Zugl.: Mainz, Univ., Diss., 2004

A revision of the author's thesis, Heidelberg. / Includes bibliographical references.

Thesis--New York University, 1912 / Bibliography: p. 126-130 Also available in digital form on the Internet Archive Web site.

Programm--Königliches Katholisches Gymnasium zu Leobschütz, 1884. / Part I of a work that was originally issued as an inaugural dissertation, Breslau, 1863. "1884. Progr. Nr. 175." Includes bibliographical references.

Thesis (M. A.)--University of Canterbury, 2007. / Typescript (photocopy). Includes bibliographical references (leaves 89-95). Also available via the World Wide Web.

Ph. D.--Ethnol.--Köln--Universität, 1993. / Index. Bibliogr. p. 361-378.

Magister Artium - MA / The controversial singing of the Shoot the Boer song by Julius Malema was a focus of media attention during the period of March 3, 2010 to September 12, 2011.This study aims to analyse the discourses participants draw on in the expression of their positions of race and identity in selected online texts, as well as the different meanings and interpretations the Shoot the Boer song has acquired over time. Using the data drawn from three court rulings, namely the South Gauteng High Court, North Gauteng High Court and the Equality Court and commentaries from various online websites, this project focuses on the various ways in which issues of race are realised through language by focusing on the construction and interpretation of Julius Malema and the Shoot the Boer song within different contextual spaces. This study uses a critical discourse analysis framework, as well as theories of intertextuality, resemiotization, contextand chronotope to analyse the texts which were generated in response to the song. Key findings include the ways in which participants who consider themselves as part of a minority group, construct themselves as 'victims‘ in relation to Malema and the singing of the song. Similarly, another key finding is that the broader discourse of fear exhibited in the various commentaries links to a general fear of 'black power‘ where Malema is a signifier of this 'black power.‘ Overall, the thesis argues that the meanings of the song are multiple and shift with the changing chronotopia of its performance. It therefore support Blommaert‘s (2005) emphasis on the importance of 'text trajectories‘ in establishing the meaning of texts, and argues that the historical meanings associated with the Shoot the Boer song form a complex set of frames on which different participants draw when interpreting the song in 2010.

This thesis is divided into two parts, theoretical and analytical. The first part aims to provide basic findings about adventure fiction, i.e. general characteristic, brief historical account and individual genres. Then an overview of Zeyer's shorter adventure proses, which will be analysed further on, follows. The next chapter examines to what extent and in what way adventurousness was becoming a part of metalanguage about Zeyer's work. The last theoretical segment provides an overview of period reception of Zeyer's shorter adventure proses discussed in the second chapter. The analytical part tries to answer the question how is adventurousness in Zeyer's work formed. The last chapter consists of a treatise about adventurousness in Svatý Xaverius by Jakub Arbes, a piece of literature of analogical nature.

This master thesis is a result of historical analyses of past interpretation of Julius Fučík. Attention is focused on how the cult of Julius Fučík was built, how was his image changing and how this contributed to maintain communist ideology. For better understanding of the whole issue, this thesis describes Fučík's work, especially his most famous artwork Notes from the Gallows, which is important for understanding manipulations with Julius Fučík's legacy. It also examines how changing political situation transformed his role from hero to traitor and collaborator. As a counterbalance, complex expert studies dealing with Fučík's case are introduced. The end of the thesis is focused on the 70th anniversary of Fučík's death in the year 2013 in a perspective of contemporary media. This documents today's social debate which no longer deals with the question of guilt but is rather targeted on Fučík's literary output.

This dissertation engages the question of what a queer aesthetics might look like in the context of contemporary music composition. Starting with a discussion of the problematics of “defining” queer (aesthetic) practices, I look at Pauline Oliveros’ 𝘚𝘰𝘯𝘪𝘤 𝘔𝘦𝘥𝘪𝘵𝘢𝘵𝘪𝘰𝘯𝘴, Julius Eastman’s 𝘎𝘢𝘺 𝘎𝘶𝘦𝘳𝘳𝘪𝘭𝘭𝘢 and Neo Hülcker’s 𝘈 𝘣𝘰𝘥𝘺 𝘦𝘴𝘴𝘢𝘺. 𝘍𝘪𝘤𝘵𝘪𝘰𝘯, 𝘢𝘤𝘵𝘶𝘢𝘭𝘭𝘺 to uncover particular resistant and subversive strategies present in their works. In addition to a close examination of the original score materials, I look into queer theories and writings from fields other than music, such as dance/performance and the visual arts, in order to identify and apply some of the traits that could be called queer aesthetics (or practices/methodologies) to the field of contemporary music composition. Among the topics discussed will be considerations on time/timing, utopia/futurity, professionalism/failure, queer subject matter and form/format. Avoiding the trap of closing in on a canonization of queer music practices, it is the stated goal of this dissertation to expand the framework and contribute to a new understanding of what queer composition within the context of Western classical music might look like.