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Dissertations / Theses on the topic 'Frank Wedekind'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 April 2022

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1

Kim, Koañ-Sun. "Die Lieder in Frank Wedekinds Dramen /." Frankfurt am Main : P. Lang, 1993. http://catalogue.bnf.fr/ark:/12148/cb390127665.

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2

Waldmann, Elinor. "Frank Wedekinds Bismarck : deutschnationale Heldenverehrung oder Dokument subversiver Kritik /." Frankfurt am Main [u.a.] : Lang, 2005. http://www.loc.gov/catdir/toc/fy0716/2007468668.html.

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3

Chon, ChuYoung. "An uninvited party power, gaze, and Wedekind's Lulu /." Oxford, Ohio : Miami University, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1070577246.

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4

Wedekind, Frank [Verfasser]. "Struktur-Funktionsstudien am Insulinrezeptor mittels chemischer Modifizierung / Frank Wedekind." Aachen : Universitätsbibliothek der RWTH Aachen, 2021. http://d-nb.info/1238602339/34.

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5

Moučka, Michal. "Mořic Štíflů, Kníže Myškin, Michal Moučka, F.M. Dostojevskij, Frank Wedekind." Master's thesis, Akademie múzických umění v Praze.Divadelní fakulta. Knihovna, 2013. http://www.nusl.cz/ntk/nusl-172893.

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In my diploma work I describe my own experiences and emocions of me like an actor during playing two theather roles on stage. Fist of them is Moritz Stiefel from drama Spring awakening. These part I rehearse in theatre Komorní scéna Aréna in Ostrava. Second part, wchich I am speaking of is Prince Myshkin, wchich I play in Theatre Petra Bezruče in town of Ostrava too. Because of the fact, that my real life has very comon moments with these two men I include to my diploma work fragments from my own liwing. In last two chapters I write brief facts about F.M. Dostojevskij and about Frank Wedekind.
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6

Müller, Ingo. "Lulu Literaturbearbeitung und Operndramaturgie ; eine vergleichende Analyse von Frank Wedekinds Lulu-Dramen und Alban Bergs Oper Lulu im Lichte gattungstheoretischer Reflexionen." Freiburg, Br. Berlin Wien Rombach, 2010. http://d-nb.info/1000807495/04.

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7

Schümann, Daniel. "Die Suche nach dem "Neuen Menschen" in der deutschen und russischen Literatur der Jahrtausendwende : Frank Wedekins Mine-Haha und Michail Petrovic Arcybasevs Sanin /." München : Sagner, 2001. http://catalogue.bnf.fr/ark:/12148/cb39073526v.

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8

Kyle-Dipietropaolo, Alexander Celeste. "Lighting Design Concept and Development of Spring Awakening By Frank Wedekind." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1306939595.

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9

Whalley, F. A. "The elusive transcendent : the role of religion in the plays of Frank Wedekind." Thesis, Swansea University, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.636582.

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This work demonstrates that Frank Wedekind was preoccupied with Christianity and the search for transcendence, a fact that has been largely overlooked by Wedekind research to date. Using hitherto little-known material (his unpublished notebooks) and close readings of his works, both major and minor, I argue that Wedekind was engaged on a quest to discover the role and purpose of religion in a post-Nietzschean world. His first plays reject conventional beliefs and yet themselves display elements of the search for transcendent value. The Lulu-plays explore the possibility that sexual liberation might provide an answer, but conclude the opposite; Der Marquis von Keith considers whether it is possible or worthwhile to believe in Christianity without God. In Hidalla, Wedekind portrays a Christ-figure for the Wilhelmine era, whose gospel of a new sexual morality is deeply flawed. In this Christ-figure, Karl Hetmann, Wedekind also places elements of himself and this becomes a characteristic of his later plays, in which successive not-quiteWedekind characters seek their own form of transcendence and fail: Buridan, for example, the protagonist of Die Zensur, extols reason but ultimately capitulates to the God of mere superstition. In his last plays, Wedekind presents further versions of himself in Messianic characters who are involved in a cycle of quest and failure within an artistic realm. This suggests that he sees his role as that of martyr to an uncomprehending society: his plays become secular rituals, in which the suffering artist is the redeeming sacrifice necessary for ordinary, bourgeois life to continue; but the impossibility of finding transcendence in any of the strategies developed by his protagonists means he is doomed to repeat the same cycle over and over again.
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10

Murti, Kamakshi P. "Die Reinkarnation des Lesers als Autor ein rezeptionsgeschichtlicher Versuch über den Einfluß der altindischen Literatur auf deutsche Schriftsteller um 1900 /." Berlin ; New York : W. de Gruyter, 1990. http://catalogue.bnf.fr/ark:/12148/cb355109447.

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11

Chon, ChuYoung. "AN UNINVITED PARTY: POWER, GAZE, AND WEDEKIND’S LULU." Miami University / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=miami1070577246.

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12

Ventura, Isabella. "Frühlings Erwachen. Eine Kindertragödie Proposta di traduzione di alcune scene." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2016. http://amslaurea.unibo.it/10620/.

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Questo elaborato si pone l'obiettivo di condurre un'analisi dell'opera teatrale di Frank Wedekind "Frühlings Erwachen. Eine Kindertragödie", oltre che di offrire una proposta di traduzione di alcune scene tratte dal primo atto. Il dramma del 1891 unisce elemento tragico e comico in una critica alla società guglielmina del XIX secolo nella quale adulti e ragazzi si ritrovano a vivere in mondi separati a causa dell'ipocrisia che si cela nel perbenismo borghese. Wedekind, precursore dell'espressionismo quando ancora imperava il naturalismo, rompe il muro di silenzi e bugie che gli adulti hanno eretto per non guardare in faccia alle problematiche della vita e della sessualità che i giovani sono costretti ad affrontare da soli, spesso con conseguenze tragiche.
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13

Pastorelli, Vinícius Marques. "Da irresistível peleja entre piratas e tubarões - um estudo sobre a parceria Brecht/Weill." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-12052015-100649/.

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Sob a perspectiva de um reexame do momento de formação do teatro épico contemporâneo, esta dissertação consiste num estudo sobre o trabalho colaborativo de Bertolt Brecht e Kurt Weill nos anos de 1926 a 1933, com ênfase para o assim chamado teatro de atualidades elaborado pelos artistas. Tomando como linha condutora os três momentos centrais da República de Weimar (a crise de 1919-1923, a estabilização econômica e o craque de 1929) tentamos apreender como lírica, teatro e música confluíram criticamente na criação de um teatro político à altura das questões suscitadas pelo processo histórico de realinhamento capitalista sob o governo de coalizão de esquerda SPD/USPD, bem como de suas complexas implicações na cultura. Para tanto, em diálogo com a crítica literária brasileira e alemã, realizamos uma leitura da obra do jovem Brecht pautada pela questão do reaproveitamento que o dramaturgo fizera da música em seu livro de estreia como lírico, Hauspostille (1927), onde certo veio da cultura urbana anticapitalista dos cabarés da belle époque foi mobilizado, através da influência da lírica e do teatro de Frank Wedekind. Noutro nível, sob a linha condutora do projeto brechtiano de uma ópera culinária, procuramos traçar um apanhado das questões que marcaram a formação da linguagem musical de Kurt Weill, problematizando o desenvolvimento de seu trabalho coletivo com o Novembergruppe, sua abordagem da ópera moderna e da música utilitária e finalmentee seu pensamento sobre as potencialidades estético-políticas do rádio. O trabalho se conclui, enfim, pela análise de três obras da parceria Brecht/Weill: Berliner Requiem (1929), Mahagonny Songspiel (1927) e A ópera dos três vinténs (1928).
Through the perspective of a re-examination of contemporary Epic Theater, this dissertation consists of a study about the collaborative work of Bertolt Brecht and Kurt Weill from 1926 to 1933, centered upon the so called Zeittheater invented by both artists. By following the thread between the three main periods of Weimar Republic (the 1919-1923 political crisis, the stabilization period and the economical crash of 1929) our intention was to understand how Brechts previous lyric poetry, music and theatre enabled the autor to critically incorporate into his political theater matters brought up by the context of capitalistic re-alignment made by the left coalision government of SPD/USPD, as well as the impact of this complex political setting on culture. In order to do so and to maintain a dialoge with both brazillian and german literary criticism, we have sketched a reading of young Brechts work, focused on the appreciation of the influence of Frank Wedekinds lyric poetry and theater where a certain tendence of belle époque anti-capitalistic cabaret culture is registered on Brechts music, mainly through an interpretation of his first poetry book Hauspostille (1927). On another level, we have sketched the central issues that oriented the making of a new musical language by Kurt Weill, especifically the meaning of his collective work with Novembergruppe, his approach on Gebrauchsmusik and modern opera, his essays about aesthetical and political potencialities of radio and how they combined with Brechts project of culinary operas. Lastly this study is concluded by the analysis and interpretation of three different works by Brecht/Weill: Berliner Requiem (1929), Mahagonny Songspiel (1927) and The Threepenny Opera (1928).
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14

Jennefelt, Maria. "Om femme fatalen i Lulu. En monstertragedi : En läsning med Butler, Riviere och Lacan." Thesis, Södertörn University College, School of Gender, Culture and History, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-1148.

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This essay examine the femme fatal and the head character in the play Lulu Eine Monstretra gödie by Frank Wedekind. I have studied Lulu, who would be classified as a femme fatal, in terms to see what kind of woman’s portrait a femme fatal is. I will show with the theories of Judith Butler, Jacques Lacan and Joan Riviere how the femme fatal can be seen as a construc-tion, a role done by men. As well as a strong self owned woman. I will also discuss other con-cepts like femme-inism. My aim with this analysis is not to show one, but many different ways of looking at the femme fatal.

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15

Smith, Jonathan B. "I Get a Thrill from Punishment: Lou Reed's Adaptations and the Pain They Cause." BYU ScholarsArchive, 2014. https://scholarsarchive.byu.edu/etd/4012.

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This paper explores two adaptations by rock musician Lou Reed of the Velvet Underground and Metal Machine Music fame. Reed has always been a complicated and controversial figure, but two of his albums—The Raven (2003), a collaborative theater piece; and Lulu (2011), a collaboration with heavy metal band Metallica—have inspired confusion and vitriol among both fans and critics. However, both adaptations, rich in intertextual references, at once show Reed to be what music historian Simon Reynolds calls a portal figure—offering a map of references to other texts for fans, indicating his own indebtedness to prior art—and to also be an uncompromisingly unique and original artist. This thesis analyzes both The Raven and Lulu and their adaptive connections to their source texts (the collected works of Edgar Allan Poe and the Lulu plays by German modernist Frank Wedekind) through the lens of adaptation theory. Although both albums, especially Lulu, were vilified by fans and critics alike, an exploration of both texts and their sources reveals a more complicated reading of the albums, as well as shedding light on adaptation theory. Reed's adaptations, in particular, offer compelling new insights into notions of fidelity—between an adaptation and its source, as well as between Reed and his career—and also promote alternative forms of listening pleasure, which challenge cultural and music industry boundaries regarding contemporary music. Lou Reed and his adaptive practice occupy a crucial position in the adaptive process, in both rock and heavy metal music.
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16

Harelik, Elizabeth. "“Masculine Stirrings,” “The Bitch of Living,” and “Bodily Filth”: Representations of Adolescence and Adolescent Sexuality in Spring Awakening and its Adaptations." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1337202956.

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17

Libbon, Stephanie E. "Frank Wedekind's fantasy world : a theater of sexuality." Connect to resource, 2000. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1229696568.

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18

Wolff-Thomsen, Ulrike. "Willy Gretor (1868-1923) seine Rolle im internationalen Kunstbetrieb und Kunsthandel um 1900 ; ergänzt um bislang unveröffentlichte Briefe von Willy Gretor an Georg Brandes, Theodor Wolff, Frank Wedekind, Peter Nansen, Alfred Lichtwark, Wilhelm Bode, Agnes Slott-Møller, F. J. Willumsen, Karl Larsen und Max J. Friedländer." Kiel Ludwig, 2003. http://deposit.ddb.de/cgi-bin/dokserv?id=2687234&prov=M&dok_var=1&dok_ext=htm.

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19

Wolff-Thomsen, Ulrike. "Willy Grétor : (1868 - 1923) ; seine Rolle im internationalen Kunstbetrieb und Kunsthandel um 1900 ; ergänzt um bislang unveröffentlichte Briefe von Willy Grétor an Georg Brandes, Theodor Wolff, Frank Wedekind, Peter Nansen, Alfred Lichtwark, Wilhelm Bode, Agnes Slott-Møller, F. J. Willumsen, Karl Larsen und Max J. Friedländer /." Kiel : Ludwig, 2006. http://deposit.ddb.de/cgi-bin/dokserv?id=2687234&prov=M&dok_var=1&dok_ext=htm.

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20

Wolff-Thomsen, Ulrike Gretor Willy Brandes Georg. "Willy Gretor (1868 - 1923) : seine Rolle im internationalen Kunstbetrieb und Kunsthandel um 1900; ergänzt um bislang unveröffentlichte Briefe von Willy Gretor and Georg Brandes, Theodor Wolff, Frank Wedekind, Peter Nansen, Alfred Lichtwark, Wilhelm Bode, Agnes Slott-Møller, F. J. Willumsen, Karl Larsen und Max J. Friedländer /." Kiel : Ludwig, 2006. http://swbplus.bsz-bw.de/bsz121877965inh.htm.

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21

Gericke-Pischke, Bianka-Aimée [Verfasser]. ""Franziska" von Frank Wedekind : die Einwanderung der Zensur in die Konstruktion des Textes / von Bianca-Aimée Gericke-Pischke." 2006. http://d-nb.info/981618758/34.

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22

Riedlinger, Stefan [Verfasser]. "Aneignungen : Frank Wedekinds Nietzsche-Rezeption / Stefan Riedlinger." 2005. http://d-nb.info/974180580/34.

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23

Lue, Hong-Ren, and 呂宏仁. ""Sexualitat" als Thema in Frank Wedekinds Drainen "Fruhlings Erwachen" und "Lulu"." Thesis, 1998. http://ndltd.ncl.edu.tw/handle/55072181219196838296.

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