Dans le domaine de la philosophie politique, le nom de Leo Strauss (1899-1973) s’associe à une tentative de réhabiliter un type de questionnement aussi ancien que la philosophie elle-même. Critique des types modernes de connaissance, Strauss considère, avant tout, que l’historicisme est un esprit menaçant de notre temps, mais il est aussi l’« adversaire le plus sérieux » de la philosophie politique : toute norme se réduit à un fait historique contingent jusqu’à prendre toute force d’obligation et de légitimité, c’est ainsi que la philosophie se trouve dans l’histoire elle-même devenue Histoire. Comment Strauss interprète-t-il l’historicisme, si ce terme ne connaît pas d’une unanimité ? Alors que l’on fait une enquête généalogique, à la lumière straussienne, de la modernité pour en étudier la genèse et la crise, on peut constater que Strauss, en remontant à Machiavel et Hobbes qui avaient déjà commencé à préparer la voie de l’historicisme, cherche à définir un nouvel historicisme qui se développe dans l’école historique du XIXe siècle, et connaît son apogée sous une forme radicale représentée par Nietzsche et Heidegger. Dans cette reconstruction de Strauss de l’historicisme, nous montrons qu’il propose un retour aux Anciens comme moyen de dépasser l’historicisme vers l’anhistorique, allant vers la transcendance que l’homme, par sa nature, peut atteindre : l’intransigeance de la dignité de la philosophie substantialiste pourra résister à un tel historicisme fondé sur la croyance en l’idée de progrès. / In the field of political philosophy, the name of Leo Strauss (1899-1973) is associated with an attempt to rehabilitate a type of questioning as old as philosophy itself. Criticism of modern types of knowledge, Strauss considers, first of all, that historicism is a threatening spirit of our time, but it is also the “ most serious adversary ” of political philosophy : all norms are reduced to a historical contigent fact which could arrive any point of assuming any force of obligation and legitimacy, that’s how philosophy finds itself in history itself, which has become History. How dœs Strauss interpret historicism, if this term dœs not know a unanimity ? With a genealogical investigation of modernity to study its genesis and crisis, in the Straussian light, we can see that Strauss, going back to Machiavelli and Hobbes who had already begun to prepare the way of the historicism, seeks to define a new historicism that develops in the historical school of the nineteenth century, and reaches its peak in a radical form represented by Nietzsche and Heidegger. In Strauss’s reconstruction of historicism, we show that he proposes a return to the Ancients as a means of going beyond historicism towards the ahistorical, going towards the transcendence that the humain beings can attain by their nature : the intransigence of the dignity of substantialist philosophy can resist such a historicism based on the belief in the idea of progress.

The basic aim of this mini-dissertation is to apply the Levi-Straussian theory to the Setswana short story: 0 nkutlwe by R.M. Malope in order to determine the dynamism of binary oppositions in the structure of the story and relate these to the context of the Batswana community. The study is divided into four chapters. The objectives as well as the central problem are outlined and motivated in the first chapter. The second chapter deals with the theoretical concepts. An explanation of binary oppositions and a discussion of the Levi-Straussian theory with reference to the Tsimshian myth, The story of Asdiwal are provided. The third chapter concentrates on the structural analysis of 0 nkutlwe in the context of the Batswana community. The binary oppositions are identified in the essential aspects of the structure of the story on various levels (the geographic, economic, sociological and cosmological) according to LeviStrauss's theory. The theme of contrast between modern life and traditional life should not be misunderstood as an attack on modem life as such, but as an appeal to the Batswana community not to disregard their tradition. Chapter four is a summary of the main points of this study and conclusion. In 2:eneral it can be concluded that Levi-Strauss theory can be successfully applied to a reading of modem literature. / Thesis (MA (Tswana))--PU for CHE, 1998

The basic aim of this mini-dissertation is to apply the Levi-Straussian theory to the Setswana short story: 0 nkutlwe by R.M. Malope in order to determine the dynamism of binary oppositions in the structure of the story and relate these to the context of the Batswana community. The study is divided into four chapters. The objectives as well as the central problem are outlined and motivated in the first chapter. The second chapter deals with the theoretical concepts. An explanation of binary oppositions and a discussion of the Levi-Straussian theory with reference to the Tsimshian myth, The story of Asdiwal are provided. The third chapter concentrates on the structural analysis of 0 nkutlwe in the context of the Batswana community. The binary oppositions are identified in the essential aspects of the structure of the story on various levels (the geographic, economic, sociological and cosmological) according to LeviStrauss's theory. The theme of contrast between modern life and traditional life should not be misunderstood as an attack on modem life as such, but as an appeal to the Batswana community not to disregard their tradition. Chapter four is a summary of the main points of this study and conclusion. In 2:eneral it can be concluded that Levi-Strauss theory can be successfully applied to a reading of modem literature. / Thesis (MA (Tswana))--PU for CHE, 1998

This dissertation explores myth-making in Latin America by focusing specifically upon four Amerindian and mestizo figures: Doña Bárbara, mestiza protagonist of Rómulo Gallegos’ 1929 novel; Anacaona and Hatuey, Taíno caciques who first appeared in Bartolomé de las Casas’ Brevísima relación de la destrucción de las Indias (1552); and Andrés Chiliquinga, indigenous protagonist of Jorge Icaza’s Huasipungo (1934). The present analysis examines the evolution of these myths from their original appearance to literary and film versions throughout the 19th, 20th, and 21st centuries in the Caribbean and Andean regions. The project focuses upon the ways in which artists have interpreted these myths, their embedding in society’s collective memory, and their mythical functions in anti- and postcolonial discourse. By breaking down each myth into its most basic structure, this project identifies the core connotations contained within that reveal each myth’s function as a cultural foundation in Latin America. It also examines how the versions of a myth depart from one another, thus underscoring possible critiques of the myth. Finally, it examines the ways in which some of these myths have become commodities, particularly in contemporary popular culture. By examining these figures as cultural myths—bridging past and present—, this research argues that a mythic-interpretive model proves effective as it leads us to a deeper understanding of the universal connotations contained not only within the stories chosen here, but the Latin American narrative as a whole.

This document examines compositions by Johann Strauss Jr., related by title or compositional circumstance to Hungarians or Gypsies, for the presence of the style hongrois, or Hungarian style--an exotic style used by Western composers throughout the nineteenth century. This study defines the style hongrois through specific musical terms by amalgamating recent scholarship into a lexicon of musical elements and gestures. The compositions under consideration were composed between 1846 and 1896. The study provides background into the development of the style hongrois--including the migration of the Rom, the influence of the dominant Magyar culture within Hungary, the evolution of the verbunkos, and the style hongrois's early overlap with the Turkish style--and the social and political circumstances within Vienna and the Austro-Hungarian Empire at the time. The origins of the Viennese dance tradition are traced, and it is revealed that both Joseph Lanner and Johann Strauss Sr. toured to Pest, the capital of Hungary, and composed in the style hongrois. Major works by Johann Strauss Jr. examined in this study include the Pesther Csárdás, op. 23; Éljen a Magyár!, Polka schnell, op. 332; Rosalinde's Csárdás from Die Fledermaus; selections from Der Zigeunerbaron; the Csárdás from Ritter Pásmán; and a new czardas composed for Die Fledermaus in 1896. The study reveals that Strauss used the style hongrois not as a foreign musical language, but as a set of gestures and forms which could be incorporated into his normal style. Nevertheless, Strauss's melodic ingenuity allowed for a fluent use of the style hongrois from the outset. He applied the style in various ways--superficially to existing dance forms, and in full imitations of the verbunk genre. These works were consistently greeted--both in Vienna and Hungary--with praise and acknowledgment of Strauss's success in imitating Gypsy-band music, to which he enjoyed ample exposure. This study--a close inspection of a small subset of Strauss's output--reveals a subtle yet sophisticated evolution in his compositional technique. It also traces the progression of his career--from upstart performer to the cultural symbol of an empire.

Oscar Wilde overshadows the German reception of <I>Salome</I> (1891), yet his text is a problematic one. Wilde's one-act drama is a mosaic text, influenced by the abundance of literary and artistic treatments of the Salome figure during the <I>fin de si??cle</I>. Moreover, Wilde did not write <I>Salome</I> in his native tongue, but rather in French, and allowed it to be edited by a number of French poets. Furthermore, the translation of the text proved problematic, resulting in a flawed English rendering dubiously ascribed to Lord Alfred Douglas. <br /><br /> However, there is a German mediator whose translation of Wilde's play is less problematic than the original. Hedwig Lachmann produced a translation of <I>Salome</I> in 1900 that found success despite having to compete with other German translations. Lachmann's translation alters, expands, and improves on Wilde's French original. In contrast to Wilde's underlexicalised original, Lachmann's translation displays an impressive lexical diversity. <br /><br /> In 1903 Insel Verlag published her translation accompanied by ten illustrations by Marcus Behmer. Behmer's illustrations have been dismissed as being derivative of the works of Aubrey Beardsley, but they speak to Lachmann's version of <I>Salome</I> rather than to Beardsley's or Wilde's. Indeed, the illustrations create their own vision of <I>Salome</I>, recasting the story of a <I>femme fatale</I> into a redemption narrative. <br /><br /> In Germany the play proved quite successful, and Lachmann's translation was staged at Max Reinhardt's Kleines Theater in Berlin. It was here that Richard Strauss saw Lachmann's version of the play performed and adapted it for use as a libretto for his music drama <I>Salome</I>. Despite being adapted from Lachmann's translation, Strauss' music drama is often cited as being based directly on Wilde's play, without mentioning the important role of Lachmann's mediation. Moreover, the libretto is often praised as an exact replica of the play put to music. Neither of these assertions is, indeed, the case. Strauss excised forty percent of the text, altered lines, and changed the gender of one of the characters. <br /><br /> I employ G??rard Genette's theory of transtextuality as it is delineated in <I>Palimpsests</I> (1982) to discuss the interrelatedness of texts and the substantial shift that can occur from subtle changes, or transpositions, of a text. Translation, shift in media, excision, the inclusion of extra-textual features including illustrations, and regendering of characters are all means by which a text can be transformed as Lachmann, Behmer, and Strauss transform <I>Salome</I>. Additionally, I will be using Lorraine Janzen Kooistra's term bitextuality, as described in <I>The Artist as Critic: Bitextuality in Fin de Si??cle Illustrated Books</I> (1995) to reinforce Genette's notion that extra-textual elements are also significant to a text as a whole. Finally, I employ Jacques Lacan's theory of gaze as outlined in "Seminar on 'The Purloined Letter'" (1956) and "The Mirror Stage as Formative of the <I>I</I> Function as Revealed in Psychoanalytic Experience" (1949) to discuss the function of gaze within the three texts. <br /><br /> In this thesis, I will be addressing these three German intermedial re-envisionings of <I>Salome</I> and arguing for their uniqueness as three distinct representations of <I>Salome</I>. In this thesis, I will argue that Wilde's text is a problematic precursor and that Hedwig Lachmann's text not only alters, but also improves on the original. Additionally, I will argue that Marcus Behmer's images, while influenced by Beardsley, focus more closely on the text they are illustrating and thus provide a less problematic visual rendering of the play. Finally, I will argue that Strauss' libretto for <I>Salome</I> is mediated through Lachmann's translation and that it is further substantially altered. <br /><br /> In order to show the ways in which the texts differ from one another, I have chosen to focus predominantly on the motifs of the moon and gaze. By analysing the way in which each text represents these motifs it is possible to track changes in characterisation, motivation, and various other salient features of the text.

In this project, frequently required double bass orchestral audition excerpts as well as their individual technical difficulties are identified. A survey of professional double bass players and teachers currently and formerly employed by major orchestras, universities, and conservatories have participated to validate the importance of four of the most frequently required orchestral excerpts: Ludwig van Beethoven’s Symphony No. 9, Mvt. 4, and Symphony No. 5, Mvt. 3; Richard Strauss’ Ein Heldenleben; and Wolfgang Amadeus Mozart’s Symphony No. 40, Mvt. 1. The survey respondents identified the primary and secondary technical concerns of each of the four excerpts. I have created technical studies, or etudes, that specifically address these difficulties and help fill a literary gap within the existing pedagogical resources for the double bass.

十九世紀的維也納作曲家約翰施特勞斯二世（1825至1899），被冠以「圓舞曲之王」之美譽。他創作的舞蹈音樂超過 500首，包括圓舞曲，波爾卡，方舞舞曲，疾馳舞曲，馬祖卡舞曲，和進行曲等。他的成就不僅在於他致力，發揚自己的父親，約翰施特勞斯（1804至1849），和約瑟夫．立端（1801年至1843年）所建立了的音樂華爾滋圓舞曲傳統，也把華爾滋推至輕歌劇舞台上。不論在音樂或舞蹈上，華爾滋都是十九世紀時期在維也納最流行的娛樂之一。與此同時，輕歌劇亦日益普及。 / 這篇論文會考究約翰施特勞斯二世如何在輕歌劇中用華爾滋作為一個觀眾溝通的橋樑。這個流行的舞蹈和輕歌劇音樂，是一個完美匹配的結合，幫助去紀錄十九世紀的當代概況。然而，這個過程並不如一般人所想的簡單容易，因為隨著時間的洗禮，華爾滋經已經歷了不少的變化和發展，不但在音樂名及舞步上，還有不同身份階層人士對其的看法及的堅持及轉變，當中不乏攻擊和批評。因此，華爾滋是一個非常複雜的主題，要多角度的剖析才能充份了解華爾滋的意義，因為它擁有多樣的概念，並能夠分別向不同社會階層，性別，種族等人傳達不同的訊息。我的研究集中處理約翰施特勞斯二世的兩齣著名的輕歌劇去探討華爾滋的不同的含義，分別是《蝙蝠》(1874) 及《 威尼斯之夜》(1883)，從而了解十九世紀維也納的生活、社會、經濟及文化的意識形態。 / Johann Strauss II (1825-1899), the nineteenth-century Viennese composer, has been crowned “the waltz king“. He composed over 500 pieces of dance music, including waltzes, polkas, quadrilles, gallops, mazurkas, and marches. His achievements rest not only on his efforts to expand the musical traditions established by his own father, Johann Strauss, Sr. (1804-1849), and Josef Lanner (1801-1843), who were both dance composers, but also on bringing a genre of “light“ music to the stage via operettas. The waltz, both music and dance steps, was one of the most popular entertainments of the nineteenth century. At the same time, operetta gained in popularity. / In this thesis, I suggest that Johann Strauss II incorporated the waltz within operetta as a topos to communicate with his audiences. The combination of this popular dance and its music within operetta was a perfect match, resulting in a genre that profited from its catering to contemporary tastes. However, this process was not as simple and easy as one might think. Over time, the waltz has undergone many changes and developments in terms of its music, its dance steps and popular perceptions of it, as well as having faced attacks and criticism over the centuries in different countries. Hence, the waltz is a complicated topos as it served different functions and conveyed multiple layers of meaning to different people depending on their social class, gender, ethnicity and the periods in which they lived. To understand perceptions and receptions of the waltz, a multivalent approach is required when relating this musical genre to society. My research aims to identify the different meanings and functions of the waltz in two of Johann Strauss II’s most famous operettas, Die Fledermaus (1874), and Eine Nacht in Venedig (1883) and relate them to Viennese life and culture at the end of the nineteenth century. In other words, to make sense of the waltz in these operettas, and as a result better understand Viennese socio-cultural ideology through the lens of this light entertainment. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Li, Shuk Ming. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references (leaves 120-126). / Abstracts also in Chinese. / Chapter Chapter 1 --- Introduction --- p.1 / Chapter Chapter 2 --- Dance Topoi in the Nineteenth Century --- p.12 / Chapter Chapter 3 --- Waltz as a Metaphor of Escape in Die Fledermaus --- p.32 / Chapter Chapter 4 --- Waltz as a Metaphor of Life in Eine Nacht in Venedig --- p.70 / Chapter Chapter 5 --- Conclusion --- p.110 / Bibliography --- p.114

Oscar Wilde overshadows the German reception of <I>Salome</I> (1891), yet his text is a problematic one. Wilde's one-act drama is a mosaic text, influenced by the abundance of literary and artistic treatments of the Salome figure during the <I>fin de siècle</I>. Moreover, Wilde did not write <I>Salome</I> in his native tongue, but rather in French, and allowed it to be edited by a number of French poets. Furthermore, the translation of the text proved problematic, resulting in a flawed English rendering dubiously ascribed to Lord Alfred Douglas. <br /><br /> However, there is a German mediator whose translation of Wilde's play is less problematic than the original. Hedwig Lachmann produced a translation of <I>Salome</I> in 1900 that found success despite having to compete with other German translations. Lachmann's translation alters, expands, and improves on Wilde's French original. In contrast to Wilde's underlexicalised original, Lachmann's translation displays an impressive lexical diversity. <br /><br /> In 1903 Insel Verlag published her translation accompanied by ten illustrations by Marcus Behmer. Behmer's illustrations have been dismissed as being derivative of the works of Aubrey Beardsley, but they speak to Lachmann's version of <I>Salome</I> rather than to Beardsley's or Wilde's. Indeed, the illustrations create their own vision of <I>Salome</I>, recasting the story of a <I>femme fatale</I> into a redemption narrative. <br /><br /> In Germany the play proved quite successful, and Lachmann's translation was staged at Max Reinhardt's Kleines Theater in Berlin. It was here that Richard Strauss saw Lachmann's version of the play performed and adapted it for use as a libretto for his music drama <I>Salome</I>. Despite being adapted from Lachmann's translation, Strauss' music drama is often cited as being based directly on Wilde's play, without mentioning the important role of Lachmann's mediation. Moreover, the libretto is often praised as an exact replica of the play put to music. Neither of these assertions is, indeed, the case. Strauss excised forty percent of the text, altered lines, and changed the gender of one of the characters. <br /><br /> I employ Gérard Genette's theory of transtextuality as it is delineated in <I>Palimpsests</I> (1982) to discuss the interrelatedness of texts and the substantial shift that can occur from subtle changes, or transpositions, of a text. Translation, shift in media, excision, the inclusion of extra-textual features including illustrations, and regendering of characters are all means by which a text can be transformed as Lachmann, Behmer, and Strauss transform <I>Salome</I>. Additionally, I will be using Lorraine Janzen Kooistra's term bitextuality, as described in <I>The Artist as Critic: Bitextuality in Fin de Siècle Illustrated Books</I> (1995) to reinforce Genette's notion that extra-textual elements are also significant to a text as a whole. Finally, I employ Jacques Lacan's theory of gaze as outlined in "Seminar on 'The Purloined Letter'" (1956) and "The Mirror Stage as Formative of the <I>I</I> Function as Revealed in Psychoanalytic Experience" (1949) to discuss the function of gaze within the three texts. <br /><br /> In this thesis, I will be addressing these three German intermedial re-envisionings of <I>Salome</I> and arguing for their uniqueness as three distinct representations of <I>Salome</I>. In this thesis, I will argue that Wilde's text is a problematic precursor and that Hedwig Lachmann's text not only alters, but also improves on the original. Additionally, I will argue that Marcus Behmer's images, while influenced by Beardsley, focus more closely on the text they are illustrating and thus provide a less problematic visual rendering of the play. Finally, I will argue that Strauss' libretto for <I>Salome</I> is mediated through Lachmann's translation and that it is further substantially altered. <br /><br /> In order to show the ways in which the texts differ from one another, I have chosen to focus predominantly on the motifs of the moon and gaze. By analysing the way in which each text represents these motifs it is possible to track changes in characterisation, motivation, and various other salient features of the text.

Proefschrift Universiteit van Amsterdam. / Rugtitel: Kosmopolitieken. Met lit. opg. - Met samenvatting in het Engels.