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Dissertations / Theses on the topic 'Johann Gottfried'

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Published: 4 June 2021
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1

Jaremko-Porter, Christina. "Johann Gottfried Herder and the Latvian voice." Thesis, University of Edinburgh, 2009. http://hdl.handle.net/1842/3292.

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As a young émigré from Königsberg to Riga Johann Gottfried Herder (1744—1803) developed a lifelong interest in the oral poetry of the common people, whose popular song traditions he later entitled Volkslieder. Herder’s affirmation of aesthetic and cultural individuality in his landmark collection of that title (1778-79) had far-reaching implications for the evolution of Latvian and East European folksong scholarship, and these extend to the practices of the present day. Underlying this work are source readings in translation that have been important in considering Herder’s prevailing influence. Pivotal historical episodes demarcate, first, Herder’s philosophical ties to the late nineteenth-century Latvian national awakening, second, to the final years of dissent within the Latvian Soviet Socialist Republic, and finally, to the current practitioner groups (kopas) that espouse ethnic and regional song traditions in a changing cultural milieu. A demonstration from each of Latvia’s four provinces has formed the substance of interviews and recordings in a fieldwork inquiry, which dates from 2000 to 2007. The conclusion evaluates Herder’s cyclical philosophy of history and humanity (Humanitätsideal) in relation to the diverse voices of Latvia’s ethnic minorities.
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2

Herz, Andreas. "Dunkler Spiegel - helles Dasein : Natur, Geschichte, Kunst im Werk Johann Gottfried Herders /." Heidelberg : C. Winter, 1996. http://catalogue.bnf.fr/ark:/12148/cb35855685j.

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3

Frank, Alexa. "Sanftes Gefühl und stille Tiefe der Seele : Herders Indien /." Würzburg Königshausen & Neumann, 2009. http://d-nb.info/994498268/04.

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Grimm, Gunter E. "Johann Gottfried Herders italienische Erlebnisse, vor zweihundert Jahren." Gerhard-Mercator-Universitaet Duisburg, 2002. http://www.ub.uni-duisburg.de/ETD-db/theses/available/duett-08162002-134232/.

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Rapp, Regula. "Johann Gottfried Müthels Konzerte für Tasteninstrument und Streicher /." München : E. Katzbichler, 1992. http://catalogue.bnf.fr/ark:/12148/cb35555704g.

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6

Häfner, Ralph. "Johann Gottfried Herders Kulturentstehungslehre : Studien zu den Quellen und zur Methode seines Geschichtsdenkens /." Hamburg : F. Meiner, 1995. http://catalogue.bnf.fr/ark:/12148/cb37042380z.

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7

Noebel, Daniela A. "The hidden face of racism : Humanität and the monkey : images of otherness in Herder's Ideen zur Philosophie der Geschichte der Menschheit /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2000. http://wwwlib.umi.com/cr/ucsd/fullcit?p9975042.

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8

Löchte, Anne. "Johann Gottfried Herder Kulturtheorie und Humanitätsidee der "Ideen", "Humanitätsbriefe" und "Adrastea"." Würzburg Königshausen und Neumann, 2005. http://deposit.ddb.de/cgi-bin/dokserv?id=2661860&prov=M&dok_var=1&dok_ext=htm.

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9

Gesche, Astrid Helga. "Revolution oder Evolution : Uberlegungen zur geschichtsphilosophischen Betrachtung Johann Gottfried Herders /." Title page and contents only, 1985. http://web4.library.adelaide.edu.au/theses/09AR/09arg389.pdf.

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Hunger, Bernhard. "Spurensuche einer Rezeptionsgeschichte : Alexander von Humboldt und Johann Gottfried Herder." Universität Potsdam, 2009. http://opus.kobv.de/ubp/volltexte/2010/4256/.

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Im Werk Alexander von Humboldts sind Spuren zu Johann Gottfried Herder ebenso vielfältig wie Verweise rar. Der vorliegende Aufsatz richtet unter diesem Aspekt den Blick auf Humboldts Ideen zur Physiognomik der Gewächse (1806), in denen er Herder das erste Mal in einer Veröffentlichung namentlich erwähnt. Zwei Jahre später wird der Text in die Ansichten der Natur (1808 ff.) aufgenommen. In der dritten Auflage der Ansichten (1849) ist Herders Name kurioserweise gestrichen. Die Streichung ist weder inhaltlich noch formal nachvollziehbar. Der historische Kontext der Jahre zwischen 1805 und 1808 legt zudem nahe, dass Humboldts Bezugnahme auf Herder sehr bewusst geschehen sein muss. Anhand des Briefwechsels Humboldts mit dem Historiker Johannes von Müller und weiterer Quellen wird gezeigt, dass sich Humboldt mit Schriften Herders auseinandergesetzt hat. Johannes von Müller, Humboldts Freund und Nachbar in dieser Zeit, zog als Herausgeber der Herderschen Werkausgabe sogar eine direkte Filiation von Herder zu Humboldt.<br>Alexander von Humboldt’s work displays traces of Johann Gottfried Herder which are as multifaceted as the references to the latter are scarce. In light of this aspect, the present essay focuses on Humboldt’s Physiognomy of Plants (1806), in which he explicitly mentions Herder for the first time in a publication. Two years later, the text is incorporated within Aspects of Nature (1808 ff.). In the third edition of Aspects (1849), Herder’s name is curiously omitted. This omission is incomprehensible both in form and content. The historical context characterising the years between 1805 and 1808 suggests that Humboldt’s references to Herder must have been made very deliberately. Humboldt’s correspondence with the historian Johannes von Müller and other sources shows that Humboldt carefully studied Herder’s writings. As the publisher of Herder’s complete works, Johannes von Müller, who was Humboldt’s friend and neighbour at the time, even considered Humboldt to be a direct descendant of the Herder school.
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11

Norkowska, Katarzyna. "Ein vereinnahmter Klassiker? das Goethe-Bild im Werk Gottfried Benns." Dresden Wrocław Neisse-Verl. ATUT, 2009. http://d-nb.info/993928692/04.

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12

Bengtsson, Staffan. "Herders hieroglyf : om den okända metoden i hans författarskap /." Uppsala : Uppsala universitet, 2004. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-4716.

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13

Heinz, Marion. "Sensualistischer Idealismus : Untersuchungen zur Erkenntnistheorie des jungen Herder (1763-1778) /." Hamburg : F. Meiner, 1994. http://catalogue.bnf.fr/ark:/12148/cb35709541d.

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14

Hambsch, Björn. "ganz andre Beredsamkeit" : Transformationen antiker und moderner Rhetorik bei Johann Gottfried Herder /." Tübingen : M. Niemeyer, 2007. http://catalogue.bnf.fr/ark:/12148/cb41471750g.

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Hambsch, Björn. ""... ganz andre Beredsamkeit" Transformationen antiker und moderner Rhetorik bei Johann Gottfried Herder." Tübingen Niemeyer, 2006. http://d-nb.info/985941707/04.

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16

Kindermann, Thorsten. "Poetische Geschichte zum Geschichtsverständnis Hamanns, Herders und Novalis' /." [S.l. : s.n.], 2004. http://deposit.ddb.de/cgi-bin/dokserv?idn=97213624X.

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17

Mayr, Florian. ""Heilige Tetraktys!" Herders metakritische Hermetik." Schaffhausen Novalis, 2003. http://deposit.d-nb.de/cgi-bin/dokserv?id=2837006&prov=M&dok_var=1&dok_ext=htm.

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Sing, Beverly Jung. "Geistliche Vokalkomposition zwischen Barock und Klassik : Studien zu den Kantatendichtungen Johann Gottfried Herders in den Vertonungen Johann Christoph Friedrich Bachs /." Baden-Baden : V. Koerner, 1992. http://catalogue.bnf.fr/ark:/12148/cb36955846h.

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19

Singer, Rüdiger. ""Nachgesang" : ein Konzept Herders, entwickelt an Ossian, der popular ballad und der frühen Kunstballade /." Würzburg : Königshausen und Neumann, 2006. http://catalogue.bnf.fr/ark:/12148/cb40244965p.

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20

Bultmann, Christoph. "Die biblische Urgeschichte in der Aufklärung : Johann Gottfried Herders Interpretation der Genesis als Antwort auf die Religionskritik David Humes /." Tübingen : Mohr Siebeck, 1999. http://catalogue.bnf.fr/ark:/12148/cb39232392c.

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21

Siegele, Ulrich. "Kursächsischer Absolutismus und deutsche Frühaufklärung. Jakob Heinrich von Flemming, Gottfried Lange und Johann Sebastian Bach." Bärenreiter Verlag, 2000. https://slub.qucosa.de/id/qucosa%3A36713.

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22

Girardin, Catherine. "La philosophie de l'histoire par le théâtre dans l'oeuvre de Johann Gottfried Herder (1764-1774)." Thesis, Paris 10, 2020. http://www.theses.fr/2020PA100043.

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Cette thèse étudie comment Johann Gottfried Herder mène une réflexion sur la conceptualisation, l’écriture et les fonctions de l’histoire dans un même mouvement en philosophie de l’histoire et en théâtre. L’interdisciplinarité caractéristique de l’œuvre de l’auteur et l’intégration de l’esthétique et des arts dans sa pensée de l’histoire dans le cadre de l’historisme allemand (Historismus) sont des facteurs qui contribuent à faire de ses propres œuvres dramatiques un espace de réflexion sur l’expérience individuelle et collective du passé, ainsi que sur la position objective et subjective de l’auteur, tant l’historien que le dramaturge. Cette thèse s’applique à regarder non pas seulement dans quelle mesure le théâtre de Herder peut être caractérisé d’ « historique », c’est-à-dire, comment il raconte l’histoire et à quel point il lui est fidèle, mais plus particulièrement comment les deux types ou ethos d’écriture, historique et dramatique, s’influencent chez l’auteur de 1764 à 1774, dans quatre pièces – incluant plans et fragments – dont deux ont été publiées. Le geste de représentation, commun aux récits dramatique et historique, discuté d’un côté en philosophie de l’histoire et en esthétique ; et de l’autre, mis en pratique dans la dramaturgie, est une pierre de touche de l’hypothèse principale de cette thèse, selon laquelle Herder, en écrivant du théâtre, écrit par le fait même une philosophie de l’histoire<br>This dissertation studies how Johann Gottfried Herder reflects on the conceptualization, writing and functions of history in the same movement in philosophy of history and theatre. The interdisciplinarity characteristic of his work and the integration of aesthetics and arts in his understanding of history within the framework of German historicism (Historismus) are factors that contribute to making his own dramatic works a space to reflect on the individual and collective experiences of the past, as well as on the objective and subjective position of the writer, both the historian and the playwright. This dissertation strives to look not only at how Herder’s theatre can be characterized as “historical”, that is, how it tells history and how faithful it is to it, but more particularly at how the two types or ethos of writing, historical and dramatic, influence each other in the author’s work between 1764 and 1774, and in four plays – including outlines and fragments – out of which two have been published. The act of representation, common to both dramatic and historical narratives, discussed on one side in philosophy of history and aesthetics, and on the other, put to practice in playwriting, is a touchstone of the main hypothesis of this dissertation, according to which Herder, by writing theatre, writes a philosophy of history
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23

Kessler, Martin. "Johann Gottfried Herder : der Theologe unter den Klassikern : das Amt des Generalsuperintendenten von Sachsen-Weimar /." Berlin : W. de Gruyter, 2007. http://catalogue.bnf.fr/ark:/12148/cb41152812h.

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Chiang, I.-Fang. "The Sonatas of Johann Gottfried Eckard (1735-1809) and the Evolution of Keyboard Instruments Between 1760 and 1785." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc500148/.

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Johann Gottfried Eckard was a self-trained composer and keyboardist studying with Carl Philipp Emanuel Bach’s Versuch while he lived in Augsburg. Eckard traveled to Paris with the keyboard instrument builder, Johann Andreas Stein, in 1758 and settled in France for the rest of his life. Eckard only composed eight keyboard sonatas and a set of variations on the Menuet d’Exaudet. He published his works during the transitional period from harpsichord to fortepiano. The eight keyboard sonatas incorporated variations of musical styles which included Italian sonata, galant, and empfindsamer stil. His keyboard sonatas influenced his contemporaries including Wolfgang Amadeus Mozart and Johann Schobert. Eckard was one of the early fortepiano composers in France and tried to promote the new instrument, but wrote in the Foreword of six sonatas (op.1), that they were suitable for the harpsichord, the clavichord, and the fortepiano. The six sonatas of op.1 were published in 1763, two years after fortepiano was advertised for sale in the local newspaper. In 1768, the fortepiano was used in a public concert for the first time in Paris. In the aspect of performance practice, both harpsichord and fortepiano used juxtapose during the transitional period, even though the music would sound better on the fortepiano especially the slow movements in Eckard’s sonatas. The early stage of French fortepiano building was influenced by German keyboard instrument builders. In addition to building harpsichords, French builders, Taskin and Goermann, also started building fortepianos. Eckard was highly respected as both a composer and a performer from music critics in his time.
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Fleck, Christina Juliane. "Genie und Wahrheit der Geniegedanke im Sturm und Drang." Marburg Tectum-Verl, 2006. http://deposit.d-nb.de/cgi-bin/dokserv?id=2833709&prov=M&dok_var=1&dok_ext=htm.

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Mirsch, Beate Christine. "Anmut und Schönheit : Schadows Prinzessinnengruppe und ihre Stellung in der Skulptur des Klassizismus /." Berlin : Deutscher Verlag für Kunstwissenschaft, 1998. http://catalogue.bnf.fr/ark:/12148/cb38990589v.

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27

Rehm, Patricia. "Herder et les Lumières : essai de biographie intellectuelle." Dijon, 2003. http://www.theses.fr/2003DIJOL030.

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Paasch, Kathrin. "Die Bibliothek des Johann Christian von Boineburg (1622 - 1672)." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät I, 2003. http://dx.doi.org/10.18452/14917.

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Der gelehrte Politiker und Diplomat Johann Christian von Boineburg baute seit seiner Jugend eine umfangreiche Bibliothek auf, die mit mehr als 10.000 Titeln zu den großen privaten Sammlungen des 17. Jahrhunderts zählte.Inhalt und Struktur der Boineburgica zum Zeitpunkt seines Todes sind durch einen Katalog bekannt, den der junge Gottfried Wilhelm Leibniz erstellte. Durch die Stiftung seines Sohnes, Philipp Wilhelm von Boineburg, wurde die Bibliothek in weiten Teilen für die Nachwelt erhalten. Auf der Grundlage des überlieferten Buchbestandes und des erhaltenen Kataloges der Bibliothek sowie des heute bekannten Briefwechsels entwirft die Arbeit ein Bild des Büchersammlers und -lesers Boineburg in seiner Zeit. Die Einbeziehung der überlieferten Drucke mit ihren handschriftlichen Einträgen ermöglicht die Rekonstruktion der Genese der Sammlung und die Analyse der Textaneignung durch ihren Besitzer. Gezeigt wird, inwieweit Boineburgs produktive Interessen und seine wissenschaftlichen Ambitionen neben seiner beruflichen politischen Tätigkeit und seinen mäzenatischen Aktivitäten die Zusammensetzung seiner Bibliothek begründen. Deutlich wird dabei auch Boineburgs Verwurzelung im Späthumanismus insgesamt. Im Kontext der privaten Büchersammlungen der Respublica literaria zwischen dem Dreißigjährigen Krieg und dem Beginn des letzten Drittels des 17. Jahrhunderts werden die individuellen Merkmale von Boineburgs polyhistorisch ausgerichteter Bibliothek dargestellt.<br>As a young man the politician and diplomat Johann Christian von Boineburg started to collect books. At the end of his life this collection with its 10,000 titles was one of the largest private collections of the seventeenth century. Today the content and the structure of the Boineburgica are known by a catalogue which was developed by the young Gottfried Wilhelm Leibniz. By the donation of Boineburgs son Philipp Wilhelm the library was received until today. The dissertation sketches a picture of the book collector and reader Boineburg based on the volumes, the catalogue of the library as well as Boineburgs correspondance that remained till today. The use of the volumes with the handwritten notes of Boineburg makes it possible to reconstruct the increase of the collection and to analyse how Boinebur was reading his books. It is shown to what extent Boineburgs interests, his political activity and his activities as a patron cause the content of his collection. His rootage tin the late humanism becomes evident. The characteristics of the library of the polymath Boineburg are described.
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Duschl, Christiane. "Der "Catalogus librorum" des Stuttgarter Buchhändlers Johann Gottfried Zubrodt eine Untersuchung über die Meßkataloge der Fasten- und der Herbstmesse 1677 /." [S.l. : s.n.], 2003. http://www.bsz-bw.de/cgi-bin/xvms.cgi?SWB11675815.

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Penteado, André G. Biesczad. "Kant e Herder : duas Aufklärungen." reponame:Repositório Institucional da UFPR, 2017. http://hdl.handle.net/1884/49372.

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Orientador: Prof. Dr. Vinicius Berlendis de Figueiredo<br>Autor não autorizou a inclusão na Biblioteca Digital<br>Tese (doutorado) - Universidade Federal do Paraná, Setor de Ciências Humanas, Programa de Pós-Graduação em Filosofia. Defesa: Curitiba, 14/08/2017<br>Inclui referências : f. 82-84<br>Resumo: Palavras-Chave: Kant, razão, juízo, reflexão, Herder, linguagem, história, Crítica da razão pura, metacrítica, Ensaio sobre a origem da linguagem. O objetivo de nosso trabalho é defender que há, nas filosofias de Kant e Herder, dois gestos teóricos distintos em relação à linguagem, mostrando que tal diferença é fundamental para se compreender a maneira como os dois filósofos se posicionam frente ao conhecimento empírico-histórico na Crítica da razão pura, no Ensaio sobre a origem da linguagem e em Uma Metacrítica à Crítica da Razão Pura.<br>Abstract: Key Words: Kant, reason, judgment, system, Herder, Essay on the Origin of Language, Critique of Pure Reason, metacritic, language. The goal of our work is to argue that there are two distinct theoretical gestures regarding language in Kant and Herder's philosophies. We claim that such difference is fundamental to understand their philosophical positions regarding empirical-historical knowledge in the Critique of Pure Reason, in the Essay on the Origin of Language and in the A Metacritique on the Critique of Pure Reason.
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Pénisson, Pierre. "Les langues et la philosophie dans l'oeuvre de J. G Herder." Paris 8, 1993. http://www.theses.fr/1993PA080773.

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La production herderienne rassemble sous le nom de humanite ce qui est diachroniquement &amp; synchroniquement separes. Aux categories philosophiques metahistoriques, metalinguistiques elle entend substituer une philosophie d la traduction dont l'element historique est la langue maternelle, allemande en l'occurrence. De la s'expliquent et l'importance de herder dans l'histoire de la culture germanique et son obliteration soit par l'oubli soit par des instrumentalisations incompatibles avec son oeuvre<br>In the name of 'humanity' herder's works pull together the diachronically and synchronically separed. He replaces the metahistorical and metalinguistic categories with a philosophy of translation, the essential historical of which is the mothertongue, namly german. Hence the importance of herder for german culture ; yet his work has been ignored and forgotten, having been used in ways that are cinompatible with its broader philosophical claims
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Hermann, Konstantin. "Drei Bände aus der Bibliotheca Herderiana." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2006. http://nbn-resolving.de/urn:nbn:de:swb:14-1156336708949-03104.

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Domingues, Melissa Sofner 1990. "Gretchen am Spinnrade : um estudo analítico-interpretativo de quatro Lieder compostos sobre o mesmo poema de J. W. von Goethe." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284624.

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Orientador: Adriana Giarola Kayama<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-25T18:27:46Z (GMT). No. of bitstreams: 1 Domingues_MelissaSofner_M.pdf: 9593128 bytes, checksum: 711d2f83f4953c663a8135590bbcf06b (MD5) Previous issue date: 2014<br>Resumo: Música e poesia. Como as duas artes interagem, que significados são criados, reiterados, modificados e como a performance se constrói e se enriquece a partir desta interação é a reflexão que impulsiona o presente trabalho. Propomos uma análise músico-textual visando a interpretação e performance de quatro Lieder do período Romântico construídos sobre o poema Gretchen am Spinnrade de J. W. Goethe. Serão contempladas as canções dos compositores Louis Spohr (Gretchen), Franz Schubert (Gretchen am Spinnrade), Carl Loewe (Meine Ruh ist hin), e Richard Wagner (Meine Ruh ist hin). Para isso, é feita uma introdução sobre o gênero Lied e sobre o poeta. Em seguida, é proposta uma análise literária do poema, que servirá de base para a interpretação das canções. São abordados aspectos conteudísticos e formais do texto, assim como sua contextualização dentro da peça Fausto I, de que foi extraído. Em seguida, é feita uma análise musical das obras, com foco nas relações texto-música presentes e contemplando aspectos tanto da linha vocal quanto do acompanhamento. Ao longo da análise são feitas sugestões interpretativas baseadas nas relações texto-música<br>Abstract: Music and Poetry. How the two art forms interact, what meanings are created, emphasized, modified and how the performance is built and enriched from this interaction is the reflection that impels the present work. A text-music analysis aiming towards the interpretation and performance of four Lieder - settings from the Romantic period of the poem Gretchen am Spinnrade from J. W. Goethe is presented here. The settings of Louis Spohr (Gretchen), Franz Schubert (Gretchen am Spinnrade), Carl Loewe (Meine Ruh ist hin), e Richard Wagner (Meine Ruh ist hin) will be approached. After introductory considerations about the genre Lied and about the poet are made, an analysis of the poem is presented, which will ground the interpretation of the songs. Content and formal aspects of the text are considered, as well as its contextualization in the play Faust I, from where it was extracted. Afterwards, a musical analysis of the songs is presented, focusing on the existing text-music relations and taking aspects from the vocal line as well as the accompaniment into consideration. During the analysis interpretative suggestions are made, based on the text-music relations<br>Mestrado<br>Praticas Interpretativas<br>Mestra em Música
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Pezzoli-Bonneville, Christine. "Vie intellectuelle et Lumières à Darmstadt entre 1700 et 1774 : baroque, empfindsamkeit et sturm und drang." Paris 4, 2000. http://www.theses.fr/1999PA040275.

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La ville Darmstadt connait un éclat littéraire éphémère entre 1770 et 1774. En 1770, Herder y rencontre sa future femme ainsi qu'un fonctionnaire, Merck, dont la grande intelligence lui fournit un nouveau correspondant de valeur. Merck se forme alors à la critique littéraire et découvre le monde de l'Empfindsamkeit puis du Sturm und Drang. Il entraine avec lui le petit groupe d'amis qui l'entoure. Le culte de l'Empfindsamkeit dans la ville culmine en 1771 avec la première publication d'un recueil d'odes de Kiopstock. En 1772, Merck et Goethe, qui se lient en partie grâce à Herder, diffusent leurs idées grâce aux annonces littéraires de Francfort qui deviennent pendant un an l'organe du Sturm und Drang. Poussé par Merck, Goethe publie également ses premières oeuvres. Certains ont ainsi suggéré à tort que Darmstadt préfigure ce qu'allait devenir Weimar par la suite. La landgrave caroline, tout en connaissant le développement de la littérature allemande, est en réalité imprégnée de culture française et est alors préoccupée par des problèmes dynastiques. Le bref rayonnement de Darmstadt provient de la rencontre de Merck avec Herder puis Goethe. Les textes laissés par Merck nous montrent un esprit caustique mais ouvert, tolérant et dénué de malveillance, contrairement à la réputation qui lui fut faite par la suite. Cette période de fermentation intellectuelle se clôt par le départ de Merck pour la Russie à la suite de la landgrave. Darmstadt retombe dans la grisaille. Une nouvelle période commence à son retour en 1774. Herder a rompu avec lui. Goethe a évolué et commence à s'éloigner. Merck se tourne vers les journaux à l'extérieur, comme vers la bibliothèque générale allemande, et surtout le mercure allemand à Weimar.
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Schaefer, Dennis. "Modernity's Pact with the Devil: Goethe's Faust, Keller's Romeo und Julia auf dem Dorfe, and Storm's Der Schimmelreiter as Tales of Forgetting." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1524055438594112.

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Reid, Christopher W. "Invested identities : the economics of self-development in the "Bildungsroman" /." Ann Arbor, Mich : UMI, 2008. http://opac.nebis.ch/cgi-bin/showAbstract.pl?sys=000252601.

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Brooks, Jonathan. "Imagined Sounds: Their Role in the Strict and Free Compositional Practice of Anton Bruckner." Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-6132.

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Picon, Marina. "Normes et objets du savoir dans les premiers essais leibniziens." Thesis, Lyon, École normale supérieure, 2015. http://www.theses.fr/2015ENSL1058.

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La doctrine leibnizienne de la science repose-t-elle sur une théorie de la connaissance? Après avoir montré, dans des travaux préalables, qu’une telle dépendance ne se rencontre pas dans l’œuvre de la maturité, nous nous intéressons ici aux premiers écrits de Leibniz. La Nova Methodus discendae docendaeque Jurisprudentiae (1667) dresse, suivant l’exemple de Bacon, un inventaire raisonné des disciplines que doit réunir la nouvelle encyclopédie. Comme dans les projets leibniziens ultérieurs, cet inventaire est précédé de la distinction entre types de savoir en fonction des critères logiques selon lesquels les propositions se répartissent entre histoires, observations et théorèmes. Nous nous attachons en particulier à la définition de ceux-ci comme propositions « démontrables ex terminis ». Cette norme de la science étant posée, quels fondements in re Leibniz entend-t-il donner au savoir démonstratif ? Prenant pour fil conducteur sa polémique avec l’humaniste Marius Nizolius, nous étudions sa tentative pour fonder la validité des propositions de vérité éternelle sur des universaux subsistant indépendamment de l’existence des individus. Ce n’est cependant que dans les premiers écrits parisiens (1672-1673) que se dégage sa réponse définitive à ce problème : apparue d’abord comme un autre nom de la signification qu’« exprime » une définition, la notion d’idée y prend consistance en tant qu’archétype subsistant en Dieu. Les principaux traits de la théorie leibnizienne de la science sont ainsi fixés, indépendamment de toute « doctrine de l’entendement »<br>Does Leibniz’s doctrine of demonstrative knowledge rest upon a theory of cognition? Having shown in previous articles that such was not the case in his mature works, we now turn to his early writings. The Nova Methodus discendae docendaeque Jurisprudentiae (1667) contains a reasoned inventory of the disciplines that should constitute the new encyclopaedia. As in later projects, Leibniz precedes this inventory with a classification of the types of knowledge based on the logical criteria according to which propositions are divided in histories, observations and theorems. Particular attention is given to the definition of the latter as propositions « demonstrable ex terminis ».This norm of scientific necessity once defined, what real (in re) foundation does Leibniz give to demonstrative knowledge? Following the various threads offered by his polemic against the Italian humanist Marius Nizolius, we study Leibniz’s attempt to ground the validity of propositions of eternal truth on universals subsisting independently of the existence of individuals. But one has to wait until the first Paris writings (1672-1673) to see the emergence of his mature answer to that problem: first conceived after the model of the significatio which a definition « expresses », the notion of idea reaches its latter ontological status as an archetype subsisting in God’s mind. The principal features of Leibniz’s theory of demonstrative knowledge are thus in place, prior to and independently of what he will later call his « doctrine of the understanding »
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Yescas, Martinez Ma Del Rocio. "Le ton de l'âme : l'image et l'imagination chez J.G. Hamann et J.G. Herder." Thesis, Strasbourg, 2018. http://www.theses.fr/2018STRAC036/document.

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Dans cette thèse nous abordons la relation entre l’image et l’imagination chez Johann Georg Hamann (1730-1788) et Johann Gottfried Herder (1744-1803). La particularité de leur approche est la mise en cause de l’étroite liaison de l’image et sensibilité et la notion de l’image comme langage. Dans les ouvrages qui constituent le corpus de notre travail, il est possible de discerner trois sphères de réflexion où l’image a une importance si déterminante : la religieuse, la philosophique et la rhétorique. Dans Aesthetica in nuce (1762) et Vom Erkennen und Empfinden der menschlichen Seele (1774, 1775, 1778) se trouvent les prémisses du tournant épistémique que vise la perspective réductionniste et rationaliste de la connaissance. Dans ce tournant l’image acoustique et l’imagination gagnent une place essentielle<br>The tone of the soul. The image and the imagination in Johann Georg Hamann and Johann Gottfried Herder, addresses the relationship between image and imagination in the thought of J.G. Hamann and J.G. Herder. The singularity of the approach of both german philosophers is the close connection of the image and sensibility and the definition of the image as language. The work of Hamann Aesthetica in nuce (1762) and the work of Herder, Vom Erkennen und Empfinden der menschlichen Seele (1774, 1775, 1778) represent a new epistemological model that is based on the holistic view of human being. In this model, the image acoustic and the imagination becomen the tow arguments for the assumption that the images and the activity of imagination create all knowledge of the world
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Jesus, Paulo Renato Cardoso de. "Poétique de l'ipse : temps, affection et synthèse dans l'unité du Je théorique kantien." Paris, EHESS, 2006. http://www.theses.fr/2006EHES0096.

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Le « Je théorique » kantien constitue une unité sémantique unifiante qui se produit de façon epigénétique. Ainsi cette fonction cognitive spontanée - poïétique - s'avère-t-elle à la fois irréductible à une simple « forme logique » et non-assimilable à une « entité substantielle ». Le « Je pense », l'aperception transcendantale, est un pouvoir-force morphogénétique qui se déploie sur le mode d'un processus continu de synthèse virtuellement infini dont la visée est la production d'un système organique de connaissance. Sa modalité logique est la nécessité et sa manière d'agir est méta-phénoménologique ; « devoir pouvoir accompagner toutes mes représentations », signifie « instituer la forme-acte de toute représentation », à savoir son appartenance à un seul et même moi. En pensant Kant avec Hume, Leibniz et Fichte, cette étude tente d'élucider l'instabilité inévitable du passage critique à un Cogito postmétaphysique<br>The Kantian "theoretical I" constitutes a unifying semantic unity wich produces itself epigenetically. Thus, this spontaneous - poetic - cognitive function appears to be both irreducible to a mere "logical form" and non-identifiable with a "substantial entity". The "I think", transcendental apperception, is a morphogenetic power-force wich unfolds as a continuous - virtually infinite - process of synthesis whose aim is the production of an organic system of knowledge. Its logical modality is necessity and its manner of acting is metaphenomenological ; "to must be capable of accompanying all my representations" means "to institute the act-form of all representation as such", namely their belonging to one and the same self. By questioning Kant with Hume, Leibniz and Fichte, this research attempts to elucidate the inevitable instability of the critical transition to a postmetaphysical Cogito
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Traugott, Johannes Philipp [Verfasser], Gottfried [Akademischer Betreuer] Sachs, Oliver [Akademischer Betreuer] Montenbruck, and Florian [Akademischer Betreuer] Holzapfel. "Precise Flight Trajectory Reconstruction Based on Time-Differential GNSS Carrier Phase Processing / Johannes Philipp Traugott. Gutachter: Gottfried Sachs ; Oliver Montenbruck ; Florian Holzapfel. Betreuer: Gottfried Sachs." München : Universitätsbibliothek der TU München, 2011. http://d-nb.info/1013435400/34.

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Peterson, Rebecca C. (Rebecca Carol). "Early Educational Reform in North Germany: its Effects on Post-Reformation German Intellectuals." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc278681/.

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Martin Luther supported the development of the early German educational system on the basis of both religious and social ideals. His impact endured in the emphasis on obedience and duty to the state evident in the north German educational system throughout the early modern period and the nineteenth century. Luther taught that the state was a gift from God and that service to the state was a personal vocation. This thesis explores the extent to which a select group of nineteenth century German philosophers and historians reflect Luther's teachings. Chapters II and III provide historiography on this topic, survey Luther's view of the state and education, and demonstrate the adherence of nineteenth century German intellectuals to these goals. Chapters IV through VII examine the works respectively of Johann Gottfried Herder, Georg Wilhelm Friedrich Hegel, Leopold von Ranke, and Wilhelm Dilthey, with focus on the interest each had in the reformer's work for its religious, and social content. The common themes found in these authors' works were: the analysis of the membership of the individual in the group, the stress on the uniqueness of individual persons and cultures, the belief that familial authority, as established in the Fourth Commandment, provided the basis for state authority, the view that the state was a necessary and benevolent institution, and, finally, the rejection of revolution as a means of instigating social change. This work explains the relationship between Luther's view of the state and its interpretation by later German scholars, providing specific examples of the way in which Herder, Hegel, Ranke, and Dilthey incorporated in their writings the reformer's theory of the state. It also argues for the continued importance of Luther to later German intellectuals in the area of social and political theory.
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Makovský, Jan. "Markýz de l'Hospital a Analýza nekonečně malých." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040061/document.

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Bien que ma dissertation de thèse consiste essentiellement en trois pièces de nature assez distincte (il s'agitde la traduction en tchèque de l'Analyse des infiniment petits, son commentaire et l'étude d'introduction),cependant, je subsume le tout sous une idée unificatrice de la loi de continuité leibnizienne qui régit le systèmede symboles au fondement du calcul différentiel. Quant à la première partie, elle décrit premièrement l'histoire dela vie du marquis de l'Hospital dite « officielle» ou bien « académique » due à l'Éloge de Bernard de Fontenellequi sert de l'arrière-plan de la seconde partie, de l'étude introductrice, du portrait « caché», consistant en l'analysedes succès géométriques du marquis, des solutions de problèmes physico-géométrique célèbres en comparaisonde celles de Jean Bernoulli, son jeune précepteur – fondée bien évidemment sur la correspondance mutuelle. Enraison de la nature du calcul leibnizienne tant physique que géométrique je démontre que c'était précisément lapureté géométrique de son esprit qui faisait obstacle à l’invention géométrique du marquis. En deuxième lieu jeprésente la description des controverses qui ont éclaté entre Leibniz et Nieuwentiijt sur la questions de fondementdu calcul, tout en précisant sur les écrits leibniziennes la nature symbolique ambiguë de différentielles. L'autrecontroverse, entre Rolle et Varignon, sert à décrire les contrainte institutionnelles du développement du calculaussi que les explication fondatrices de la part de Varignon qui indique la futur transformation newtonienne ducalcul infinitésimal. Enfin le commentaire, d'après ladite idée unificatrice, marque sur des exemplesmathématiques la transformation algébrique de la géométrie grecque pendant le XVIIe siècle tout en illustrant lesarticles de l'Analyse et comparant ses sources bernoulliennes<br>The basis of my dissertation consists in three rather distinct parts, that is Czech translation, a commentaryand introduction to the famous Analyse des infiniment petitis by marquis the l'Hospital. Nevertheless I unify thewhole in virtue of the leibnizien metaphysical idea of the law of continuity governing the symbolic systemfundamental to the differential calculus of Leibniz. Concerning the first part of the introduction I represent the socalled academical or official picture of marquis de l'Hospital based on the Éloge by Bernard de Fontenelle. I usethis picture as a background to the so called hidden picture of the marquis, which consists in the analysis of thephysico-geometrical problems solved by the marquis de l'Hospital in comparison to those of Johann Bernoulli,based naturally on the correspondence of the two of them. I demonstrate, regarding the nature of the calculusboth physical and geometrical, that it was precisely the geometrical purity of his mind had forbidden him to makeinventions in geometry, unlike Johann Bernoulli. In the third part I describe the controversies that made part ofthe development of the calculus; firstly the controversy between Nieuwentijt and Leibniz concerning thefundamental questions of calculus. I precise on this occasion my views on the nature of leibnizian calculus asstated above, that is ambiguous symbolism of differentials. The second controversy, between Rolle and Varignonputs forward institutional obstacles of the development of the calculus as well as the foundational attempts madeby Varignon that indicated the future transformation of the calculus according to the spirit of Newton. Finally thecommentary, by the symbolic idea above, indicates the algebraical shift of the 17th century geometry; illustratesarticles of the Analyse des infiniment petits and shows the dependence on Bernoulli's inventions<br>Práce je věnována přelomové, epochální práci prvního období infinitesimálního počtu, Analyse desinfiniment petits Guillauma, markýze de l'Hospitala. Dělí se na tři podstatné části: překlad, komentář a úvodnístudii. Účelem je představit toto dílo v jeho jedinečných okolnostech jeho vzniku a zároveň určit jeho obecnémísto v dějinách matematických idejí. Úvodní studie je věnována především osobnosti markýze de l'Hospitala.Na pozadí rozvoje infinitesimálního počtu se vykresluje jeho po dlouhou dobu oficiální obraz v dějináchmatematiky. V druhé části se rozebírá blízký lidský i matematický vztah markýze de l'Hospitala s JohannemBernoullim; a na základě rozboru markýzových geometrických úspěchů se ve srovnání s řešeními JohannaBernoulliho, bratra Jakoba a Leibnize se podává obecná charakteristika prvního infinitesimálního počtu cobygeometrické i fyzikální teorie a možností jeho objevitelských cest prostřednictvím analogií založených nanejzazším požadavku harmonie přírody. Třetí část úvodní studie v historických souvislostech sporů a výměnstran základů diferenciálního počtu objasňuje z hlavní ideje Leibnizovy symbolické přírody, totiž zákonakontinuity, povahu diferenciálního znaku dx, jeho radikální novost a argumenty ospravedlnění přesnostiinfinitesimálního počtu. Druhá kontroverze, která je v práci představena, probíhá mezi Rollem a Varignonem;podstatnými rysy jsou institucionální podmínky rozvoje počtu a Varignonovy pokusy o důkazy nekonečněmalých v Newtonově duchu. Komentář Analýzy nekonečně malých slouží k historickému, filologickému afilosofickému objasnění nových metod a dokládá utváření Analýzy nekonečně malých z jejích zdrojů, tj.přednášek Johanna Bernoulliho markýzi de l'Hospitalovi a jejich dopisové výměny
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44

Ragni, Alice. "L’oggetto in generale. L’orgoglio dell’ontologia da Clauberg a Leibniz." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040105.

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Par le néologisme ontologia (1606), on indique à l’époque moderne la science générale, autre que la théologie, dont l’objet est l’ens quatenus ens est avec ses propriétés transcendantales. De cette tradition, qui voit le jour dans le cadre de la Schulmetaphysik, ce travail examine l’âge « post-claubergien », c’est à dire les années qui suivent la diffusion et la réception de l’Ontosophia (1647) de Johannes Clauberg et notamment la troisième et dernière édition de son écrit, la Metaphysica de ente (1664), qui témoigne de son adhésion au cartésianisme. Cette phase de la Schulmetaphysik est marquée par la question de l’organisation de la métaphysique sur la base de la « dissociation », non plus de la « partition », entre la doctrine générale de l’étant (ontologia ou ontosophia) et la science des substances immatérielles (pneumatica ou pneumatologia). Cette « canonisation » de l’ontologie est attestée dans les lexiques philosophiques, mais elle est confirmée aussi par les critiques qui sont adressées à l’« ontologisation » de la métaphysique et jusqu’au rejet leibnizien de l’ontologie. Les traités d’ontologie suivent la tendance à une restriction de leur objet selon son fundamentum in re (« ontologie réelle ») ou à une extension de cet objet au pure intelligibile (« ontologie noétique »). On examine en dernier lieu la question de l’identité de l’ontologie et de la prima philosophia et, de celle-ci, le caractère de science post-physique. En ce sens, Jean-Baptiste Du Hamel et Ehrenfried Walter von Tschirnhaus, figures étrangères au contexte réformé et protestant, s’engagent dans des tentatives originales de légitimation non seulement « horizontale » (formelle), mais aussi « verticale » (subjective) de l’ontologie<br>In early modern philosophy the neologism ontologia (1606) comes to indicate the general science, other than theology, whose object is the ens quatenus ens est, along with its transcendental properties. The present work analyses the “Post-Claubergian” period of the ontology tradition, which originated in the Sculmetaphysik context. These were the years that followed the circulation and reception of Johannes Clauberg’s Ontosophia (1647) and what would become its third and last edition, Metaphysica de ente (1664), which included the new elements of Clauberg’s Cartesianism. This period of the Schulmetaphysik is connected mainly to the question of the organization of metaphysics, based on the “dissociation”, and no longer “partition”, between the general science of being (ontologia or ontosophia) and the science of immaterial substances (pneumatica or pneumatologia). The “canonization” of ontology is attested by philosophical lexicons, but also by the criticism directed to the “ontologization” of metaphysics, up to Leibniz’s refusal of ontology. Treatises of ontology tend to limit their object on the basis of its fundamentum in re (“real ontology”) or to extend it to the pure intelligibile (“noetic ontology”). Finally, this study considers the question of the identity of ontology with prima philosophia and the nature of this latter as a post-physical science. In this sense, Jean-Baptiste Du Hamel and Ehrenfried Walter von Tschirnhaus, both stranger to the Protestant and Riformed scolastic context, provide an original attempt to establish ontology not only “horizontally” (formally), but also “vertically” (subjectively)
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45

Heinzler, Felix Alexander [Verfasser], Johannes [Akademischer Betreuer] Wortberg, and Gottfried W. [Akademischer Betreuer] Ehrenstein. "Modellgestützte Qualitätsregelung durch eine adaptive, druckgeregelte Prozessführung beim Spritzgießen / Felix Alexander Heinzler. Gutachter: Gottfried W. Ehrenstein. Betreuer: Johannes Wortberg." Duisburg, 2015. http://d-nb.info/1065180004/34.

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46

Löhr, Sascha [Verfasser], and Peter [Akademischer Betreuer] Kremsner. "Nachweisgrenzen der Mikroskopie von Plasmodium falciparum in einem endemischen Malariagebiet Zentralafrikas / Sascha Johannes Zo-Ri Löhr ; Betreuer: Peter Gottfried Kremsner." Tübingen : Universitätsbibliothek Tübingen, 2015. http://d-nb.info/1197057668/34.

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Löhr, Sascha Johannes Zo-Ri Verfasser], and Peter [Akademischer Betreuer] [Kremsner. "Nachweisgrenzen der Mikroskopie von Plasmodium falciparum in einem endemischen Malariagebiet Zentralafrikas / Sascha Johannes Zo-Ri Löhr ; Betreuer: Peter Gottfried Kremsner." Tübingen : Universitätsbibliothek Tübingen, 2015. http://d-nb.info/1197057668/34.

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48

Batista, Miguel. "Bildung and initiation : interpreting German and American narrative traditions." Thesis, University of St Andrews, 2003. http://hdl.handle.net/10023/14616.

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This thesis is divided into two main parts. The first, comprising the three initial chapters, looks, in chapter one, at the specifically German origins of the Bildungsroman, its distinctive features, and the difficulties surrounding its transplantation into the literary contexts of other countries. Particular attention is paid to the ethical dimension of the genre, i.e. to the relation between the individual self and the exterior world, and how it affects individual formation. The focus then shifts to American literature, and the term 'narrative of initiation' is recommended as a credible alternative to 'Bildungsroman'. Allowing for similarities between them, it is none the less strongly suggested that the Bildungsroman of German origin and the American narrative of initiation should be seen as being intrinsically different, principally because of the different cultural backgrounds that shaped them. Several features of the theme of initiation are postulated as decisive factors in the discrepancies between the initiatory narrative and the Bildungsroman. Analysis of six texts - three of each literary tradition - follows, to provide support for the theoretical discussion of the terms introduced in chapter one. Three Bildungsromane are considered in the second chapter, namely Goethe's Wilhelm Meisters Lehrjahre, Stifter's Der Nachsommer and Keller's Der grune Heinrich, and three narratives of initiation in chapter three: Twain's The Adventures of Huckleberry Finn, Crane's The Red Badge of Courage and Anderson's Winesburg, Ohio. Their relevance to the tradition of German and American fiction as a whole and as precursors of Mann's Der Zauberberg and Hemingway's The Nick Adams Stories is considered. A direct comparison between Mann's and Hemingway's texts constitutes the second part of this thesis, wholly contained in chapter four. In addition to a comprehensive critical reading of both narratives, the contemporaneity of Der Zauberberg and The Nick Adams Stories is taken into account, and consequently special consideration is given to the texts' close relation with the cultural and historical realities of the early twentieth century, particularly the impact of the First World War. With the assistance of Jung's theories, an increased awareness of death and of the dark side of the psyche - though dealt with differently in both texts - is put forward as a significant factor in the deviation of Der Zauberberg and The Nick Adams Stories from the traditions of the Bildungsroman and of the narrative of initiation. This departure leads to a re-appraisal of the relation between the protagonists and their society, and to a new ethical attitude that presupposes different, more modem conceptions of what Bildung and initiation represent in the context of the early twentieth century. How and why they changed and if they survived as literary notions are questions this thesis attempts to answer.
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49

Huber, Christoph. "Die Aufnahme und Verarbeitung des Alanus ab Insulis in mittelhochdeutschen Dichtungen : Untersuchungen zu Thomasin von Zerklære, Gottfried von Straßburg, Frauenlob, Heinrich von Neustadt, Heinrich von St. Gallen, Heinrich von Mügeln und Johannes von Tepl /." Zürich ; München : Artemis Verlag, 1988. http://catalogue.bnf.fr/ark:/12148/cb373831773.

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50

Lèbre, Jérôme. "Hegel et la critique de l'analyse." Paris 1, 1999. http://www.theses.fr/1999PA010582.

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Généralement considérée comme un moment mineur de la méthode hégélienne, l'analyse occupe pourtant une place étrange dans l'ensemble du système spéculatif. Cette activité qui décompose des représentations, des objets ou des concepts est à l'origine des faux départs et des faux mouvements de la réflexion ; mais elle permet également de condenser logiquement les acquis de l'anthropologie, dévoilant l'appropriation du monde extérieur par un sujet vivant et connaissant. Enfin, elle offre une vue originale sur la dialectique elle-même. La présente étude tente de mettre au clair la relation entre plusieurs couples célèbres (analyse et synthèse bien sûr, mais aussi analyse représentative et analyse empirique, jugement et méthode analytique, analyse finie et infinie) en laissant une large place au dialogue entre Hegel et d'autres penseurs (principalement Locke, Leibniz, Kant et Bergson). Elle accorde une attention particulière a deux paradoxes : premièrement l'analyse est d'une telle immanence qu'elle rend compte de son objet par une suite de propositions identiques, et n'explique donc rien. Deuxièmement, elle est si formelle qu'elle semble valable pour tout type d'objets, mais dénature la singularité de chacun. En articulant logique et méthode, on voit comment Hegel fonde ces paradoxes sur la genèse réelle de la connaissance, les justifie au nom de la lutte contre les totalités indécomposables et les déjoue : il montre en effet que l'analyse infinie ne dégage pas des caractéristiques abstraites, mais sélectionne les moments ou les œuvres rendent compte de leurs auteurs, les points où s'expriment des décisions individuelles, libres et nécessaires<br>Analysis is generally considered to be a minor moment in the hegelian method. It assumes, however, a strange role in the overall hegelian system. This activity, which decomposes any representation, object or concept, initiates the false starts and false movements of reflexion, but it also helps the logical condensation of anthropological achievements, thus revealing the appropriation of the external world by a living subject, able to reach knowledge. It offers finally a specific view on dialectics itself. This study tries to make clear the relationships between several well known couples (analysis and synthesis of course, but also representative and empirical analysis, analytical judgment and analytical method, finite and infinite analysis) emphasizing various dialogues between hegel and other philosophers (especially Locke, Leibniz, Kant and Bergson). Two paradoxes are accorded particular attention. First, analysis is so immanent that it accounts for its objects by a series of identical propositions, and so explains nothing. Secondly, it is so formal that it seems to be valuable for any kind of object, even if it denatures the singularity of each. One can see how hegel, by articulating logic and method, grounds these paradoxes on the real genesis of knowledge, how he justifies them as useful in the fight against unsplittable totalities, and finally how he gets around them both by showing that rather than bringing out abstract characteristics, infinite analysis selects moments when works account for their authors, or points where individual, free and necessary decisions are expressed
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