FernUniversiẗat, Diss., 2004--Hagen.

Texte remanié de: Diss.--Philosophische Fakultät--Universität zu Köln, 1993. / Contient des extraits de documents. Bibliogr. p. 679-720. Index.

Tonality during the common-practice era carried conventions that ultimately manifested formal schemas. Post-tonal composers’ diverging treatment of form escapes the generality of such schemas, and the relative lack of formal methodology for post-tonal music has left a considerable gap in the literature. When writers do discuss form in post-tonal music, the discourse generally focuses on form within a single composition, a single composer’s output, or at best a narrow school of musical style or philosophy. This thesis posits a concept that I call formal synthesis as a basic principle of form applicable to a broad range of musical styles, genres, and eras. Formal synthesis is a process that combines two or more previous musical passages into one musical passage. This organizational principle covers a broad spectrum of formal possibilities, varying by formal function, structural level, and method. In chapter one, I summarize previous discussions of form in post-tonal music and define the categorizations of formal synthesis. The following chapters refine the concept of formal synthesis through analyses of Steve Reich’s Drumming, Béla Bartók’s Piano Suite op. 14, and Thomas Adès’ Asyla. These composers belong to three different generations and nationalities, and the pieces belong to distinct styles and genres.

Made available in DSpace on 2014-06-11T19:35:18Z (GMT). No. of bitstreams: 0 Previous issue date: 2013-04-19Bitstream added on 2014-06-13T20:26:25Z : No. of bitstreams: 1 silva_pc_dr_arafcl.pdf: 652765 bytes, checksum: 0675affec2fdc6cefb4ba7646e144d16 (MD5) / A presente pesquisa propõe a noção de emancipação humana como um eixo em torno do qual são desenvolvidas as ideias que compõem a tessitura plural da obra de Wilhelm Reich, permeando tanto o exercício do seu trabalho clínico-terapêutico quanto sua produção teórica. Partindo das obras deste autor e de seu desdobramento na clínica psicológica contemporânea, meu objetivo é entender “se” e “como” a clínica reichiana, através da relação e do trabalho terapêutico pode engendrar formas mais emancipadas de viver. Nesse sentido, o corpo e o trabalho corporal aparecem como instâncias privilegiadas de desenvolvimento de práticas e processos de subjetivação emancipadores. Por meio de pesquisa empírica, busco observar, basicamente, se na prática clínica reichiana e neorreichiana, tendo em vista o próprio material analítico da psicoterapia corporal, estão presentes questões ligadas à problemática ampla da emancipação humana, tão presente nas reflexões de Reich, ainda que nelas não apareça terminologicamente desta maneira / The present study proposes the notion of human emancipation as an axis around which the ideas that constitute the fabric of the plural work of Wilhelm Reich are developed, permeating both the exercise of his clinical therapeutic work as well as his theoretical production. Based on the author's works and their unfolding in contemporary psychological practice, my goal is to understand “if” and “how” Reichian clinical practice, through therapeutic work and relationship can engender more emancipated modi vivendi. In this sense, the body and bodywork appear as privileged instances of the development of emancipating subjectivation processes and practices. Through empirical research, I basically intend to observe if in Reichian and neo-Reichian clinical practice, in view of the analytical material of corporal psychotherapy itself, there are questions concerning the broad issue of human emancipation, constantly present in Reich's reflections though terminologically not in the same manner

“Surrounded by Lights” explores the indoctrination of a society under Hitler’s control into the radical beliefs of Nazism, drawing from the author’s own familial history, as well as secondary sources. The result is the tale of a young girl named Greta who is growing up in the Banat region (an outpost of Germany) during World War II. Greta struggles to cope with the absence of her father, especially in moments of displayed violence initiated by the Reich.

Made available in DSpace on 2014-06-11T19:29:47Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-05-16Bitstream added on 2014-06-13T20:20:05Z : No. of bitstreams: 1 silva_pc_me_arafcl.pdf: 601144 bytes, checksum: ba5a853cadc708309e9181b3e252306a (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Este trabalho apresenta a leitura hermenêutica do corpo realizada por Wilhelm Reich, a qual é indissociável de sua concepção sobre o homem e a sociedade. No decorrer de sua obra, Reich vai construindo um conhecimento cada vez mais unitivo, trabalhando conjuntamente natureza e cultura, corpo e alma, subjetivo e objetivo. Sua noção de homem integra as dimensões sociocultural, psicológica, biológica e cósmica, chegando, assim, à conclusão de que há uma co-implicação dinâmica entre homem e cosmos, ou seja, o homem é um microcosmo do macrocosmo. Sem moralismos e com espírito de emancipação, ele construiu com nova qualidade cognitiva essa unidade simbólica. E mais, seu pensamento abarcou ainda novas formas de interpretar esse mundo de Hades onde estamos todos imersos, uns mais e outros menos. Mesmo construindo um pensamento tão fecundo, Reich passou por diversas situações de exclusão e seu pensamento foi por muito tempo marginalizado pela ciência dominante. / This research introduces the body’s hermeneutics reading realized by Wilhelm Reich, which is inseparable from his conception on human and society. In the course of his work, Reich produced a knowledge increasingly integrator, working together nature and culture, body and soul, subjective and objective. His notion about the human joins the dimensions social, cultural, psychological, biological and cosmic, coming thus to the conclusion that there is a dynamic co-involvement between human and cosmos, in other words, the human is a microcosm of the macrocosm. Without moralism and with spirit of emancipation, he elaborated with new cognitive quality this symbolic unit. And more, his thinking also comprised new ways of interpreting the world of Hades where we are all immersed, some more and others less. Even building such a fertile thought, Reich suffered through several situations of exclusion and his thought was for a long time marginalized by the dominant science.

Orientador: Amneris Angela Maroni / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-07-22T15:10:36Z (GMT). No. of bitstreams: 1 Barreto_AndreValentedeBarros_M.pdf: 5009799 bytes, checksum: a7b30abdcc7558a41eae120535603766 (MD5) Previous issue date: 1997 / Resumo: Não informado. / Abstract: Not informed. / Mestrado / Mestre em Ciência Política

While much is known about the polarities of the Protestant 'Church Struggle' (Kirchenkampf) in Nazi Germany, comparatively little is understood about the complex and collective dynamic of the Landesbischöfe of the only three 'intact' churches to escape incorporation into the Nazi-dominated Reichskirche. Traditionally, literature on the Kirchenkampf has taken a simplistic 'good-versus-evil' approach to the conflict and, arguably inspired by a moral need to come to terms with the less-than-glorious past of the German Protestant Church, has been unable to locate the Landesbischöfe of the 'intact' churches neatly within the conventional historiographical paradigm. By taking as its subject Landesbischöfe August Marahrens of Hanover, Hans Meiser of Bavaria and Theophil Wurm of Wûrttemberg, this dissertation examines the contribution to the Kirchenkampf of three men, who, to ensure the continued existence of German Protestantism in the Third Reich, were ultimately forced to find ways to respond to National Socialism that lay somewhere between the parameters of defiance and compliance. In order to demonstrate the collective contribution of the Landesbischöfe to maintaining the status of the German Protestant Church amidst heightening Nazi tyranny, this dissertation traces how, with reference to external personal, political and socio-cultural conditions, the bishops moved from a seeming commonality of cause to display increasingly varied responses to the manifestations of both political and ecclesiastical National Socialism. By tracing the development of their moderate but nonetheless disparate positions, this dissertation not only questions the traditional historiographical assumptions that Landesbischöfe Marahrens, Meiser and Wurm failed to resist National Socialism effectively or were, at best, collectively neutral in the conflict, but also seeks to delineate, for the first time, the crucial parts played by each of the Landesbischöfe during three distinct stages of the Kirchenkampf. In devoting each of its three central chapters to a particular phase in the conflict, this dissertation demonstrates how each of the Landesbischöfe in turn steered the 'intact' ensemble through the Third Reich as a modest yet effective force of opposition to Nazi despotism. Seen as a whole, this investigation ultimately demonstrates how, through their respective turns at national Church leadership, Landesbischöfe Marahrens, Meiser and Wurm did not undermine the wider Church resistance effort but, rather, saved the Church from subjugation to Nazism more effectively than would have been possible had they stood alone.

博士(神学) / Doctor of Theology / 同志社大学 / Doshisha University

Cette étude des politiques musicales en Allemagne de 1933 à 1949 offre une analyse historique et musicologique des liens inévitables qu’entretinrent musique et politique au gré des événements historiques et sous des systèmes divers et antagonistes : nazisme, communisme,démocraties. Le point de départ de notre réflexion est l’étude du nazisme. Revendiquant une« révolution » par le renversement de la République de Weimar emblématique de ce qu’ Adolf Hitler nomme déjà une « dégénérescence » croissante dans le domaine artistique, il s’est nourri du terreau nationaliste et pangermaniste présent en Allemagne depuis le XIXe siècle pour professer l’idéologie obsessionnelle et excluante de la « pureté de sang » comme élément de définition de la germanité. De ces fondements découle l’organisation de notre travail, qui s’intéresse aux politiques musicales mises en oeuvre depuis la naissance du IIIe Reich jusqu’à la constitution de deux Allemagnes, au regard de trois axes conducteurs. Celui de la pureté tout d’abord, déclinée en réaction contre des définitions très diverses de l’impur ou de l’indésirable selon les régimes politiques et les périodes étudiées ; l’accompagnent les questionnements concernant la recherche de pureté en musique, mais aussi de la « purification » oud’« épuration » musicale. Celui du « peuple » ensuite ; les réalités politiques, géographiques et idéologiques parfois antagonistes inhérentes à ce terme presque métonymique sous-tendent déjà la complexité des liens qu’il entretiendra avec la musique. Celui de la rupture enfin : en étudiant des régimes qui se construisent par l’opposition mutuelle, nous analysons les mises en application des velléités ou des utopies de rupture en lien avec les politiques musicales et nous nous interrogeons sur la possibilité de la rupture dans le domaine artistique lorsque celui-ci est lié au politique. / This historical and musicological study focuses on the politics of Music in Germany, from 1933to 1949. It explores the inherent relationship between music and politics, under diversified andantagonistic regimes. It starts with the Hitler years and the study of Nazism. Professing anational-socialist “revolution”, mainly by the rejection and stigmatization of the WeimarRepublic artistic accomplishments, Hitler defines the music and the new “Aryan” Man he wantsto create primarily by professing an ideology of blood “purity”. This is the concept we startfrom: the ideology of “purity” has many musical consequences throughout the century, leadingto the idea of “purification” or even musical “purge” during and after the Hitler years. We alsotake interest in the links between music and “the people”: the political and geographical contextsleading to a definition as a “racial community” or as an “occupied population” underline thecomplexity of the relationships with the political power and with music itself. Last but not least,we question the concept of “rupture” that defines each regime and its mostly utopian ambition torenew the musical creation, to fit its new political agenda.