To see the other types of publications on this topic, follow the link: Benjoin.
Dissertations / Theses on the topic 'Benjoin'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Benjoin.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Castel, Cécilia. "Étude analytique de gommes-résines : application au benjoin." Nice, 2006. http://www.theses.fr/2006NICE4082.
Full textAbstract:
Utilisées dans l'Antiquité lors des rites religieux ou pour des utilisations cosmétiques, les gommes-résines sont désormais majoritairement exploitées par l'industrie des arômes et des parfums. Le benjoin fait partie de ce type de matrices naturelles, il en existe deux variétés principales qui sont le benjoin Siam, produit essentiellement au Laos, et le benjoin Sulmatra, produit en Indonésie. En accord avec les besoins de la société Charabot, le but de ce travail est de procéder au développement de méthodes permettant l’étude analytique approfondie de cette matière première, employée de manière traditionnelle par l’industrie pour fabriquer des résinoïdes entrant dans des composantes parfumantes et aromatisantes. Dans un premier temps, nous nous sommes consacrés à l’étude de sa composition chimique notamment à travers sa fraction volatile. Cette étude a fait appel à la combinaison de différentes techniques d’extraction de l’espace de tête (S-HS, SPME, HSSE) couplées à une analyse par GC/MS. Les résultats obtenus lors de cette étude ont conduit au développement d’une méthode de distinction de différents benjoins basée sur l’utilisation de nez électroniques. Par ailleurs, certains constituants du benjoin, intéressants pour l’industrie, ont bénéficié d’une attention particulière afin de mieux appréhender leur formation au sein de la matrice. Notre travail a finalement abouti à une valorisation du benjoin à travers une meilleure connaissance des processus chimiques ayant lieu lors e la transformation de la matière première mais également à l’étude d’un sous-produit de récolte encore non utilisé par l’industrie, potentiellement exploitable dans un futur procheFrom the most ancient times, resins have been used in religious rituals and for cosmetic purposes. Nowadays, they are extensively exploited by the flavour and fragrance industry. Benzoin gum belongs to this kind of natural products. Two types of this resin are found on the market, Slam benzoin gum produced in Laos, and Sumatra benzoin gum produced in Indonesia. The aim of this work was defined in agreement with the Charabot Company to proceed with analytical study of this raw material traditionally used to manufacture resinoids entering in flavour or fragrance compositions. As a first step, the overall chemical composition was investigated by considering the volatile compounds. Thus, several headspace sampling methods (S-HS, SPME, HSSE) have been applied to carry out the analysis of the chemical-sensor discriminating method based upon the use of electronic noses. Furthermore, owing to their high interest for the flavour and fragrance industry, some chemical constituents were investigated n order to understand their formation pathway in the resin. This work finally resulted in a better knowledge of benzoin gum through the study of the transformation processes leading to its manufactured derivatives. At last, the harvesting-byproduct of Siam benzoin gum was studied to establish its potential application as a valuable new grade of this basalmic resin
2
Brandão, Veridiana da Costa. "Benjamin." reponame:Repositório Institucional da UFSC, 2015. https://repositorio.ufsc.br/xmlui/handle/123456789/135979.
Full textAbstract:
Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Estudos da Tradução, Florianópolis, 2015.Made available in DSpace on 2015-11-03T03:06:02Z (GMT). No. of bitstreams: 1 335651.pdf: 568926 bytes, checksum: 4474e774836649042af727bae4cc11c6 (MD5) Previous issue date: 2015
Neste trabalho pretende-se analisar o ensaio de Walter Benjamin ?A tarefa do tradutor? levando em conta suas influências, concepções e alguns de seus precursores filosóficos e assim chegar a uma interpretação a partir de suas propostas do que é traduzir para Benjamin.
Abstract : This paper aims to examine Walter Benjamin's essay "The Task of the Translator" taking into account their influences, ideas and some of its philosophical precursors and thus arrive at an interpretation from their proposals than it is to translate Benjamin.
3
Kim, Yuh-Dong. "Walter Benjamins Trauerspielbuch und das barocke Trauerspiel : Rezeption, Konstellation und eine raumbezogene Lektüre /." Hamburg : Kovač, 2005. http://www.verlagdrkovac.de/3-8300-1915-7.htm.
Full text
4
Menke, Bettine. "Sprachfiguren : Name, Allegorie, Bild nach Benjamin /." München : W. Fink, 1991. http://catalogue.bnf.fr/ark:/12148/cb36957263x.
Full text
5
Lavelle, Patricia. "Religion et histoire : sur le concept d'expérience chez Walter Benjamin /." Paris : les Éd. du Cerf, 2008. http://catalogue.bnf.fr/ark:/12148/cb41259471s.
Full text
6
Meiffert, Torsten. "Die Enteignete Erfahrung : zu Walter Benjamins Konzept einer "Dialektik im Stillstand" /." Bielefeld : Aisthesis Verl, 1986. http://catalogue.bnf.fr/ark:/12148/cb34939206w.
Full text
7
Pethes, Nicolas. "Mnemographie : Poetiken der Erinnerung und Destruktion nach Walter Benjamin." Tübingen : M. Niemeyer, 1999. http://catalogue.bnf.fr/ark:/12148/cb37321019x.
Full text
8
Obst, Helmut. "Der deutsche Pop-Roman und die Postmoderne seit 1990 dargestellt an Erzählprosa von Christian Kracht, Benjamin von Stuckrad-Barre und Benjamin Lebert /." [S.l. : s.n.], 2003. http://www.bsz-bw.de/cgi-bin/xvms.cgi?SWB11675845.
Full text
9
Schilling, Gunnar [Verfasser], Benjamin [Akademischer Betreuer] Raue, Benjamin [Gutachter] Raue, and Arnd [Gutachter] Arnold. "Gewährleistung 4.0 / Gunnar Schilling ; Gutachter: Benjamin Raue, Arnd Arnold ; Betreuer: Benjamin Raue." Trier : Universität Trier, 2021. http://d-nb.info/1240900775/34.
Full text
10
Schmidt, Benjamin [Verfasser]. "Europäische Gemeinnützigkeit / Benjamin Schmidt." Baden-Baden : Nomos Verlagsgesellschaft mbH & Co. KG, 2020. http://d-nb.info/1225182816/34.
Full text
11
Allen, S. A. "Benjamin Britten and Christianity." Thesis, University of Oxford, 2003. http://ora.ox.ac.uk/objects/uuid:2b2e1ae0-2845-46df-96fb-7dc704d11e10.
Full textAbstract:
It will be demonstrated, in conclusion, that in art as in life, the contingencies Britten imposed upon the Christian element are ultimately displaced by other 'non-Christian' elements related to the Classical paradigm.
12
Feth, Andrea. "Hilde Benjamin - eine Biographie /." Berlin : Berlin-Verl. Spitz, 1997. http://www.gbv.de/dms/spk/sbb/recht/toc/222374853.pdf.
Full text
13
Verplanck, Anne Ayer. "Benjamin Trott: Miniature Painter." W&M ScholarWorks, 1990. https://scholarworks.wm.edu/etd/1539625566.
Full text
14
Homburg, Phillip. "Walter Benjamin and 'materialism'." Thesis, University of Sussex, 2016. http://sro.sussex.ac.uk/id/eprint/63975/.
Full textAbstract:
This thesis examines the emergence of Walter Benjamin's materialism, within his early thought, from within the context of post-Kantian philosophy. The original contribution made by this thesis is that it differentiates Benjamin's materialism from both Romanticism and neo-Kantianism, on the one side, and empiricism, on the other. In contrast to those who identify Benjamin as a practitioner of a Romantic form of immanence, a neo-Kantian or a mystical empiricist, I place Benjamin's materialism within the context of the conflict between an empiricist form of materialism and post-Kantian idealism. This thesis is divided into four chapters. In the first chapter, I examine the history of materialism and its critical reception in the Kantian idealist tradition. The second chapter examines of the development of Karl Marx's materialism. I show that Marx's conception of reality fundamentally challenges traditional conceptions of idealism and materialism. In the third chapter, I show that Benjamin's critique of neo-Kantianism necessarily points towards a concept of knowledge that can encompass the particularity of experience qua sense experience within itself, something that is closed off in the neo-Kantian attempt to secure the objective validity of knowledge. The final chapter focuses on Benjamin's attempt to locate an expanded concept of experience. I look at several instances of how this concept manifests itself in the poem, life and language. I develop a materialist account of the idea that runs counter to the neo-Kantian one. Finally, I conclude by showing the limits of the Romantic concept of immanence for Benjamin. Throughout this thesis, I examine how Benjamin breaks out of both the neo- Kantian and Romantic strands of post-Kantian idealism. I also pay close attention to Benjamin's critique of empiricism. This thesis demonstrates that Benjamin's materialism emerges out of a serious engagement with that tradition, yet it remains irreducible to a form of neo-Kantianism, Romanticism, or empiricism.
15
Martins, João Miguel Silva. "A arquitectura do olival: Monte do Benjoim em Alqueva." Master's thesis, Universidade de Évora, 2015. http://hdl.handle.net/10174/18144.
Full textAbstract:
Este trabalho assenta numa leitura sobre o processo de transformação da paisagem do Alentejo Central, com a construção da barragem do Alqueva, e como esta afectou a paisagem rural, em especial o que se relaciona com a cultura do olival. Através deste estudo pretende-se compreender o que são as arquitecturas associadas à cultura de olival. A casa rural como modelo de exploração agrícola, com uma continuidade histórica desde Os romanos e as villas passando pelas alcarias (pequenos povoados rurais que se encontravam nas imediações dos aglomerados urbanos), até às herdades contemporâneas, e o lagar, por vezes associado ao monte como parte integrante da unidade, que de uma escala de produção local evolui para uma escala de produção nacional ou até internacional. Após uma reflexão sobre este tema pretende-se criar uma base teórica que fundamente um exercício de projecto, que responda correctamente à transformação que este território está a sofrer e aos avanços tecnológicos nesta cultura, de forma a reabilitar um antigo monte desenvolvendo um programa de produção e monitorização do olival no mesmo, e ainda criar um novo lagar que dá resposta ao olival da herdade e a novos olivais que surjam nas áreas envolventes. ABSTRACT: This study presents a lecture about the transformation process of Central Alentejo landscape, with the construction of the Alqueva dam, and how it has affected the rural landscape, especially, what is related to the olive grove culture. This study aims to understand what are the architectures associated with the olive grove culture. The rural home as an agricultural exploration model, with a historical continuity since the Romans, the Villas and the Alcarias (small rural villages that were in the vicinity of urban areas), passing through to the contemporary farms and the press, sometimes associated with the "Monte" as part of the whole, which has developed from a local production scale into a national or even international production scale. After reflecting on this issue, it is intended to create a theoretical basis to justify a project exercise, which responds correctly to the transformations that this territory is suffering and to the technological advances in this culture, in order to rehabilitate an old farm-house, in witch will be developed a production and monitoring program of the olive grove, and also a new press that has the capacity to respond to the olive groves in this homestead and the future cultures arising in the surrounding areas.
16
Buis, Martine. "Benjamin et la critique littéraire. La littérature, la vérité et l'expérience historique." Thesis, Paris 3, 2020. http://www.theses.fr/2020PA030003.
Full textAbstract:
Si le travail d’essayiste de Walter Benjamin a fait l'objet d'œuvres importantes dans l'esthétique et la philosophie de l'art, dans la philosophie de l'histoire et la philosophie politique, ses travaux de critique littéraire ont peu été étudiés pour eux-mêmes. L'interférence des principes philosophiques théologiques ou marxistes de Benjamin avec sa méthode critique est la principale objection faite à l'existence d'une authentique critique littéraire qui ne serait pas une philosophie de la littérature projetant sur celle-ci ses idées préconçues au détriment des textes. Or, selon la lettre du 20 janvier 1930 à Gershom Scholem, Benjamin projetait de recréer la critique littéraire en Allemagne contre l'historicisme des genres et des œuvres qui prévalaient à son époque. En prenant à la lettre ce projet de recréation, j'ai émis l'hypothèse qu’il ne pouvait être clarifié pour lui-même qu’en comprenant l'objection épistémologique de l'entrelacement de la philosophie et de la littérature comme le principe de cette recréation. Benjamin tente une dissolution de leur frontière et de leur signification conventionnelle héritées du platonisme. L’origine en devenir du paradigme tragique distribue en un divergent accord leurs réponses respectives au combat inachevé pour un langage qui rendrait justice aux vies profanes effacées sous le régime de justification des ordres historiques, de leurs mythes anciens et nouveaux. En suivant les combats réitérés pour un langage capable de donner à la vie sa vérité propre et son visage sensible, comme de restituer leur expérience historique aux passagers temporaires de l'histoire que nous sommes, Benjamin définit une philosophie non conceptuelle et non discursive dans les formes littéraires dont le but est de re-figurer la vie sans la fonder, en réapprenant à parler par les fictions et les poétiques des zones grises et silencieuses oblitérées par l'Histoire. La célèbre peinture allégorique – mais aussi tragi-comique- de Klee “l’Ange de l'Histoire" trouve ici son contrepoint dans les formes multiples de la littérature. Si celle-ci n’est évidemment pas ce "Messianique Maintenant" qui arrêterait le cours de l'histoire pour achever dans la geste politique ce qu’il y a d’inoubliable dans les inachèvements du passé et qui mérite d’être accompli et sauvé par le présent, elle configure cependant l’espace messianique de la langue qui creuse les routes nouvelles de la subjectivité: le temps d'arrêt et de retenue, qui libère l’espace scénique des jeux de re-théâtralisation des vies multiples et reconfigure dans le langage les noms qui les citent, les multiples ruines et fragments que cet ange allégorique laisse nécessairement sur son bord ou est en train de laisser derrière lui. Benjamin esquisse une épopée de la littérature traversée par les échos lointains des paradigmes tragiques du silence et de la plainte face au cours saturnien de l'histoireWhile Walter Benjamin's work as an essayist has been the subject of important works in the aesthetics and philosophy of art, in the philosophy of history and political philosophy, his work as a literary critic has been little studied for itself. The interference of Benjamin's theological or Marxist philosophical principles with his critical method is the main objection to the existence of an authentic literary critic that would not be a philosophy of literature projecting on it its preconceived ideas at the expense of texts. According to the letter of 20th January 1930 to Gershom Scholem, Benjamin planned to recreate literary criticism in Germany against the historicalism of genres and works that prevailed in his time.In taking this re-creation project to the letter, I hypothesized that it could only be clarified for itself by understanding the epistemological objection of the intertwining of philosophy and literature as the principle of this recreation. Benjamin attempts to dissolve their frontier and their conventional meaning inherited from Platonism. The origins fate of the tragic paradigm distributes in a “diverging agreement” the respective responses to the unfinished struggle for a language that would do justice to the secular lives erased under the justifications system of historical orders, their old and new myths. By following the repeated struggles for a language capable of giving life its own truth and sensitive face, such as returning their historical experience to the temporary passengers of history that we are, Benjamin defines a non-conceptual and non-discursive philosophy in literary forms whose purpose is to re- figure life without founding it, by relearning to speak through fictions and poetics of the grey and silent zones obliterated by history. Klee's famous allegorical - but also tragi-comic - painting "The Angel of History" finds its counterpoint here in the multiple forms of literature. If it is obviously not this "Messianic Now" who would stop the course of history to complete in the political gesture what is unforgettable in the incompletions of the past and which deserves to be accomplished and saved by the present, it nevertheless configures the messianic space of the language that digs the New routes of subjectivity: the time of pause and restraint, which frees the stage space of game of re-theatralization of multiple lives and reconfigures in language the names that quote them, the multiple ruins and fragments that this allegorical angel leaves necessarily and mechanically on his edge or behind him. Benjamin sketches an epic of literature traversed by distant echoes of tragic paradigms of the silence or complaint facing the saturnian course of history
17
Neveu, Romain. "Benjamin Constant et la construction du régime parlementaire (1814-1830)." Thesis, Paris Est, 2014. http://www.theses.fr/2014PEST0050.
Full textAbstract:
Théoricien du régime républicain de 1795 à 1810, Benjamin Constant se doit d'adapter son système institutionnel à la Restauration des Bourbons en 1814. Cependant son attachement à la monarchie constitutionnelle, illustrée par sa participation à la rédaction de l'Acte additionnel durant les Cent-jours n'entraîne pas une renonciation à sa pensée libérale.Malgré cette fidélité apparente aux principes libéraux qu'il défendait déjà en 1800 au sein du Tribunat, et qui entraîna son expulsion en 1802, la pratique de la monarchie constitutionnelle le confronte à différents problèmes auxquels ses écrits théoriques ne répondent pas; ainsi, le pouvoir royal constitue-t-il véritablement un pouvoir neutre, ou son pouvoir de nomination des ministres ne l'entraîne-t-il pas à intervenir directement dans les affaires du pays? De plus, Une fois élu député, en 1819, c'est aussi l'importance des droits de la minorité qu'il doit défendre, notamment envers la majorité ultra de la Chambre «retrouvée» de 1824, et c'est donc l'importance du règlement de l'assemblée, seul cadre légal auquel est astreint la majorité, qu'il va développer.Mais la monarchie constitutionnelle suppose aussi la responsabilité des gouvernants, celle des députés par la réélection, mais aussi celle des ministres, élément central du régime parlementaire. Cette responsabilité ministérielle oscillant entre procédure pénale spéciale et justification politique, comme l'illustre l'acte d'accusation envers Villèle auquel participe Constant en 1827. Mais le contrôle des gouvernants s'effectue aussi indirectement par l'opinion publique dont les journaux sont le relais. Leur développement exponentiel au début du XIXème siècle, expliquant l'importance accordée par Constant aux différentes législations sur la presse intervenant de 1814 à 1830.En tant que journaliste, homme politique et député, Constant participe directement à l'élaboration du gouvernement représentatif qui va devenir le régime parlementaire sous la Monarchie de Juillet, mais cette confrontation à la vie politique l'entraîne-t-elle à abandonner certains éléments de sa doctrine, ou tout au moins à faire évoluer certains éléments pour les adapter à la pratique? De plus, son intervention est-elle réellement décisive dans la mise en place des différents éléments du régime parlementaire ou les désaccords avec les autres libéraux ou avec les doctrinaires l'entraînent-ils à la marge?C'est donc au travers de l'ensemble de son œuvre théorique, ainsi que de ses différents articles de journaux mais aussi par sa participation aux débats de la Chambre des députés et enfin par l'analyse des différentes théories s'affrontant sur le sens de la Charte et la pratique de la Monarchie constitutionnelle, que le rôle de Constant dans la construction du régime parlementaire pourra être analyséThe Restoration represents the beginnings of the parliamentary in France. This form of government based on the political responsibility of the ministry before the assemblies. .It is built by the practice more than the application of a preconceived theoretical system. Through the interventions of Benjamin Constant in the press and at the House of Representatives we can study the implementation of Parliamentary in France since 1814 to 1830. But the purpose of Constant during this area is also the safeguarding of rights
18
Pignotti, Sandro. "Walter Benjamin - Judentum und Literatur : Tradition, Ursprung, Lehre mit einer kurzen Geschichte des Zionismus /." Freiburg, Br. Berlin Wien Rombach, 2009. http://d-nb.info/992585600/04.
Full text
19
Bourassa, Éric. "L'affaire Benjamin Sulte/Octave Crémazie (1902) : autour de la littérature nationale /." Trois-Rivières : Université du Québec à Trois-Rivières, 2004. http://www.uqtr.ca/biblio/notice/tablemat/18221008TM.pdf.
Full text
20
Groeneweg, Ton. "Drie hoofdstukken uit het vroege werk van Walter Benjamin /." [S.l.] : [s.n.], 1997. http://catalogue.bnf.fr/ark:/12148/cb37684720j.
Full text
21
Pulliero, Marino. "Le désir d'authenticité : Walter Benjamin et l'héritage de la Bildung allemande /." Paris : Bayard, 2004. http://catalogue.bnf.fr/ark:/12148/cb393019910.
Full text
22
Blobel, Martin. "Nachrevolutionärer Totenkult und Politikbegriff in Benjamins frühem "Passagenwerk" /." Würzburg : Königshausen & Neumann, 1999. http://catalogue.bnf.fr/ark:/12148/cb377327833.
Full text
23
Weerd, Henk de. "Een konstruktie van Walter Benjamins Passagen-Werk /." [S.l. : s.n.], 1994. http://catalogue.bnf.fr/ark:/12148/cb40011897b.
Full textAbstract:
Proefschrift--Utrecht--Universiteit voor humanistiek, 1994.Mention parallèle de titre ou de responsabilité : A @construction of Walter Benjamin's Passagen-Werk. Mention parallèle de titre ou de responsabilité : Eine @Konstruktion von Walter Benjamins Passagen-Werk. La couv. porte comme nom d'auteur : "Henk de Weerd" Bibliogr. p. 225-229. Résumés en anglais et en allemand.
24
Dieckhoff, Reiner. "Mythos und Moderne : über die verborgene Mystik in den Schriften Walter Benjamins /." Köln : Janus Presse, 1987. http://catalogue.bnf.fr/ark:/12148/cb34935070g.
Full text
25
Neuss, Karin. "Auf der Suche nach Walter Benjamin /." Konstanz : Poppe und Neumann, 1987. http://catalogue.bnf.fr/ark:/12148/cb349312524.
Full text
26
Speth, Rudolf. "Wahrheit und Ästhetik : Untersuchungen zum Frühwerk Walter Benjamins /." Würzburg : Königshausen und Neumann, 1991. http://catalogue.bnf.fr/ark:/12148/cb35511065z.
Full text
27
Mark, Christopher. "Early Benjamin Britten : a study of stylistic and technical evolution /." New York ; London : Garland, 1995. http://catalogue.bnf.fr/ark:/12148/cb35855097w.
Full text
28
Lanfranconi, Ana. "Walter Benjamin: infancia y politización." Doctoral thesis, Universitat de Barcelona, 2017. http://hdl.handle.net/10803/461379.
Full textAbstract:
El presente trabajo de investigación traza un recorrido por ciertos momentos de la producción textual de Walter Benjamin siguiendo el hilo trenzado entre nuestro autor y las nociones de infancia y politización. Nuestro análisis toma como eje tres modos distintos de abordar la cuestión de la infancia, desde tres modalidades enunciativas divergentes. Del modo abiertamente político y partidista inaugurado por el Programa de teatro infantil proletario y las reseñas pedagógicas de finales de los años veinte, a la politización larvada e insidiosa de los textos sobre la infancia propia que componen Infancia en Berlín hacia 1900 y de las emisiones radiofónicas dirigidas al público infantil agrupadas en Aufklärung für Kinder, la infancia va ganando consistencia y complejidad, problematizando cada vez con más ahínco todos los elementos que los textos le arriman. Asimismo lo político, a la vera de la infancia, cambia de términos y fórmulas, sigue manteniendo su pulso aunque busque otros fundamentos y prácticas en los que asentarse y desplegarse. Hemos primado en nuestros análisis, pues, formas de abordar la infancia que permiten tender puentes a la reelaboración y cuestionamiento de nociones políticas con las que nos confrontamos a diario: lo colectivo, la masa, la acción y la decisión, la relación con los discursos de tintes emancipatorios o abiertamente reaccionarios, la persistencia de la destrucción y la guerra, la transformación de los modos de vida. Sin caer en el adoctrinamiento, la infancia se va fraguando caminos propios desde donde cuestionar el orden de cosas dado. Dirección única se convierte, aquí, en nuestra guía de lectura.
Por un lado, abordamos los textos sobre la infancia propia y lo propio a la infancia agrupados en torno a Infancia en Berlín hacia 1900. Las escrituras de la historia se pondrán en entredicho a partir de este trabajo de elaboración del pasado que excede los límites de lo autobiográfico. El recorrido es de largo alcance y amplio espectro: la infancia se entrelaza, aquí, al trabajo sobre los lugares de la historia que en paralelo Benjamin está elaborando en el proyecto de los pasajes y que entronca, aun, con el trabajo sobre el tiempo histórico del ensayo sobre el drama barroco. El siglo XIX será el espacio de tiempo en el que despleguemos estas cuitas histórico-políticas: Auguste Blanqui, Johann Jakob Bachofen y Claire Démar, las figuras que cabe poner en situación, leídas al amparo del arco que se traza, en los textos de Benjamin, entre el surrealismo y el materialismo antropológico.
En un segundo momento abordamos los textos que Benjamin redacta y performa para la radio entre 1927 y 1933. El recorrido general sobre las prerrogativas propias a los aparatos de comunicación de masas desemboca en un análisis más pormenorizado sobre las tentativas críticas que subyacen a los trabajos radiofónicos de Benjamin. Propondremos una lectura de las emisiones dirigidas en exclusiva al público infantil y juvenil editados en Aufklärung für Kinder. Estos textos interrumpen el quehacer habitual de la radio, como correa de transmisión de valores y formas de comunicación presente. El gesto infantil atravesado por la práctica teatral apuntará, por otro lado, al quiebre de la compacidad del presente de la comunicación: el Programa de teatro infantil proletario será el encargado de desplazar la cuestión de la transmisión de discursos al ámbito más lábil, y polémico, de los comportamientos. Los modos de transmisión son, pues, un espacio preponderante desde donde modular respuestas políticas. El terreno de las conductas, donde de facto se juegan las formas de gobierno, que eclosionará en los textos sobre la mímesis de los años treinta, será el último lugar de disputa que cristalice la relación fehaciente entre infancia y politización.This research project traces a line through specific moments of Walter Benjamin’s textual production, following the thread interwoven between the author and the notions of childhood and politicization. My analysis is sustained using three different means to tackle the issue of childhood, which result in three divergent expository methods. From the manifestly political and biased method portrayed in the Program for a Proletarian Children’s Theater and the pedagogical reviews of the late twenties, to the veiled and cunning politicization of the texts within Berlin Childhood Around 1900 on the author’s own childhood and the radiocasts addressed to children that make up Aufklärung für Kinder, childhood becomes ever-increasingly consistent and complex, further problematizing all the elements brought by the texts. Furthermore, the political aspect, in tangent with the issue of childhood, changes its terms and manners, maintaining its firmness despite trying to find other grounds and practices on which to settle and unfold. Thus, my analysis brings to the fore those ways to tackle childhood that enable the possibility of remaking and questioning political notions that we face in our every-day life: the collective, the masses, the notions of action and decision, the relationship to either discourses with emancipatory touches or blatantly reactionary ones, the persistence of destruction and war and the transformation of lifestyles. Without ever becoming indoctrinating, childhood gradually sets its own ways from where to question the given order of things. At this point, One-Way Street becomes my reading guide.
29
Bonn, Benjamin [Verfasser]. "Pädagogisierung und Selftracking / Benjamin Bonn." Baden-Baden : Academia – ein Verlag in der Nomos Verlagsgesellschaft, 2021. http://d-nb.info/123021397X/34.
Full text
30
Brix, Benjamin [Verfasser]. "Leben im Mietshausprojekt / Benjamin Brix." Kassel : Universitätsbibliothek Kassel, 2015. http://d-nb.info/1069697532/34.
Full text
31
Reineke, Antje [Verfasser]. "Benjamin Brittens Liederzyklen / Antje Reineke." Frankfurt : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2015. http://d-nb.info/1080456732/34.
Full text
32
Kageura, Ryohei. "Walter Benjamin et la sécularisation." Phd thesis, Université de Strasbourg, 2012. http://tel.archives-ouvertes.fr/tel-00712074.
Full textAbstract:
Cette thèse de doctorat fournit une lecture cohérente de la théorie de l'art et de la théorie politique de Walter Benjamin, et elle montre que son idée de sécularisation est décisive. Par la lecture de Critique de la violence, le premier chapitre clarifie la méta-physique du droit selon laquelle dans la modernité, le droit est dialectiquement produit par la violence. Cette production s'appuie sur la sacralisation de la vie en tant que transfert du théologique dans la politique. Ce que veut Benjamin est la rupture de la dialectique de droit et de violence. Il clarifie que toute violence est hantée par sa dissolution lors de son exercice. Le second chapitre clarifie l'indissociabilité de la question du droit et de la question de l'art ou du langage chez Benjamin : dans la modernité, le langage ou l'œuvre d'art devient indissociable de la connaissance, laquelle est le jugement selon une loi extérieure. En refusant la sacralisation romantique de l'œuvre d'art, Benjamin trouve dans le Trauerspiel ce qui finit la dialectique du droit et de la violence. La sécularisation est alors redéfini comme l'exclusion absolue du théologique de la politique. Le troisième chapitre clarifie la vue de Benjamin sur le double mouvement de la modernité : le transfert du théologique dans la politique et l'exclusion du théologique de la politique. Ce que clarifie Benjamin est que l'œuvre d'art moderne est de nature à favoriser cette exclusion et à rendre le transcendant à sa place transcendante. La postmodernité sans le transcendant permet de rencontrer avec le transcendant en tant que l'autre.
33
Kühn, Benjamin [Verfasser]. "Interessengetriebene audiovisuelle Szenenexploration / Benjamin Kühn." Karlsruhe : KIT Scientific Publishing, 2016. http://www.ksp.kit.edu.
Full text
34
MacFarlane, Dana. "Walter Benjamin and art history." Thesis, University of Essex, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.419285.
Full text
35
Kývalová, Eva. "Benjamin Britten - The Poet's Echo." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2018. http://www.nusl.cz/ntk/nusl-391665.
Full textAbstract:
In this thesis I focused on song cycle written by english composer Benjamin Britten The Poet’s Echo, which is based on poems by russian writter Aleksander Sergeyevich Pushkin. Benjamin Britten dedicate his song cycle to his close friends Galina Vishnevskaya and Mstislav Rostropovich, who performed this piece on premiere performance in Moscow. The purpose of my contribution was to outline the background of the admirable work, introduce all key persons interested in the piece and mapping of lyrics and music view in general in this cycle.
36
FRANCO, ANA LUIZA VARELLA. "WALTER BENJAMIN: TRUTH IN IMAGES." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2010. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=16662@1.
Full textAbstract:
FUNDAÇÃO DE APOIO À PESQUISA DO ESTADO DO RIO DE JANEIROMeu trabalho, Walter Benjamin. A verdade em imagens, procura mostrar a especificidade da filosofia de Walter Benjamin. Essa filosofia dirige-se à plenitude da experiência humana, guiada por sua convicção de que a dimensão expressiva da linguagem é o campo histórico, no qual a verdade pode ser construída em imagens. Benjamin valoriza a natureza simbólica da linguagem percorrendo o caminho que se desvia tanto das teorias clássicas como das teorias linguísticas que marcaram o início século XX. O filósofo articula experiência e linguagem e enfrenta a questão de a linguagem ser, ao mesmo tempo, comunicação e expressão, imergindo em uma reflexão sobre a força da imagem e sua temporalidade: sua possibilidade de eterna atualização na história como um nome que acabou de nascer, como o radicalmente novo. Na palavra, o mundo é percebido, da palavra saltam as imagens obscuras que constroem a escrita da memória humana. As raízes de seu pensamento se encontram na mística judaica, na filosofia kantiana, no romantismo alemão e no encontro com as obras de sua contemporaneidade. Escavando os vários extratos de significação desse terreno com o rigor de sua crítica, Benjamin apresenta um novo modo de conceber o conhecimento e um novo conceito de história e de tempo. A partir de um paradigma epistemológico, estético-teológico-político, o filósofo une o espiritual e o histórico, recusa as ideias de continuidade, de causalidade e de progresso, que selam os preceitos do século XIX, e propõe que a filosofia seja um exercício de apresentação da verdade. O conhecimento só pode ser pensado como experiência da verdade que aparece num instante, em toda sua beleza e mistério. Trata-se de um processo de leitura e escrita, a partir do presente do filósofo/historiador que promove a redenção do passado, do presente e do futuro, pela ruptura. A categoria estética da alegoria vai atender à quintessência das suas interrogações: buscar na relação linguística entre tempo e imagem a objetividade capaz de responder ao caráter destrutivo da crítica filosófica. A forma alegórica expressa a fragmentação do pensamento, da linguagem e do tempo, a incompletude da história e da verdade. A forma alegórica atende à exigência de, no agora de uma cognoscibilidade, apresentar a verdade em imagens.
My work, Walter Benjamin. Truth in Images, intends to convey specificities of Walter Benjamin’s philosophy, which is directed to the plenitude of the human experience. This philosophy is guided by his conviction that the expressive dimension of language is the historical field, in which truth may be construed in images. Benjamin values the symbolic nature of language while investigating the path that deviates both from classical theory, such as the linguistic theories that marked the beginning of the 20th Century. The philosopher articulates experience and language and takes on the issue of language as being, at the same time, communication and expression, diving into a reflection about the power of images and its temporality: its possibility of eternally updating history as a name that has just been born, as the radically new. In the realm of words, the world is perceived; from words, obscure images derive, making up the written form of the human memory. The basis of his thinking may be found in Jewish mysticism, in Kantian philosophy, in German romanticism and in his encounter with contemporary works. While excavating various extracts of meaning in this field with the rigorousness of his criticism, Benjamin presents a new means of conceiving knowledge and a new concept of history and time. By means of an epistemological paradigm, at the same time aesthetic, theological and political, the philosopher unites the spiritual and the historic, refuses the ideas of continuity, of causality and of progress, which characterizes the conceptions of the 19th Century, and proposes that philosophy be an exercise of presenting the truth. Knowledge may only be thought of as an experience of truth that appears in an instant, with all its beauty and mystery. It is a process of reading and writing, starting with the present of the philosopher/historian that promotes redemption from the past, from the present and the future, through rupture. The aesthetic category of the Allegory will attend to the quintessential aspect of his interrogations: to seek objectivity capable of responding to the destructive character of philosophical criticism through the linguistic relationship between time and imagery. The Allegorical form expresses the fragmentation of thought, of language and of time, the incompleteness of history and of truth. The Allegorical form attends to the demand of - in the now of cognoscibility - presenting truth in images.
Ma thèse, Walter Benjamin: la vérité en images, essaie de montrer la spécificité de la philosophie de Walter Benjamin, qui s’adresse à la plenitude de l’expérience humaine, guidée par sa conviction que la dimension expressive du langage est le champ historique, dans lequel la vérité peut être construite en images. Benjamin valorise la nature simbolique du langage, parcourt le chemin qui se détourne aussi bien des théories classiques que des théories linguistiques qui ont marqué le début du XXe. Le philosophe articule l’expérience et le langage et fait face à la question du langage comme étant, en même temps, communication et expression, en plongeant dans une réflexion sur la forme de l’image et de sa temporalité: sa possibilité d’une éternelle mis-à-jour dans l’histoire comme un nom qui vient de naître, comme le radicalement neuf. À l’intérieur du mot, le monde est perçu; des images obscures surgissent du mot et construisent l’écriture de la mémoire humaine. Les racines de sa pensée se trouvent dans la mystique juive, dans la philosophie kantienne, dans le romantisme allemand et dans la rencontre avec les oeuvres de sa contemporaineté. En fouillant les divers extraits de la signification de ce terrain avec la rigueur de sa critique, Benjamin présente une nouvelle manière de concevoir la connaissance et un nouveau concept de l’histoire et du temps. À partir d’un paradigme épistémologique, à la fois esthétique, théologique et politique, le philosophe réunit le spirituel et l’historique, refuse les idées de continuité, de causalité et de progrès qui marquent les préceptes du XIXe, et propose que la philosophie soit un exercice de présentation de la vérité. La connaissance ne peut être pensée que comme expérience de la vérité qui apparaît dans un instant, en toute sa beauté et mystère. Il s’agit d’un processus de lecture et d’écriture, à partir du présent du philosophe/historien qui réalise la rédemption du passé, du présent et du futur par la rupture. La catégorie esthétique de l’allégorie va à la rencontre de la quintessence de ses interrogations: chercher dans la relation linguistique entre le temps et l’image l’objectivité capable de répondre au caractère destructif de la critique philosophique. La forme alégorique exprime la fragmentation de la pensée, du langage et du temps, l’incomplétude de l’histoire et de la vérité. La forme allégorique répond à l’exigence de, dans le maintenant d’une connaissabilité, présenter la vérité en image.
37
Elliott, Graham. "Benjamin Britten : the things spiritual." Thesis, Bangor University, 1985. https://research.bangor.ac.uk/portal/en/theses/benjamin-britten--the-things-spiritual(c1860d2b-6f58-48a3-8b34-6f97cac14e7c).html.
Full textAbstract:
Since Benjamin Britten's death in 1976, a number of commentaries have been published on his life and work. Most of them observe the facts of Britten's deeply-felt pacifism, and his homosexuality. It has been suggested that Britten felt himself to be outside 'normal' society, and that this accounts for his obvious sympathy for the 'outsider' in his operas. Although this is undoubtedly an important aspect of Britten's total make-up, the present thesis seeks to show that he was concerned with very much more universal concerns, which are frequently to be seen as having a strong spiritual dimension. Part I examines Britten's early life and the strong presence which the Church had in his childhood and adolescence. It shows the way in which certain spiritual influences were first manifested in his life; and which, like the more specifically musical 'themes' which Donald Mitchell has noted, are capable of being traced through Britten's life. Part I includes comment from two churchmen who were influential in Britten's life, as well as a chapter devoted to the observations of Sir Peter Pears. Part II examines a wide range of the composer's music which can be seen to have a spiritual dimension. The specifically liturgical music forms a relatively small part of Britten's output, and it has not received wide critical notice in the way that the large-scale works have done. This music is examined here, and it is shown to possess important musical characteristics in common with the bigger works. The four chapters headed 'Parable Music' examine a wide range of Britten's works (including some of the operas) which can be seen to have a spititual dimension. Britten could not be described as a conventional Christian; still less is it true to describe him, as Eric Walter White has done, as "keen, wherever possible, to work within the framework of the Church of England", but his spirituality was strongly rooted in the religious experiences of his childhood. This thesis seeks to show that Britten retained a sense of the Christian values absorbed in childhood and adolescence, and that these - along with the specifically Christian heritage of plainsong - were strongly influential in his choice and treatment of themes throughout his career.
38
Borges, Anderson. "Alegoria redimida em Walter Benjamin." Universidade Federal de Minas Gerais, 2012. http://hdl.handle.net/1843/ECAP-8R3HX8.
Full textAbstract:
Este estudo apresenta o decurso da alegoria na obra benjaminiana circunscrevendo a investigação a três momentos principais: o livro Origem do drama barroco alemão, em que a alegoria é resgatada do esquecimento e, considerando a significativa expressividade do luto (Trauer) e da melancolia na constituição do teatro barroco, ganha um lugar cativo no âmbito estético, bem como, além disso, funciona como representação da história na perspectiva de literatos do século XVII; Rua de mão única, em que Benjamin faz uso de recursos das vanguardas, sobretudo, do surrealismo para construir um amálgama de expressão artística e crítica de cultura, uma obra que pode ser lida como uma alegoria per se; e por último, o olhar sobre as transformações vistas na Paris do século XIX nas Passagens, de forma semelhante àquela investigação a respeito do drama barroco, em que o alegórico aparece como importante elemento constituinte de sua análise, em especial, a partir da poética de Baudelaire. Assim, considerando três momentos fundamentais da empreitada crítica e filosófica benjaminiana, analiso como a alegoria, inicialmente tomada como objeto de estudo, se torna, a certa altura, um significante constituinte de seu procedimento crítico.
39
Chassé, Sonia. "Benjamin Pâquet, adversaire des ultramontains." Master's thesis, Université Laval, 1989. http://hdl.handle.net/20.500.11794/17616.
Full text
40
Lourenço, de Abreu Maria Leonor. "Benjamin Péret et le Brésil." Thesis, Paris 3, 2012. http://www.theses.fr/2012PA030067.
Full textAbstract:
Benjamin Péret effectua deux longs séjours au Brésil : à la fin des années vingt et en 1955/1956. Parti en quête de ressourcement dans la multiplicité des racines de la culture brésilienne, il est accueilli en 1929 par Oswald de Andrade et les membres du mouvement anthropophage, qui érigeaient comme référentiel mythique l’Indien cannibale. C’est toutefois une autre découverte capitale que fait le poète français : l’autre altérité intérieure, le Noir, dans ses dimensions magique et mythique, historique et politique. La poésie "primitive" et sauvage identifiée dans les mystérieux rituels afro-brésiliens prend pour lui valeur de révélation. Les dédoublements de cette découverte séminale se trouvent ainsi à la base d’une formulation théorique sur la primitivité enfouie dans les profondeurs de la conscience, identifiée à la dynamique spontanée de la vie. Les écrits du deuxième séjour poursuivent cet investissement. Ils mettent cette fois en scène l’autre altérité brésilienne : les autochtones. Du reportage à l’essai critique, du récit de voyage à l’essai historique, de la sentence au poème, du conte au [à la parodie du] mythe, le poète emprunte plusieurs registres génériques. Cette étude problématise l’expérience brésilienne de Benjamin Péret. Elle met en relief le caractère interculturel et intertextuel de son intervention. Elle rend évidentes les répercussions de cette rencontre dans sa mythologie personnelle comme dans l’agencement de sa pensée et de son œuvre. Elle dégage les constellations mythopoétiques et la communion d’imaginaires entre le poète et son pays d’accueil. Elle les relie, enfin, aux exigences éthiques et au projet esthétique du surréalismeBenjamin Péret has twice spent long periods of time in Brazil: both at the end of the 1920's and in 1955/56. After leaving Europe to immerse himself in Brazilian cultural roots, he was welcomed by members of the "anthropophagous" movement, conducted by Oswald de Andrade, a movement centered on a mythical figure - the Indian cannibal. His trip resulted in a fundamental discovery: the inner Other: the Black, in its magical, mythical, historical and political dimensions. "Primitive" and salvage poetry, as in the mysterious afro-brazilian rituals, acted as a revelation for him and enabled him to develop a theory about primitivism as deeply rooted in Consciousness and linked with the dynamic of life. During his second stay, Péret continued his explorations and focused his writing on a different type of Other: the Autochton. He used different literary genres to express and explore Otherness: critical and historical essay, travel stories, documentaries, poems, sentences, short-stories, and (parody of) myths. This study makes inroads into Péret's Brazilian experiences, highlights the intercultural and intertextual nature of his encounter with Brazil and demonstrates its impact on his own mythology, on his thinking and on his writing, which is always linked with surrealism and its ethical and aesthetical requirements
41
Hill, Terry S., and Terry S. Hill. "Benjamin Britten's Sinfonietta, Opus 1." Diss., The University of Arizona, 1986. http://hdl.handle.net/10150/626234.
Full text
42
Emden, Christian. "Walter Benjamins Archäologie der Moderne : Kulturwissenschaft um 1930 /." München : Wilhelm Fink, 2006. http://www.h-net.org/review/hrev-a0f7v4-aa.
Full text
43
Kim, Youmee. "An analysis and performance guide to Benjamin Lees's Odyssey I and II." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1199061624.
Full text
44
Botelho, Letícia Olano Morgantti Salustiano. "Engajamento e refuncionalização social do teatro: um debate entre Benjamin e Brecht." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-13072018-130157/.
Full textAbstract:
Este trabalho pretende reconstituir o debate entre Benjamin e Brecht durante a década de 1930 em torno da relação entre recursos formais e engajamento político na produção teatral brechtiana do período do fim da República de Weimar. Para isto, realizaremos um estudo de textos e montagens de determinadas peças, buscando trazer à tona, então, questões presentes nos comentários teóricos e interpretações realizadas pelos autores. O percurso deste trabalho divide-se em quatro partes. Primeiramente, nas duas partes iniciais, trataremos da crítica de Brecht à instituição teatral em seu teor ideológico e do início do desenvolvimento de seu projeto de refuncionalização social do aparelho produtivo teatral, bem como do papel da técnica neste contexto, valorizado por Benjamin. Para isso, realizaremos, inicialmente, uma reconstituição do panorama estético-político do período histórico e trataremos dos experimentos com A Ópera dos Três Vinténs e Ascensão e Queda da Cidade de Mahagonny. Em seguida, voltaremo-nos à peça radiofônica e ao Processo dos Três Vinténs, assim como, buscando aprofundar-nos na peça de aprendizagem, analisaremos o caso da peça A Medida. Em uma terceira parte, realizaremos um estudo da peça Um Homem é um homem, central para tal debate e tomada por Benjamin como modelo do teatro épico. Por fim, abordaremos o debate dos autores acerca da parábola em Kafka, a ser confrontada, então, com o trabalho brechtiano com a parábola. Pretende-se mostrar que se há, nas primeiras partes mencionadas, uma grande aproximação das perspectivas dos autores, nas duas últimas partes deste trabalho surgem, sobretudo em torno de uma tensão, de um conflito de compreensões entre a esfera gestual e a forma da parábola, diferentes interpretações do potencial crítico e da efetividade política do teatro épico. As divergências relacionam-se, em última instância, a diferentes compreensões dos vínculos entre arte e política, bem como a diferentes noções de dialética.This work aims to reconstruct the debate between Benjamin and Brecht in the 1930\'s on the relation between formal resources and political engagement in Brecht\'s theatre works during the end of the Weimar Republic. To achieve so we will carry out a study of texts and staging of plays, with a view to surface then issues present in theoretical comments and interpretations by the authors. The path followed by this work is divided in four parts. In the first two parts we will deal with Brecht\'s critique to theatre as institution in its ideological content and with the beginning of the development of his project for social \"refunctioning\" of the theatrical production apparatus, in addition to the role of technique within this context, which is valued by Benjamin. In order to do so we will firstly reconstruct the aesthetical and political panorama of the historical period and consider the experiments with The Threepenny Opera and Rise and Fall of the City of Mahagonny. Subsequently, we will focus on the radio play and on The Threepenny Lawsuit, as well as on his \"learning play\" The Measures Taken. On a third part we will study the play Man equals Man, capital to such debate and understood by Benjamin as \"a model for epic theatre\". Finally, we will tackle the author debate as regards the use of parables by Kafka, which is to be compared to the use of parables by Brecht himself. It is intended to show that if at first there is a great approach of the authors\' prospects, in the last two parts of this work, different interpretations of the critical potential and the political effectiveness of epic theatre appear, especially around a tension, linked to a conflict of understandings between the gestural sphere and the form of the parable. The divergences are related, ultimately, to the different understandings of links between art and politics, as well as to the different notions of dialectics.
45
Beard-Stradley, Cloyce (Cloyce May). "A performer's analysis of Benjamin Britten's Phaedra, dramatic cantata for mezzo soprano and small orchestra, op. 93: a lecture recital, together with three recitals of selected works of H. Purcell, R. Schumann, R. Vaughan Williams, P. Tchaikovsky, G. Fauré, K. Löwe, G. Menotti, S. Barber and others." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc935558/.
Full textAbstract:
A little-known chamber work by Benjamin Britten is the dramatic cantata Phaedra, op.93, for mezzo-soprano and small orchestra. Among his chamber works, the solo cantata was a musical form used only once by Britten, thus making Phaedra unique among Britten's oeuvre. Britten chose a genre that flourished in the seventeenth and eighteenth centuries the cantata - as a vehicle for the story of Phaedra. He employs clear allusions to Baroque music in Phaedra by the use of harpsichord and continuo in the recitatives, ornamentation, and word painting. The text for Britten's setting of Phaedra is a translation of Jean Racine's Phedre by the American poet Robert Lowell. From Lowell's complete play, Britten extracted Phaedra's key speeches that deal with her three confessions of incestuous love for her stepson, Hippolytus. These monologues are set in a series of recitatives and arias that make up the entirety of this chamber cantata. In order to gain complete understanding of Phaedra, this document will begin with an investigation into the historical background of Racine's Phedre and the conventions of French tragedy from which it arose. Lowell's translation method will then be explored in comparison to Racine's play. In turn, Britten's extractions from Lowell's translation will be examined. Further, the baroque elements of the cantata and the compositional ideas inherited by Britten from Henry Purcell will be included. Finally, there will be an inspection of the character of Phaedra and Britten's interpretation through orchestration and melodic choices. Investigation into the background of Phaedra's character through Racine's play and Lowell's translation along with Britten's dramatic interpretation through music is necessary for complete comprehension of her mental state and underlying thoughts in order to bring about an emotionally accurate portrayal of the role. Britten himself labeled Phaedra a "dramatic cantata." Therefore, the drama and its text-musical relationships must be uncovered.
46
Bauer, Markus. "Farbphantasien, Dingallegorese und Raumzeit Studien zur Melancholie bei Walter Benjamin." Wien Zürich Berlin Münster Lit, 2005. http://d-nb.info/98805955X/04.
Full text
47
McKellar, Shannon Colwyn. "Institutional voices : five Britten operas." Thesis, University of Oxford, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.267084.
Full text
48
Choi, Seong-Man. "Mimesis und historische Erfahrung : Untersuchungen zur Mimesistheorie Walter Benjamins /." Frankfurt am Main : P. Lang, 1997. http://catalogue.bnf.fr/ark:/12148/cb37539679x.
Full text
49
Desblache, Lucile Bayer Francis. "Autour d'Albert Herring : recherches sur l'expression de l'humour dans la musique vocale et lyrique de Benjamin Britten /." [Paris] : [L. Desblache], 1987. http://catalogue.bnf.fr/ark:/12148/cb40025218q.
Full text
50
Wagner, Wolfgang Johannes. "Moderne Freiheit zwischen Interesse und Gefühl : eine Untersuchung des politischen Denkens von Benjamin Constant /." Aachen : Shaker, 2001. http://catalogue.bnf.fr/ark:/12148/cb41286339x.
Full text