth of experience that the 'poet-singer' Hoffmann von Fallersleben acquired through collaboration with other musicians of his time, primarily Ludwig Christian Erk (1807–1883) and Ernst Heinrich Leopold Richter (1805–1876). . In addition, the correspondence touches on topics of social and political life, the private and professional situation of both, as well as Hoffmann's role as Schletterer's fatherly advisor. The work can be seen as a new, substantial contribution to Hoffmann research and interdisciplinary song research, which gives new impetus to children's song research in particular.

Malgré les efforts des différents travaux philosophiques sur la musique, il manque toujours une philosophie de l’opéra. Le travail que nous proposons tente de combler cette lacune, en concentrant ses recherches sur une période précise, le dix-neuvième siècle allemand. Ce choix se justifie par l’imprégnation philosophique des différents discours tenus sur la musique à cette époque, ainsi que par l’importance acquise par le répertoire austro-allemand dans la musique effectivement jouée aujourd’hui. Le manque de philosophie traitant de l’opéra de manière directe et sérieuse nous a conduit, dans un geste qui donne l’orientation générale de notre travail, à étudier des auteurs ne faisant pas à proprement parler partie du monde philosophique académique. Les trois guides que nous avons retenus pour ce travail sont successivement E.T.A. Hoffmann, Hanslick et Wagner. Les réflexions développées par ces auteurs permettent en effet à une pensée attentive de remédier à l’impression d’une absence de philosophie de l’opéra. Hors du monde universitaire mais non contre lui, les réflexions des trois penseurs que nous avons étudiés dessinent un cadre que nous avons choisi comme berceau de notre travail sur l’opéra. Nous mobilisons à cette fin les concepts d’impureté et de compromission, et nous nous efforçons de leur donner un sens positif et une valeur effective. La tâche d’élucider ce que fut historiquement l’opéra allemand exige l’aide de la philosophie. Mais la philosophie est également indispensable lorsqu’il s’agit de mettre au jour les forces conceptuelles qui le sous-tendent. Celles-ci permettent de construire une pensée de l’opéra en général, à travers leurs enseignements et leurs apories. C’est alors tout l’enjeu de ce moment où l’opéra est enfin compris comme « problème » qui se met au jour.Le lecteur trouvera également, en annexe de ce texte, la traduction inédite de douze articles de critique musicale d’Eduard Hanslick. / In spite of numerous philosophical works upon music, there is no philosophy of opera. My work aims to fill the gap by concentrating on one specific period, nineteenth century Germany. This was chosen because of the patently philosophical implications of several different views of music at the time, as well as the importance of the Austro-German repertoire in music played today. The lack of philosophy dealing directly and seriously with opera has led me to authors who stood apart from the strictly academic world of philosophy, and this has guided my work’s orientation. The three guides I have chosen are, successively, E.T.A. Hoffmann, Hanslick and Wagner. Carefully considered, their reflections allow us to correct the impression of a lack of philosophy of opera. Although outside the realm of academic philosophy (but not against it), their thinking provides a framework and a basis for my own work on opera. To this end, I take the concepts of impurity and compromise and try to give them a positive meaning and practical value. What German opera was historically needs philosophy to elucidate it, but philosophy also proves indispensable to revealing the conceptual forces that sustain it. The lessons and aporias of the latter allow one to construct a general philosophy of opera. The moment becomes clear when opera is finally understood to be a “problem”, with all the implications of this.The reader will also find, as appendix, the translation of twelve articles of musical criticism by Eduard Hanslick unpublished in French up to now.

Tem sido sugerido que combinar o treinamento de força (TF) com o treinamento com vibração (TV) pode ser mais vantajoso do que realizar o TF isolado. OBJETIVOS: Foi objetivo deste estudo avaliar os efeitos da combinação do TF com o TV (TF+V) sobre o desenvolvimento de hipertrofia e os desempenhos da força máxima dinâmica de membros inferiores (FMD) e do salto vertical (SV). Investigou-se também se os benefícios proporcionados pelo treinamento são acompanhados por alterações agudas e crônicas na excitabilidade das vias reflexas. METÓDOS: Foram realizados dois experimentos. No primeiro, foram avaliados os efeitos de uma sessão de treinamento sobre o desempenho do SV e excitabilidade das vias reflexas. Doze sujeitos do sexo masculino foram submetidos a quatro condições experimentais. Na condição TF, realizaram cinco séries de 10 repetições do exercício agachamento, com 90% da massa corporal. Nas condições TF+V30 e TF+V50, o TF foi realizado sobre a plataforma vibratória nas freqüências de 30 Hz (2-4 mm) e 50 Hz (4-6 mm), respectivamente. Na condição controle (C), os sujeitos permaneceram em repouso. Antes e depois de todas as condições experimentais, foram mensurados o desempenho do SV, e os reflexos de Hoffmann (H com amplitude de 20% da onda M máxima, H20%) e tendíneo máximo (Tmáx), no músculo sóleo. No segundo experimento, 29 sujeitos do sexo masculino foram divididos aleatoriamente nos grupos TF, TF+V30 e TF+V50. Os três grupos realizaram entre 3-5 séries de 6-12 RM do exercício agachamento, duas vezes por semana, durante dez semanas. Os grupos TF+V30 e TF+V50 fizeram o agachamento sobre a plataforma vibratória nas freqüências de 30 Hz (amplitude de 2-4 mm) e 50 Hz (amplitude de 4-6 mm), respectivamente. Antes e depois do período de treinamento, foram avaliados a área de secção transversa do quadríceps femoral (ASTQ), os desempenhos da FMD e do SV, os reflexos H e T máximos (Hmáx e Tmáx) e a onda M máxima (Mmáx), no músculo sóleo. RESULTADOS: No primeiro experimento, não foram verificadas alterações significantes na amplitude de H20% em nenhuma das condições (p>0,05). Houve diminuições significantes na amplitude das ondas Tmáx, nas condições TF (-7,4%) e TF+V50 (-11,1%), no primeiro minuto, em comparação ao período antes da intervenção (p<0,001). Foram verificadas diminuições significantes na altura do SV após a realização de todas as condições (C= -11,8%, TF= -6,6%, TF+V30= -7,7% e TF+V50= -7,4%) (p<0, 001). Não houve diferenças significantes entre grupos em nenhuma das variáveis (p>0,05). No segundo experimento, após as dez semanas de treinamento, foram verificados aumentos significantes na ASTQ (TF= 9,8%, TF+V30= 11,7%, TF+V50= 12,9%); na FMD (TF= 16,9%, TF+V30= 15,2%, TF+V50= 16,6%) e na altura do SV (TF= 6,0%, TF+V30= 7,2%, TF+V50= 6,0%) para os três grupos (p<0,05). Não houve diferença significante entre grupos em nenhuma das três variáveis. O período de treinamento não causou alterações significantes nas razões Hmáx/Mmáx (TF = +28%, TF+V30 = -16,3%, TF+V50 = -14%) e Tmáx/Mmáx (TF = -30,3%, TF+V30 = -38,2%, TF+V50 = -28,1%) (p>0,05). Contudo, foi verificado efeito principal de tempo significante para a razão Tmáx/Mmáx (-48,9%) (p<0,05). CONCLUSÕES: A realização de uma sessão de treinamento de força causa uma breve redução da atividade dos fusos musculares. Essa redução não é ampliada quando o TF é combinado com vibração. Realizar um período de TF sobre a plataforma de vibração não proporciona qualquer aumento adicional na ASTQ ou nos desempenhos da FMD e do SV, em relação ao que pode ser conseguido através do TF / It has been suggested that the combination of strength and vibration training may be advantageous when compared with strength training alone. OBJECTIVES: The aim of this study was to assess the effects of combined strength training and vibration (ST+V) on lower limb hypertrophy and on maximal dynamic strength (MDS) and vertical jump (VJ) performances. In addition, we investigate if the training-induced adaptations were in agreement to acute and chronic changes on spinal reflex excitability. METHODS: Two experiments were performed. In the first experiment, the effects of a single training session on VJ performance and spinal reflexes excitability were assessed. Twelve young male undertook four experimental conditions. On ST condition, subjects performed five sets with 10 repetitions on squat exercise with load of 90% body mass. On both ST+V30 and ST+V50 conditions, subjects performed the ST on a vibration platform at 30 Hz (2-4 mm) and 50 Hz (4-6 mm), respectively. In C condition, subjects were only assessed. Vertical jumping performance and Hoffman (at 20% of maximal M wave, H20%) and maximal tendon soleus reflexes (Tmáx) were measured before and after all experimental conditions. In the second experiment, twenty nine young male were randomized into three groups. All groups performed 3-5 sets with 6-12 RM on squat exercise, twice a week, for ten weeks. The ST+V30 and ST+V50 groups performed the squat exercise on the vibration platform at 30 Hz (2-4 mm) and 50 Hz (4-6 mm), respectively. Quadriceps cross sectional area (QCSA), MDS and VJ performances, maximal soleus H- and T- reflexes and maximal M wave (Mmáx) were assessed before and after the 10-week training period. RESULTS: in the first experiment, no significant changes were found in H20% amplitude in any experimental condition (p>0,05). Significant decrease on Tmáx amplitude was found after ST+V30 (-7.4%) and ST+V50 (-11.1%) conditions, after the first minute, compared to before intervention assessment. VJ decreased in all experimental conditions (C= -11.8%, ST= -6.6%, ST+V30= -7.7% and ST+V50= -7.4%) (p<0.001). There were no significant changes between groups in any variable measured (p>0.05). In the second experiment, significant increases were found in QCSA (ST= 9.8%, ST+V30= 11.7%, ST+V50= 12.9%); MDS (ST= 16.9%, ST+V30= 15.2%, ST+V50= 16.6%) and VJ height (ST= 6.0%, ST+V30= 7.2%, ST+V50= 6.0%) in all groups (p<0.05). There were no significant changes between groups in any variable measured (p>0.05). The training period did not induce significant changes in Hmáx/ Mmáx (ST = +28%, ST+V30 = -16,3%, ST+V50 = -14%) and Tmáx/ Mmáx ratios (ST = -30,3%, ST+V30 = -38,2%, ST+V50 = -28,1%) (p>0.05). However it was found a significant time effect for Tmáx/ Mmáx ratio (-48.9%) (p<0,05).CONCLUSION: A single strength training session induces a brief impairment on muscle spindle activity. This impairment is not greater if ST is combined with vibration. Performing ST on a vibration platform did not additionally increase QCSA, MDS and VJ performance compared with ST alone

Habilitationsschrift--Freiburg i.B. / Bibliography: p. 253-266.

Habilitationsschrift--Freiburg i.B. / Bibliography: p. 253-266.