Diss.--Universität Gesamthochschule--Kassel, 1996.

Note:

Thèse--Musicologie--Paris, 1990. / Bibliogr. vol. 2, p. 1-40.

by Stephen N. Atkins. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1995. / Includes bibliographical references (leaves 187-190). / Chapter I --- Introduction --- p.1 / Chapter II --- Sonata for Cello and Piano --- p.9 / Symphony No. 1 --- p.31 / "Quodlibet, Op. 9" --- p.52 / "Concerto for Violin & Wind Orchestra, Op.12" --- p.74 / The Stage Works 1924-33 --- p.107 / Symphony No. 2 --- p.128 / The American Works --- p.149 / Chapter III --- Conclusion --- p.176 / Bibliography --- p.187

Thesis (Ph. D.)--Universität zu Köln, 1981. / Vita. Includes bibliographical references (p. 453-467).

This thesis is a radical reinterpretation of the Hannover Merzbau ( Cathedral of Erotic Misery) by Kurt Schwitters. It proposes and demonstrates that two of Schwitters' own photographs of the work should not be viewed as being descriptions of a "constructed" Merzbau, but rather understood as complex constructions that generate a critical questioning of the modern site of perception. / Through an exploration of language (as understood within Giambattista Vico's New Science) the photographs come to deconstruct themselves within a context of simultaneous readings; allowing both the "secret" space of the modern Merzbau, and the sacred place of the Cathedral to exist simultaneously.

Work of a lifetime and linked intimately to his own life, Kurt Schwitters' Merzbau is the expression of the MERZ collage, in a work that brings together architecture, theatre, sculpture, painting and literature. His work evolves through time, based on two specific moments: the extraction of fragments, and the assembly of these elements into a new harmonious and meaningful entity. To Schwitters, the MERZ collage is not the mere manipulation of forms; it is the continuous process of transformation, from their initial state, of various fragments found in his daily environment, including material doomed to destruction: debris, rubbish, scrap, trash, remnants, etc. This transformation consists of one fundamental theme: uniting two opposing forces of reality---art and non-art---into one world: the Merzgesamtweltbild. Art is singled out as the supreme value of human existence, which has the power of transforming waste matter into a work of art. What is seen, through the artist's eyes and soul, is a colour, a light, a shadow, a line, a form, a space, a depth...What occurs in the MERZ collage is the true metamorphosis of the visible, sensible ordinary world.

Thesis--1807. / Title from screen, viewed 8 April 2008. Creation of machine-readable version: Phil Garnock-Jones. Conversion to TEI.2-conformant markup: Jamie Norrish. Originally published in print: Halis Saxonum : F.A. Grunerti Patr., 1807.

Dissertation (M.Mus.(Performance))-University of Pretoria, 2008. / Includes bibliographical references.

Diss.--Osnabrück--Universität, 1990.