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Kurt Weill's opera Der Silbersee: ein Wintermarchen (1932): An example of 'Der Neue Oper'Fowles, Catherine Elizabeth 19 May 2008 (has links)
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.
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Kurt Birrenbach and the Evolution of German AtlanticismBaurkot, Jr., Samuel Joseph January 2014 (has links)
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.
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Masculinities in Player Piano : Hegemonic Masculinity as a Totalitarian StateBirgersson, Jonas January 2006 (has links)
<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>
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Masculinities in Player Piano : Hegemonic Masculinity as a Totalitarian StateBirgersson, Jonas January 2006 (has links)
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.
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Absurd America in the novels of Vonnegut, Pynchon, and Boyle /Hardin, Miriam. January 2001 (has links)
Thesis (Ph. D.)--Lehigh University, 2001. / Includes vita. Includes bibliographical references (leaves 129-137).
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The automatic eye : mechanization of the self in postwar American dystopiasBaker, Brian January 1998 (has links)
No description available.
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The role of intuition in mathematics /Carson, Emily January 1988 (has links)
No description available.
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Das Kantische Subjekt in der Psychopathologie methodische Grundprobleme der PsychopathologieSchäfer, Axenia January 2006 (has links)
Zugl.: Marburg, Univ., Diss., 2006
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A study of Camus' notion of the absurd and its mythology in "Catch-22" and "Slaughterhouse-Five"Keegan, Diana Morna Gerrard Dickson. January 2008 (has links)
Thesis (M.A.)--University of Delaware, 2007. / Principal faculty advisor: Elaine B. Safer, Dept. of English. Includes bibliographical references.
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SNAFU reconsidered the evolution of writing a true war story from Vonnegut's "Slaughterhouse five" to Tim O'Brien's "How to tell a true war story", and the blogs of "The sandbox" /Doherty, John E. January 2009 (has links)
Thesis (M.A.)--Villanova University, 2009. / English Dept. Includes bibliographical references. Mode of access: World Wide Web.
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