ABSTRACT This research report examines the opera Der Silbersee: Ein Wintermärchen (The Silver Lake: a Winter’s Tale), 1932, by Kurt Weill and Georg Kaiser, as an example of what Weill defined as ‘new opera’, in his essay ‘Der Neue Oper’.1 It will discuss reasons for the work’s rarity in its relative neglect as well as its significance as an example of what Kim Kowalke has called a synthesis of Weill’s ‘mature style’. Thus it will also be demonstrated that the work, even though rarely performed and often overlooked, is an important bridge between the works of Weill’s ‘German period’ and his later works in the United States. It will be established that the work is of musicological significance as well as of interest and relevance to present-day theatregoers. The research argues that the work, though written in Germany during the 1930s as a form of operatic protest, is worthy of being seen as a timeless and universal piece, deserving of more attention. This investigation will be accomplished through an analysis of Weill’s own writings found in his many essays, translated and collected by Kim Kowalke in his book Kurt Weill in Europe, through an examination of the historical and socio-political perspective of the work, as well as in a musical analysis.

This dissertation explores the multifaceted life of Kurt Birrenbach as a window into the historical evolution of a Liberal German Atlanticism during the post-World War II era. While tracing the development of this Atlanticism into a "mature," establishment phenomenon, themes addressed include the founding and financing of an elaborate infrastructure, the creation of extensive political networks also stretching abroad, the execution of ambitious public relations actions, and distinct tendencies towards geographic and thematic expansion. Those challenges confronting Atlanticism in the Federal Republic, among them the persistence of Conservative Abendland perspectives and, later, the rise on the Left of interrelated pacifist, anti-nuclear and environmental movements, are touched upon as well. The broader historiographical issues examined encompass postwar continuity and discontinuity in the Federal Republic, processes of Americanization, the functioning of transnational networks, the impact of generational change, and the political engagement of West German business.

<p>Vonnegut envisions a plutocratic America where the </p><p>aforementioned periphery has been made obsolete, where a corporate </p><p>oligarchy supersedes the presidency in authority. An example of </p><p>this structure is the absent father of the main character Paul </p><p>Proteus, George Proteus, who was before his death the National </p><p>Industrial, Commercial, Communications, Foodstuffs and Resources </p><p>Director, a position which might have been below the presidency at </p><p>that time , but the scales have tilted towards total domination by </p><p>those who fuel the economy, i.e. the corporations. The </p><p>‘unenlightened’ Shah, spiritual leader of Bratpuhr who is visiting </p><p>America to learn about the great American society, shakes his head </p><p>and calls it “Communism” (21), which it is, with the exception that </p><p>there is no Communist Party. In its place is the oligarchy of the </p><p>corporations which the government allows to prevent inefficiency.</p><p> I argue that the hegemonic masculinity, or the masculinity of the </p><p>patriarchy, provides both motivation and justification for the men </p><p>who are constructing the totalitarian state of Player Piano. I will </p><p>furthermore look at the effects, on both society and the </p><p>individual, of a hegemonic masculinity.</p>

Vonnegut envisions a plutocratic America where the aforementioned periphery has been made obsolete, where a corporate oligarchy supersedes the presidency in authority. An example of this structure is the absent father of the main character Paul Proteus, George Proteus, who was before his death the National Industrial, Commercial, Communications, Foodstuffs and Resources Director, a position which might have been below the presidency at that time , but the scales have tilted towards total domination by those who fuel the economy, i.e. the corporations. The ‘unenlightened’ Shah, spiritual leader of Bratpuhr who is visiting America to learn about the great American society, shakes his head and calls it “Communism” (21), which it is, with the exception that there is no Communist Party. In its place is the oligarchy of the corporations which the government allows to prevent inefficiency. I argue that the hegemonic masculinity, or the masculinity of the patriarchy, provides both motivation and justification for the men who are constructing the totalitarian state of Player Piano. I will furthermore look at the effects, on both society and the individual, of a hegemonic masculinity.

Thesis (Ph. D.)--Lehigh University, 2001. / Includes vita. Includes bibliographical references (leaves 129-137).

No description available.

No description available.

Zugl.: Marburg, Univ., Diss., 2006

Thesis (M.A.)--University of Delaware, 2007. / Principal faculty advisor: Elaine B. Safer, Dept. of English. Includes bibliographical references.

Thesis (M.A.)--Villanova University, 2009. / English Dept. Includes bibliographical references. Mode of access: World Wide Web.