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Adamowicz, Emily. "Viennese Expressionism : from sickness to spirituality in the new aesthetic theory 1909-1913." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99567.
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Viennese Expressionism 1909-1913 encompasses parallel evolutions in the disciplines of visual arts and music. Ideas from fin-de-siecle Vienna's intellectual milieu inspired the awakening of the Modern artist, from Ur-schrei to the formation of a new aesthetic theory. In this thesis, I examine the origin of iconic Expressionist aesthetic values and their technical expression in works by Arnold Schoenberg, Egon Schiele, Oskar Kokoschka, and Wassily Kandinsky. Topics covered are divided into two broad thematic categories whose central tenets originate in preoccupations with, on the one hand, an emerging understanding of the unconscious and psychic pathology; and on the other hand, the metaphysical components to art and the human experience: sickness and spirituality. While it is not possible to compare directly art and musical works, common ideas and principles provide conceptual intersections that unify the disciplines in the realization of a collective artistic vision.<br>Le mouvement expressionniste viennois (1909-1913) recouvre des courantsparallèles dans les disciplines picturales et musicales. Les idées provenant des milieuxintellectuels du fin-de-siècle viennois ont inspiré le réveil de l'artiste moderne, depuis leUr-schrei jusqu'à la formulation d'une nouvelle théorie esthétique. Ce mémoire examinel'origine des valeurs esthétiques chères au mouvement expressionniste, ainsi que lestechniques utilisées pour exprimer ces valeurs dans les oeuvres d'Arnold Schoenberg,d'Egon Schiele, d'Oskar Kokoschka, et de Wassily Kandinsky. Les thèmes abordés sontdivisés en deux grandes catégories dont les fondements centraux émanent depréoccupations reliées, d'une part, à une compréhension croissante de l'inconscient et dela psychopathologie, et, d'autre part, aux aspects métaphysiques de l'art et de l'existencehumaine: la maladie et la spiritualité. Bien qu'il ne soit pas possible de comparerdirectement des oeuvres picturales et musicales, l'existence de principes et de thèmescommuns entraîne une confluence conceptuelle qui unifie ces disciplines dans laréalisation d'une vision artistique collective.
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Silverthorne, Diane. "New spaces of art, design and performance : Alfred Roller and the Vienna Secession 1897-1905." Thesis, Royal College of Art, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.602330.
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Kinnett, Forest Randolph. ""Now His Time Really Seems to Have Come": Ideas about Mahler's Music in Late Imperial and First Republic Vienna." Thesis, connect to online resource, 2009. http://digital.library.unt.edu/ark:/67531/metadc12141.
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Klaghofer-Treitler, Wolfgang. "Kritische Differenz biographisch-theologische Studien zur Wiener Theologischen Schule des 19. Jahrhunderts /." Innsbruck : Tyrolia, 2000. http://catalog.hathitrust.org/api/volumes/oclc/49867270.html.
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Steele, Helen. "The experiences of women in Vienna, 1944-1948." Thesis, Swansea University, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.678564.
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Faiz, Suzan. "Sydney/Vienna." Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/18064.
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Sydney/Vienna is a historical analysis of the cultural connections and movements of artists, artworks and arts professionals between Australia and Austria through the cities of Sydney and Vienna. Though often uncharted, European artists have for a long time been influential in shaping Australia’s artistic identity, and the Austrians present a significant chapter in the history of Australian art. The subject developed whilst I was on a student exchange at the Akademie der bildenden Künste in Vienna, a valuable experience that made me question the history I was stepping into. The research into this rich legacy has also informed my own position as an emerging artist from a culturally diverse Sydney art world. The chronological tracing of the history exposes a rich variation of contexts underpinning artistic communications between the two countries. To conclude, the paper includes a section about my own studio work, and the influences present on my practice as a result of the exchange. For examination I presented The Vienna Diaries, a series of paintings based on small collages, made daily over a thirty-five day period while living in Vienna. The exhibition took place from September 21st – 23rd, 2017 at Sydney College of the Arts, Rozelle.
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Clayden, Mark John. "Music, timbre, colour in fin-de-Siècle Vienna : Zemlinsky, Schreker, Schoenberg." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:73c4d92f-5754-43d0-b07d-31975ad0539c.
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Timbre and orchestration are neglected parameters in analytical writing, partly because analysis traditionally privileges pitch organisation as the primary structural parameter in music, but also because timbre appears more resistant than pitch to theoretical abstraction and systematisation. Yet, in the music of early twentieth-century Viennese composers such as Schreker, Zemlinsky and Schoenberg, timbre often assumes a pre-eminent place in musical design and formal architecture. In such works, timbre often moves from what Robert Hopkins (1990) describes as a 'secondary parameter' to the forefront of a listener's consciousness. Conventional analytical approaches - including Schenkerian, Neo-Riemannian or pitch-class set theories - arguably have little to offer at such moments. This thesis begins by examining the 'crisis of response' to timbre in fin-de-siècle Austro-Germanic circles and, in particular, to the increasingly complex timbral constructions of many Viennese composers, such as Franz Schreker and Arnold Schoenberg. The crisis of response appeared to stem from an inherited nineteenth-century view of orchestration as ornamental in function, as well as the lack of an appropriate analytical framework and meta-language with which to critique the growing importance of timbre as a musical parameter. This thesis contributes to the discussion as to the how the area of timbral analysis might develop: firstly, by treating timbre as an 'emergent' property rather than an absolute analytical category (i.e., that timbre often results from a complex interaction of multiple musical parameters); secondly, by considering the effect of timbre's spatial properties within the auditory scene on subject-position through examination of contemporary and more recent theories on the convergence of the visual and auditory arts; and thirdly, through timbre's ability to function as an agent of immanent musical critique through disjunctive juxtapositions, or by historically-contextualized responses to codified orchestral tropes as found in Alexander Zemlinsky's 'Der Zwerg'. Timbre certainly was not always the secondary parameter some fin-de-siècle critics suggested it was, or wanted it to be. The joint purpose of this thesis is to offer historically-engaged analytical readings of neglected works from twentieth-century Vienna (alongside a few better-known works whose timbral construction had been left unanalyzed), and to reflect on the benefits of applying recent research to contemporary theories of timbre. These two aims are set in productive counterpoint rather than a straightforward synthesis, with the adoption of recent cognitive research and theories of subject-position feeding into analyses of historical work in order to try to mediate the gap between theory, text, and musical practice.
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Taylor, Greg. "Die konservativen Revolutionare : die Musik der Zweiten Wiener Schule als logische Entwicklung des Vorangegangenen und des Gleichzeitigen /." Title page, contents and introduction only, 1993. http://web4.library.adelaide.edu.au/theses/09AR/09art241.pdf.
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Ziska, Joseph R. "Issues for the further development of small evangelical churches in Vienna, Austria." Theological Research Exchange Network (TREN), 1997. http://www.tren.com.
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Woo, Edward Mendelssohn, and 胡凱偉. "Breaking the city barrier: revitalisation of the Gürtel area around Alser Street subway station in Vienna =DieMauer der Stadt zu brechen : Wiederbelebung des Raum der Gürtel beider Station Alserstrasse, Wien." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B31987370.
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Hauser, Allen Nolan. "Patterns in creativity : an examination of Viennese culture and politics at the turn of the century." PDXScholar, 1988. https://pdxscholar.library.pdx.edu/open_access_etds/3818.
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This examination explores the Viennese cultural milieu at the turn of the century in an effort to show the commonality of backgrounds and interests among those who created the culture during that period. In this the study aims at illustrating the similarities among those artists, intellectuals, and politicians in spite of the fact that their ideas helped lay the basis for the breakdown in integration of twentieth century culture which was illustrated by Carl E. Schorske in his Fin-De-Siecle Vienna: Politics and Culture. All this is in pursuance of the overall issue of the origin of the ideas which have dominated this century, an issue dealt with only tangentially in this study.
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Weirich, Armelle. "Berta Zuckerkandl (1864 -1945) salonnière, journaliste et critique d'art, entre Vienne et Paris (1871-1918)." Thesis, Dijon, 2014. http://www.theses.fr/2014DIJOL037.
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A la charnière des XIXe et XXe siècles, Berta Zuckerkandl (1864-1945), salonnière et journaliste autrichienne, participa activement à établir des échanges artistiques, culturels et politiques entre la France et l'Empire austro-hongrois. Alors que ses liens familiaux avec Georges Clemenceau lui permirent d'entrer en contact avec les artistes et intellectuels parisiens qu'il fréquentait - Rodin, Carrière, Raffelli, Geffroy..., son salon rassemblait à Vienne quelques-uns des acteurs emblématiques de la Wiener Moderne - Bahr, Klimt, Wagner, Mahler...-, formant le noyau d'un vaste réseau social européen. Porte-parole de la Sécession viennoise, Zuckerkandl s'imposa également comme l'une des critiques d'art les plus productives de son temps, guidant les artistes et initiant le public à l'art moderne, en s'appuyant sur les initiatives françaises pour orienter le développement de l'art. Cette étude vise ainsi à mettre en lumière son rôle dans la dynamique des échanges artistiques entre Vienne et Paris. Elle apporte d'abord des éléments biographiques éclairant la place privilégiée de Zuckerkandl à la rencontre des cultures française et autrichienne. Elle montre ensuite son implication au sein des cercles artistiques autrichiens et offre une analyse détaillée d'un corpus d'écrits sur l'art moderne. Elle expose enfin les résultats de ses interventions en faveur de la promotion des artistes français et de la réception de leurs oeuvres en Autriche, mettant en lumière les objectifs artistiques, culturels et politiques poursuivis par Zuckerkandl, décidé à préserver la culture autrichienne à l'épreuve de la guerre et de la chute de l'Empire austro-hongrois<br>At the end of the 19th and beginning of the 20th century, Berta Zuckerkandl (1864-1945), Austrian salonnière and journalist, engaged actively in artistic, cultural and political exchanges between France and the Austro-Hungarian Empire. Being on familiar terms with Georges Clemenceau gave her the opportunity to exchange ideas with artists and intellectuals in Paris, including Rodin, Carriere, Raffaelli, and Geffroy. Her salon in Vienna gathered some of the most pioneering personalities of the Wiener Moderne...- Bahr, Klimt, Wagner, Mahler...- and thus formed the centre of a vast social network within Europe. Being a spokeswoman of the Vienna Secession, Zuckerkandl established herself as one of the most active contemporary art critics. She guided artists and introduced the public into modern art by drawing on French initiatives to influence the art's development. The present study thus aims at highlighting her role in the dynamic artistic exchange between Vienna and Paris. It will first present Zuckerkandl's biography in order to draw attention to her privileged position in the exchange of the French and Austrian cultures. Secondly, it will show her impact on artistic Austrian groups and provide a detailed analysis of a corpus of selected documents dealing with modern art. It will finally discuss her interventions in favour of French artists and the reception of their works in Austria by highlighting the artistic, cultural and political aims pursued by Zuckerkandl, who was determined to preserve the Austrian culture despite the war and the collapse of the Austro-Hungarian Empire
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Holmes, Amanda. "The urban uncanny : literary responses to Vienna and Buenos Aires /." view abstract or download file of text, 2001. http://wwwlib.umi.com/cr/uoregon/fullcit?p3024515.
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Thesis (Ph. D.)--University of Oregon, 2001.<br>Typescript. Includes vita and abstract. Includes bibliographical references (leaves 227-239). Also available for download via the World Wide Web; free to University of Oregon users.
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Becker, Joachim, and Andreas Novy. "Divergence and convergence of national and local regulation. The case of Austria and Vienna." Institut für Wirtschaftsgeographie, Abt. Stadt- und Regionalentwicklung, WU Vienna University of Economics and Business, 1999. http://epub.wu.ac.at/800/1/document.pdf.
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From a regulationist perspective, this paper wants to analyse under which preconditions local and national modes of development can diverge. Taking the modern history of Vienna and Austria as an example, the paper analyses the dialectics of accumulation strategies and national and local state projects. There can be distinguished four relevant historical periods. With regard to the convergence resp. divergence of local and national state projects, the two rather stable and the two rather instable periods stand in marked contrast to each other. The more general conclusion that can be derived from the Viennese experience is that a heterogeneous regional development is only a necessary, but not a sufficient condition for a local state project to diverge from the national one. It seems that popular forces can only establish a counter-project at the local level if the national dominant bloc fails to gain mass acceptance for its ideological dispensation and an emerging counter bloc is able to capitalise on this weakness by formulating its own social project. (author's abstract)<br>Series: SRE - Discussion Papers
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Fulton, Elaine. "Catholic belief and survival in late sixteenth-century Vienna : the case of Georg Eder (1523-1587)." Thesis, University of St Andrews, 2003. http://hdl.handle.net/10023/13615.
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This thesis is a detailed study of the religious belief and survival of one of the most prominent figures of late sixteenth-century Vienna, Georg Eder (1523- 1587). Eder held a number of high positions at Vienna University and the city's Habsburg court between 1552 and 1584, but his increasingly uncompromising Catholicism placed him at odds with many influential figures around him, not least the confessionally moderate Habsburg Emperor Maximilian II. Pivoted around an incident in 1573, when Eder's ferocious polemic, Evangelische Inquisition, fell under Imperial condemnation, the thesis investigates three key aspects of Eder's life. It examines Eder's position as a Catholic in the Vienna of his day; the public expression of this Catholicism and the strong Jesuit influence on the same; and Eder's rescue and subsequent survival as a lay advocate of Catholic reform, largely through the protection of the Habsburgs' rivals, the Wittelsbach Dukes of Bavaria. Based on a wide variety of printed and manuscript material, this thesis contributes to existing historiography on two levels. On one, it is a reconstruction of the career of one of Vienna's most prominent yet under-studied figures, in a period when the city itself was one of Europe's most politically and religiously significant. In a broader sense, however, this study also adds to the wider canon of Reformation history. It re-examines the nature and extent of Catholicism at the Viermese court in the latter half of the sixteenth century. It highlights the growing role of Eder's Wittelsbach patrons as defenders of Catholicism, even beyond their own Bavarian borders. The thesis also emphasises the role, potential and realised, of influential laity such as Eder in advancing the cause of Catholic reform in the late sixteenth century. Thus it is a strong challenge to the existing, prevalent portrayal of the sixteenth-century Catholic laity as an anonymous and largely passive group who merely responded to the ministries of others.
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Gaug, Christa. "Situating the city : the textual and spatial construction of late-nineteenth-century Berlin and Vienna in city texts by Theodor Fontane and Daniel Spitzer /." Digital version accessible at:, 2000. http://wwwlib.umi.com/cr/utexas/main.
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Moss, Katie Nicole 1982. "Constructing a Modem Vienna: The Architecture and Cultural Criticism of Adolf Loos." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10690.
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vii, 82 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.<br>Adolf Loos is most widely known for his essay Ornament and Crime (Ornament
und Verbrechen), in which he sarcastically compares architectural ornament to the tattoos
of "savages." Loos sought to modernize Vienna through the introduction of American
and British culture and was known as one of Austria's most notorious cultural critics.
Celebrated for breaking with the historicist culture of the late nineteenth century, Loos is
often heralded as the father of the Modem Movement, but many of his writings and
designs contradict such a classification. This thesis will explore the origins and motives
behind Loos' s conception of modernism to suggest a better understanding of his role as
cultural critic and architect in Vienna as well as his relationship to the architects and
architecture of the subsequent generation.<br>Committee in Charge:
Dr. Leland M. Roth, Chair;
Dr. William Sherwin Simmons;
Dr. Marilyn S. Linton;
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Bellamy, John Paul. "Language attitudes in England and Austria : comparing reactions towards high and low prestige varieties in Manchester and Vienna." Thesis, University of Manchester, 2011. http://www.manchester.ac.uk/escholar/uk-ac-man-scw:119017.
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This thesis presents results obtained during 2007/08 in the course of doctoral research into attitudes towards linguistic variation in England and Austria and is based in part on a study by Lees (2000). In this project attitudes amongst British and Austrian informants towards low-prestige ('dialect') and high-prestige varieties are investigated on the basis of assumptions made about speakers of these varieties. The data are collected by means of the 'matched-guise technique', whereby informants listen to a number of recordings of low and high-prestige varieties and note their reactions on the basis of a selection of traits using a semantic differential. In this way the research aims to ascertain whether a pattern emerges, where the informants' perception of the guises is influenced by the prestige of the spoken variety. The results in England and in Austria are compared in order to determine similarities and differences in language attitudes towards low and high-prestige varieties in the two countries. Some results presented here correspond to certain social expectations, with high-prestige speakers being associated with better-paid employment and a better education. Other results, though, are less predictable, as where, for example, the female informants in England and in Austria judge the speakers more positively than the male informants, regardless of the prestige of the speaker's variety. In any case, there is evidence from both countries of the informants' evaluations of the speaker being influenced by their associations of the speaker's variety with that speaker's social status. The data also indicate that the social status of speakers in England is judged to a greater extent on the basis of their spoken variety than is the case in Austria, where speakers are more used to switching freely between points on the standard-dialect continuum and are consequently less judgemental in their perception of a speaker based purely on the evidence of their spoken variety.
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Halbwidl, Dieter Anton. "The teaching of history at the Habsburg Universities of Vienna, Graz and Innsbruck, compared to Padova and Pavia between 1848 and 1855 /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0003/NQ44449.pdf.
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Seidl, Monika. ""So schön war es im Roten Wien!" britische Schriftsteller über das Wien der frühen Dreissigerjahre und die Februarereignisse 1934 /." Wien : Braumüller, 2006. http://catalog.hathitrust.org/api/volumes/oclc/72437041.html.
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Jeffery, Charlie. "Social democracy in the Austrian provinces, 1918-1934 : beyond Red Vienna /." London : Madison (N.J.) : Leicester University press ; Fairleigh Dickinson university press, 1995. http://catalogue.bnf.fr/ark:/12148/cb37479550k.
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Bellin, Maria-Antonella <1959>. "I De Blaas: una dinastia di pittori tra Vienna a Venezia." Doctoral thesis, Università Ca' Foscari Venezia, 2015. http://hdl.handle.net/10579/8281.
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l'obiettivo della ricerca è stato duplice.Da un lato la ricostruzione delle personalità artistiche del capostipite della dinastia dei De Blaas, Carl, e dei suoi figli Eugenio e Giulio, dall’altro una scrupolosa ricognizione delle loro opere presenti in Italia e all’estero, in modo da definire in modo concreto l’entità, la cronologia e la tipologia della produzione artistica dei componenti di questa famiglia.
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Branscome, E. M. "Hans Hollein and postmodernism : art and architecture in Austria 1958-1985." Thesis, University College London (University of London), 2014. http://discovery.ucl.ac.uk/1433404/.
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This thesis investigates the art and architecture scene in post-war Vienna to ask how this can inform our understanding of architectural Postmodernism. It specifically focuses on the various outputs of the Austrian artist and architect, Hans Hollein, and on his appropriation as a Postmodernist. The study’s background in post-war Austria belongs within a context of re-education initiatives by the Allied forces, especially from the USA. But within an Austrian culture still steeped in Catholicism, American practices like abstract expressionism, action painting and art happenings were transformed unrecognisably. One such outcome, Viennese Aktionism, directly affected thinking about architecture through the ‘performance environments’ that were created. In Vienna, the circles of radical art and architecture were not distinct, and Hollein’s claim that ‘Everything is Architecture’ was symptomatic of this intermixing of practices. Austria's proximity to the Iron Curtain, and its post-war history of four-power occupation gave a heightened sense of menace that emerged strongly in Viennese art. Seen as a collective entity, Hollein’s works across architecture, art, writing, exhibition design and publishing require a more diverse, complex and nuanced account of architectural Postmodernism than that offered by critics at the time. Here Hollein's outputs are viewed not as individual projects for appropriation by architectural critics according to their various agendas, but as a symptomatic of Austria's attempts to come to terms with its Nazi past and to establish a post-war identity. While Hollein's concerns with the obsolescence of built architecture and its replacement by mass media corresponded in certain respects with those of Postmodernism, in other respects they were rooted in the sometimes violent, abusive and self-destructive practices of the Austrian avant-garde and its attitudes towards politics, religion, technology, infrastructure, advertisements and sex. If these are to be included within the postmodern canon, then the criteria of Postmodernism require substantial revision.
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Elia, Alessio. "Characterization of the GATE Monte Carlo platform for non-isocentric treatments and patient specific treatment plan verification at MedAustron - Vienna - Austria." Thesis, Lyon, 2019. http://www.theses.fr/2019LYSEI002/document.
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L'objectif de cette thèse est de développer et de valider une méthode de calcul de dose indépendante afin de soutenir le travail de mise en service intense d'une installation de traitement par faisceaux d'ions légers (LIBT) et de valider le calcul de dose du système de planification de traitement (SP). Le travail porte sur les traitements de protonthérapie et est organisé en collaboration entre le laboratoire CREATIS (Lyon, France) et le centre de thérapie ionique MedAustron - Vienna - Austria (Wiener Neustadt, Autriche). Chez MedAustron - Vienna - Austria, afin d’exploiter une pénombre latérale aiguë du faisceau de protons et d’améliorer la précision des algorithmes de calcul de la dose TPS, l’intervalle entre la fenêtre de la tête de traitement et le patient est réduit en déplaçant le patient vers la tête de traitement. Par conséquent, les traitements non isocentriques doivent être pris en compte avec précision lors de la modélisation ainsi que lors de la phase de validation, car l'éloignement de la cible de l'isocentre de la pièce peut réduire la précision du traitement. Dans cette étude, la paramétrisation du faisceau de crayons à protons suit les recommandations de Grevillot et al. (2011), mais comprenant une description complète de la buse. Un soin particulier est apporté à la modélisation des propriétés du faisceau de crayon dans des conditions non isocentriques, y compris l'utilisation d'un Range Shifter (RaShi). La caractérisation du faisceau de crayon est basée uniquement sur les profils de fluence mesurés dans le profil de dose d’air et de profondeur acquis dans l’eau. De plus, le modèle présenté est calibré en dose absolue sur la base d'un nouveau formalisme produit-zone-dose présenté dans Palmans et Vatnitsky (2016). Finalement, une validation détaillée est effectuée dans l'eau, pour les distributions de doses tridimensionnelles de forme régulière. Plusieurs paramètres couramment exploités en dosimétrie des protons, tels que la distance parcourue, la pénombre distale, la modulation, la taille des champs et la pénombre latérale pour la dosimétrie protonique sont évalués à des fins de validation. Le modèle optique à faisceau de crayon a atteint une précision de l'exigence clinique de 1 mm / 10% et il n'est pas affecté par la complexité des traitements non isocentriques ni par l'utilisation d'un RaShi. Les plages sont reproduites entre 0,2 et 0,35 mm (déviation maximale) sans et avec le décaleur de plage, respectivement. La différence de dose dans les conditions de référence est de 0,5%. La validation de l'administration de la dose en 3D dans l'eau était à 1,2% maximum. La concordance des paramètres distaux et longitudinaux est généralement meilleure que 1 mm. Les résultats obtenus serviront de référence pour la future mise en œuvre clinique du système de calcul de dose indépendant MedAustron - Vienna - Austria<br>The goal of this PhD is to develop and validate an independent dose calculation method in order to support the intense commissioning work of a Light Ion Beam Therapy (LIBT) facility, and to validate the Treatment Planning System (TPS) dose calculation. The work focuses on proton therapy treatments and is held as a collaboration between the CREATIS laboratory (Lyon, France) and the MedAustron - Vienna - Austria Ion Therapy Center (Wiener Neustadt, Austria). At MedAustron - Vienna - Austria, in order to exploit a sharp lateral penumbra for the proton beam as well as to improve the accuracy of the TPS dose calculation algorithms, the air gap between the treatment head window and the patient is reduced by moving the patient towards the treatment head. Therefore, non-isocentric treatments have to be accurately taken into consideration during modeling as well as validation phase as moving the target away from the room isocenter may lead to reduced treatment accuracy. In this study, the parametrization of the proton pencil beam follows the recommendations provided in Grevillot et al. (2011), but including a full nozzle description. Special care is taken to model the pencil beam properties in non-isocentric conditions, including the use of a Range Shifter (RaShi). The characterization of the pencil beam is based solely on fluence profiles measured in air and depth dose profile acquired in water. In addition, the presented model is calibrated in absolute dose based on a newly formalism in dose-area-product presented in Palmans and Vatnitsky (2016). Eventually, a detailed validation is performed in water, for three-dimensional regular-shaped dose distributions. Several parameters commonly exploited in proton dosimetry such as range, distal penumbra, modulation, field sizes and lateral penumbra for proton dosimetry are evaluated for validation purposes. The pencil beam optics model reached an accuracy within the clinical requirement of 1mm/10% and it is not affected by the complexity of non-isocentric treatments and the use of a RaShi. Ranges are reproduced within 0.2 and 0.35 mm (max deviation) without and with range shifter, respectively. The dose difference in reference conditions is within 0.5%. The 3D dose delivery validation in water was within 1.2% at maximum. The agreement of distal and longitudinal parameters is mostly better than 1 mm. The obtained results will be used as a reference for the future clinical implementation of the MedAustron - Vienna - Austria independent dose calculation system. As an example of the potential clinical outcome of the presented work, the patient specific quality assurance measurements performed in water have been successfully reproduced within the clinical requirement of 5% accuracy for a few patients
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Kronenbitter, Günther. ""Krieg im Frieden" : die Führung der k.u.k. Armee und die Grossmachtpolitik Österreich-Ungarns 1906-1914 /." München : Oldenbourg, 2003. http://www.h-net.org/review/hrev-a0d5x5-aa.
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Bellamy, John [Verfasser]. "Language Attitudes in England and Austria : A Sociolinguistic Investigation into Perceptions of High and Low-Prestige Varieties in Manchester and Vienna / John Bellamy." Stuttgart : Franz Steiner Verlag, 2013. http://d-nb.info/1073647315/34.
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Conti, Valeria <1991>. ""La Semirami" di Moniglia e Cesti fra Innsbruck, Vienna e Venezia (1665-1674)." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2021. http://amsdottorato.unibo.it/9708/1/conti_valeria_tesi.pdf.
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La tesi esamina il trattamento drammatico e musicale del soggetto di Semiramide in una delle sue prime trasposizioni operistiche: "La Semirami" di Giovanni Andrea Moniglia (Firenze 1625-1700) e Antonio Cesti (Arezzo 1623 - Firenze 1669). Quest’opera è legata ai più importanti centri d’influenza dell’attività compositiva di Cesti – Firenze, Innsbruck, Vienna e Venezia – e riassume tutti i mondi produttivi della sua carriera, divisa fra gli ambienti di corte e i teatri cittadini veneziani. L’opera fu commissionata nel 1665 per le nozze dell’arciduca d’Austria Sigismondo Francesco a Innsbruck, ma fu rappresentata solo nel 1667 alla corte di Leopoldo I a Vienna, e infine ripresa a Venezia al teatro di S. Moisè nel 1674 con una serie di ritocchi e il nuovo titolo "La schiava fortunata": Giulio Cesare Corradi revisionò il testo e Marc’Antonio Ziani aggiornò la musica.
La tesi contiene una prima parte di studio dell’opera suddivisa in cinque capitoli, in cui offro: una panoramica aggiornata della biografia del compositore aretino e la contestualizzazione della "Semirami" nella sua carriera, con particolare attenzione alla genesi e alle fasi evolutive del dramma; l’analisi drammaturgica e musicale dell’opera, in cui esamino le scelte compositive di Cesti in rapporto al testo poetico dato; infine la fortuna della "Semirami" con l’allestimento veneziano del 1674 e le sue riprese. Un capitolo è dedicato interamente alla fortuna del soggetto di Semiramide nel Seicento operistico. La seconda parte della tesi contiene l’edizione dei testi poetici della "Semiramide" (Firenze 1690), della "Semirami" (Vienna 1667) e della "Schiava fortunata" (Venezia 1674) con la presentazione delle aggiunte e sostituzioni riscontrate nei testimoni relativi agli allestimenti successivi, fino al 1693.<br>The thesis focuses on the dramaturgical and musical treatment of the subject of Semiramide in one of its first transpositions in opera: "La Semirami" by Giovanni Andrea Moniglia (Florence 1625-1700) and Antonio Cesti (Arezzo 1623 - Florence 1669). This opera is linked to the four cities – Florence, Innsbruck, Vienna and Venice – that most influenced Cesti’s career, divided between courts and public theatres. "La Semirami" has been commissioned in 1665 for the marriage of Archduke of Austria Sigismund Franz in Innsbruck, but has been performed only in 1667 in Vienna, at the court of Leopold I, and therefore revived in Venice at the Teatro S. Moisé in 1674 with a series of modifications and the new title "La schiava fortunata".
The first part of the thesis contains the study of the opera distributed in five chapters dealing with: the updated composer’s biography; the genesis and evolution of "La Semirami", contextualized in Cesti’s career; the subject of Semiramide in seventeenth-century opera; the dramaturgical and musical analysis of the opera by Moniglia and Cesti; finally, the success of the opera with the venetian 1674 production and the following revivals. The second part of the thesis contains the edition of the poetic texts for "La Semiramide" (Florence 1690), "La Semirami" (Vienna 1667) and "La schiava fortunata" (Venice 1674) with the additions and substitutions found in all the sources related to the revivals until 1693.
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Campini, Ruben <1995>. "Il Mito di Ravenna nell'Ottocento. L'Imago Civitatis tra il Congresso di Vienna e Roma Capitale." Master's Degree Thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/17222.
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L'Ottocento costituì per Ravenna un momento di profonda trasformazione, scandito da due fondamentali eventi politici, il Congresso di Vienna, a seguito del quale la città rientrò a far parte dei territori dello Stato della Chiesa dopo il ventennio di dominazione napoleonica, e l'Unità d'Italia.
In questo periodo, Ravenna, considerata già dal secolo precedente una città morta, poco visitata, priva di un'economia e di un'industria fiorenti, niente più che una città di second'ordine, cercò faticosamente di giocare un nuovo ruolo all'interno del suo contesto territoriale, attraverso la fondazione e la valorizzazione di una nuova identità basata sul suo antico passato di Capitale, materializzato nei suoi monumenti di V e VI secolo.
Tale processo si configura come il frutto di un dialogo locale, nazionale ed internazionale, che aveva portato all'elaborazione di diverse interpretazioni della città e delle sue memorie e che si esplicitò in azioni materiali sui monumenti antichi, finalizzate all'allineamento della città reale con quella del mito.
Il presente studio si propone dunque di ricostruire questo dialogo e costituisce la prima parte di un più ampio progetto realizzato in collaborazione con la Dott.ssa Annalisa Moraschi, che estenderà l'analisi della percezione e della trasformazione della città e dei suoi monumenti fino alla vigilia della Prima Guerra Mondiale.
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Hurst, Jordan Dwayne. "Arthur Schnitzler's Outsider-Insiders in Fin de Siècle Vienna." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1372092281.
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Silva, Jose Fernando. "O Tractatus de Wittgenstein e as crises culturais da Viena fin-de-siecle." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280472.
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Orientador: José Oscar de Almeida Marques<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas<br>Made available in DSpace on 2018-09-11T21:12:13Z (GMT). No. of bitstreams: 1
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Previous issue date: 2008<br>Resumo: Neste trabalho buscamos traçar as relações entre o Tractatus Logico-Philosophicus, de Ludwig Wittgenstein (1889-1951) e as crises culturais da Viena fin-de-siècle. Apesar de o autor não mais viver em Viena durante o período de elaboração do livro, assumimos que o contexto cultural vienense é uma fecunda chave para sua elucidação. O ponto de partida é a caracterização de três crises que marcaram Viena em torno de 1900: i) uma crise dos valores, configurada pelo crescente descrédito de todos os pilares da vida social vienense; ii) uma crise do sujeito, delineada no momento em que a unidade do eu foi colocada em dúvida, ou seja, um instante em que se acreditou que tal noção não remetia a nada que ultrapassasse um feixe de sensações e experiências transitórias; iii) uma crise da linguagem, marcada pelo questionamento dos meios intelectual e artístico vienenses sobre a capacidade de a linguagem expressar a realidade e os sentimentos inerentes ao sujeito. Procuramos mostrar que o Tractatus, de acordo com sua ordem de exposição, pode oferecer uma resposta para cada uma dessas crises, a saber: a demarcação dos limites da linguagem; a afirmação da existência de um sujeito solipsista ou metafísico, cuja existência se manifesta como um ponto sem extensão fora do mundo e cuja vontade instaura a linguagem; a defesa de uma unidade que perpassa a ética e a estética, definidas como atitudes transcendentais que, respectivamente, permitem ao sujeito expandir ou minguar os limites do mundo como um todo e expressar o mundo visto sub specie aeternitatis.<br>Abstract: This work aims to trace the relations between Ludwig Wittgenstein's Tractatus Logico-Philosophicus and the cultural crises of fin-de-siècle Vienna. Although the author no longer lived in Vienna at the time of elaboration of his book, we assume that the Viennese cultural context is a fruitful key for its understanding. Our starting point is the characterization of three crises that marked Vienna in 1900: i) a crisis of values, represented by the increasing discredit regarding all Viennese social life pillars; ii) a crisis of the subject, delineated when the unit of the "I" was put in doubt, that is, at the moment such notion was believed not to exceed a beam of sensations and transitory experiences; iii) a crisis of language, marked by the questioning by intellectual and artistic Viennese milieu of language's capacity in express the inherent reality and feelings of the subject. We aim to show that the Tractatus, in accordance with its order of exposition, can offer an answer for each of these crises, that is to say, the demarcation of the limits of language; the affirmation of the solipsist or metaphysical subject's existence, which shows itself as a point without extension out of the world and whose will establishes the language; the defense of a unit across the ethics and the aesthetic domains, defined as transcendental attitudes that allow the subject, respectively, to expand or to decrease the limits of the world as a whole and to express the world seen sub specie aeternitatis.<br>Doutorado<br>Doutor em Filosofia
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Karnes, Kevin C. "Music, criticism, and the challenge of history : shaping modern musical thought in late nineteenth-century Vienna /." Oxford : Oxford University Press, 2008. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9780195368666.
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Price, Jamie Bryan. "The Creation of a Worldview." Digital Commons @ East Tennessee State University, 2003. https://dc.etsu.edu/etd/818.
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This is an analysis of how fin-de-siècle Vienna and its mayor, Karl Lueger, influenced the development of Adolf Hitler’s worldview.
The works of many authors were consulted in conjunction with newspapers and memoirs of the period in order to gain a better understanding of what the environment of the Austrian capital was like in the fin-de-siècle period.
Several of Vienna’s political, social, and artistic facets are analyzed in an attempt to prove that the general atmosphere of the city influenced Adolf Hitler greatly during his formative years. It is concluded that while Adolf Hitler’s Weltanschauung did not completely crystallize until after World War I, much of what contributed to his personal and political ideology resulted from his personal experiences in Vienna.
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Murphy-Geiss, Kathleen. "The Art of the Ensemble Opera: A Comparative Study of the Uses of Ensemble in 1790s Vienna Through W.A. Mozart’s Così fan tutte and Domenico Cimarosa’s Il Matrimonio Segreto." Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/19227.
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Ensembles have become iconic of the eighteenth-century opera buffa. Previous studies have focused their efforts on form, analyzing ensembles with instrumental structures. However, these forms do not provide information as to how ensemble texts are set musically or function in terms of drama. This study follows Ronald Rabin’s dissertation research on opera buffa performed at the Burgtheater in Vienna between 1783 and 1791. Rabin asserts an ‘ensemble principle’, explaining the broad form of buffa ensembles. This study focuses on the ensembles of two Viennese works: W.A. Mozart’s Così fan tutte (1790) and Domenico Cimarosa’s Il Matrimonio Segreto (1792). Using Rabin’s ‘ensemble principle’ as a foundation, a close reading of each ensemble from these two works reveals that these composers took very different approaches to ensemble writing. By sticking to or straying from conventions, Mozart and Cimarosa made musical choices that enhance character relationships and drama in diverse ways.
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Warneck, Dorothea. "Natalia Berger: „The Jewish Museum. History and Memory, Identity and Art from Vienna to the Bezalel National Museum, Jerusalem." HATiKVA e.V. – Die Hoffnung Bildungs- und Begegnungsstätte für Jüdische Geschichte und Kultur Sachsen, 2020. https://slub.qucosa.de/id/qucosa%3A71019.
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Berger, Natalia: The Jewish Museum. History and Memory, Identity and Art from Vienna to the Bezalel National Museum, Jerusalem [= Ben-Rafael, Eliezer/Gorny, Yosef/Liwerant, Judit Bokser (Hg.): Jewish Identities in a Changing World, Band 29], Leiden/Boston: Brill 2018, 584 S., ISBN: 978-90-04-35387-9, EUR 160,00. Besprochen von Dorothea Warneck.
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Rizza, Steve. "Rudolf Kassner and Hugo von Hofmannsthal : criticism as art : the reception of Pre-Raphaelitism in fin de siècle Vienna." Thesis, University of Edinburgh, 1996. http://hdl.handle.net/1842/20757.
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From their first meeting in 1901 to his death in 1929 Hugo von Hofmannsthal was an avid admirer of Rudolf Kassner's work. This study focuses on the origins of their friendship in their shared interest in nineteenth-century English art. Its aims are to reassess both writers' critical reception of Pre-Raphaelitism and give a fuller account of their relationship. Chapter one traces this relationship from Hofmannsthal's enthusiastic reading of Kassner's volume of critical essays on nineteenth-century English art, <I>Die Mystik, die Kunstler und das Leben </I>(1900), to Kassner's late essays on the poet. The body of the chapter analyses Hofmannsthal's three essays on English artists broadly classified as Pre-Raphaelites - 'Algernon Charles Swinburne' (1892), 'Walter Pater' (1894), and 'Uber moderne englische Malerei' (1894). The origins of Hofmannsthal's critical engagement with Pre-Raphaelitism are presented in the context of his association with Stefan George and the aesthetic programme of the <I>Blatter fur die Kunst</I>. The textural analyses draw attention to Hofmannsthal's understanding and practice of criticism as art, and to the changing images of aestheticism in these essays, his journals, and the lyrical drama <I>Der Tor und der Tod</I> (1893). Chapter two presents the development of Kassner's conception of criticism in his work and correspondence of the 1890s. The opening examines Kassner's provincial origins and his university education in Vienna and Berlin with particular reference to his rejection of orthodox academic positivism. The second section analyses Kassner's literary debut, the short story 'Sonnengnade' (1896), revealing the autobiographical dimension of the text and its significance for Kassner's early understanding of criticism. The third section examines Kassner's earliest work of criticism, his lost doctoral dissertation 'Der ewige Jude in der Dichtung' (1896), recently published in fragmentary transcript.
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Hill, Christopher. "Art Nouveau and the Symphony during the Fin-de-Si¿¿¿¿cle: The Intersection of the Arts in Paris and Vienna." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337954605.
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Niederdoeckl, Elisabeth <1995>. "Il programma dell'ambone di Klosterneuburg e Gerhoch von Reichersberg, L’influenza delle riforme ecclesiastiche del XII secolo sull’arte d’oltralpe: Austria." Master's Degree Thesis, Università Ca' Foscari Venezia, 2021. http://hdl.handle.net/10579/18871.
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My Thesis studies the ambo of Nicholas of Verdun (activity 1180-1205) from a paleographical, iconographical, epigraphical, and theological standpoint.
Successive to a study on the state of the literature, I established and distinguished the role attributed to the ambo in the XII century romanesque basilica of Klosterneuburg. Moreover, by examining the employed materials and technique, I identified the origin, the role of the artist, as his workshop, for this particular commission.
It follows the paleographic analysis of the redialed commissioner inscription, which revealed similarities with manuscripts realized in abbeys located nearby, which, like the one of Klosterneuburg, were restored in those years following the gregorian reform: this circumstantial aspect allowed me to question the discussion on the existence of a reformed art (arte riformata).
Furthermore, to understand the purpose the commission of the Verduner Altar had, I opposed the literary production of the local theologian Gerhoch von Reichersberg ( 1098-1168) combined with the ones of the main theologians known at that time, as Ugo of St. Victor (1096-1141) and Honorius Augustodunensis (1080-1151), with the complex program of the representations as to the inscriptions of the Verduner Altar. The results of this comparison gave me the possibility to mark the potential existence of a reformed art in the XII century and by acknowledging that the abbey of Klosterneuburg was a double one, I parse the role of the Virgin and the other women throughout those particular circumstances of reformations and contingencies. Consequently, my entire thesis is based on a comparative study that underlines how and why one may actually acknowledge the existence of reformed art in Austria.
My research becomes a new chapter within the studies of art by identifying the phenomena of Reformed Art as an international one, spread in more than just a few communities.
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Miller, Hannah Elizabeth. "A Partner in Their Suffering: Gustav Klimt's Empowered Figure in Hope II." BYU ScholarsArchive, 2017. https://scholarsarchive.byu.edu/etd/6429.
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Although much of Gustav Klimt's work is well recognized, his painting Hope II (1907-1908) has received little attention in academic studies. Rejected by his peers on its initial exhibition, this work was found offensive by even his staunchest supporters. Second wave feminists have also been critical of his painting, finding in it an objectification of women. This is likely due in part to the central subject of the piece involving pregnancy. Klimt was unafraid to paint images that shocked and diverged from traditional aesthetic styles. During a time of rapid social change and development of the feminist movement, Klimt offered fin-de-siècle Vienna an image that invited conversations about female sexuality, identity, and fertility. This paper constitutes a rereading of Klimt as empathetic to the female experience by way of a close analysis of Hope II. The artist's closeness to many women indicates his awareness of their plight. His portrayal of fertility in this painting offered a new perspective of womanhood in art with a depiction of woman as autonomous and empowered. Criticism from second-wave feminists often follows Klimt's work. However, his continued representation of the female body should be read as a glorification of the body rather than objectification of it.
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Heighton, Luke. "Exhibiting madness, art & the asylum : the creation & exhibition of images by psychiatric hospital patients in Vienna, 1890-1914." Thesis, Birkbeck (University of London), 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.565893.
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Bahr, Caitlin J. Perkins. "Women and the Wiener Werkstätte: The Centrality of Women and the Applied Arts in Early Twentieth-Century Vienna." BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3987.
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In this thesis I explore the importance of elite women in early twentieth-century Vienna in relation to the Wiener Werkstätte. My research has led me to believe that the Werkstätte held a more egalitarian view of women than other contemporary European applied arts workshops. Unfortunately the art-historical canon has generally overlooked the applied arts of the Wiener Werkstätte, as well as the significant roles of women in the Werkstätte as artists, clients, patrons, and promoters. In this thesis, I consider cases of women in these roles in early twentieth-century Vienna in order to gain a greater understanding of Viennese women's place economically and politically, as well as socially and culturally. In particular, I examine the Werkstätte's primary records of sales and production (called model books), housed in the Wiener Werkstätte archives at the Austrian Museum of Applied Arts in Vienna, as a means to better understanding their participation. The evidence of the importance of women in relation to the Wiener Werkstätte, includes: 1) the creation of new opportunities for women in the arts; 2) the emergence and popularity of a liberating reformed fashion; 3) the focus of the Werkstätte on creating objects that would appeal to a female clientele; and 4) the Werkstätte's success, particularly among prominent wealthy female art patrons. I conclude that women's roles as artists, clients, patrons, and promoters can be seen as positions of empowerment for Viennese women of the early twentieth century.
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Lange, Cathrin. "Grüß Gott! : An Architectural Exploration of Religion in an Austrian Context through a Community Centre and an Urban Park Landscape." Thesis, KTH, Arkitektur, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-36057.
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How can the different religions of Austria be made visible? How can the believers claim space and right in the Austrian context? How can architecture contribute to educate about these religions? How can architecture encourage this multitude of religions to be regarded as positive and a strength of the Austrian society?
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Maselli, Bénédicte. "Analyse critique et enjeux théoriques du Théâtre des Orgies et des Mystères d’Hermann Nitsch : de 1957 à nos jours." Thesis, Rennes 2, 2018. http://www.theses.fr/2018REN20004/document.
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Le Théâtre des Orgies et des Mystères d’Hermann Nitsch s’inscrit dans le contexte douloureux de l’Autriche post fasciste. En effet, alors que cette dernière affiche dès l’annexion de 1938 un collaborationnisme « joyeux », elle s’est, au lendemain de la guerre, victimisée en déniant sa responsabilité et sa participation active aux crimes nazis préférant l’imputer entièrement à son voisin germanique.Aussi, c’est dans cette atmosphère nauséabonde et face au silence de la majorité des intellectuels de l’époque, ou’Hermann Nitsch va mettre en place son Theater à travers un langage plastique d’une grande radicalité.Cependant, contrairement à ce que l’on pourrait penser, il ne s’agit pas d’un art politique. En effet, passé le premier choc visuel, le Theater est avant tout philosophique et anthropologique.L’homme moderne désacralisé ne serait plus selon l’artiste en harmonie avec ce qui le constitue dans son essence. Les sociétés postmodernes, jugées par Nitsch comme aliénantes, seraient à l’origine d’une rupture de sens entre le matériel et le spirituel. L’expérience du Theater propose ainsi à l’individu, par le rituel et la mise en exergue des principes anthropologiques d’invariances de se débarrasser des déterminismes sociétaux afin d’accéder, à une connaissance continue (Bataille).Ainsi, le Théâtre des Orgies et des Mystères est une oeuvre multi référentielle et transhistorique se situant au carrefour entre micro et macrohistoire. L’artiste affirme que « le processus de création et le Theater doivent contribuer à former une unité avec le tout » afin « d’en finir avec la séparation entre immanence et transcendance ». Aussi, chacune des actions proposées par Nitsch consistent en des rituels tantôt de vie tantôt de mort ayant précisément pour objectif de rompre avec l’antagonisme immanence/transcendance. Réactualisant un langage symbolique inné (au sens où l’entend Freud) et des traditions anciennes, le Theater d’Hermann Nitsch tente de démontrer à l’individu moderne que l’univers qui l’entoure, malgré sa diversité, est un tout cohérent relevant d’une continuité survivante auquel il participe<br>Hermann Nitsch's Theatre of Orgies and Mysteries (Orgien Mysterien Theater) grew out of the painful context of post-Fascist Austria. Although Austria had welcomed annexation with Germany in 1938 and the Austrians had been eager collaborators with the Nazis from the outset, as soon as the war was over, they portrayed themselves as victims, denying responsibility for or active participation in Nazi crimes, preferring to blame everything on their German neighbours.In this loathsome atmosphere, in which the majority of the intellectuals of the time remained silent, Hermann Nitsch set up his Theater, using a highly radical, visual language.Contrary to what one might suppose, however, it was not political art.And in fact, after the initial visual shock, the Theater was, above all, philosophical and anthropological. Nitsch maintained that modern man, stripped of mythology, was no longer in harmony with his essence. Postmodern societies, which he deemed alienating, were responsible for a semantic breach between the material and the spiritual. The experience of the Theater, through ritual and its emphasis on anthropological principles of invariance, was a way for the individual to rid himself of societal determinism in order to gain access to continuous knowledge (Bataille). Thus, the Theatre of Orgies andMysteries is a multi-referential, transhistoric work situated on the cusp of micro- and macro-history. Nitsch has stated that "the creative process and the Theater must contribute towards forming a unity with the whole" so as to "erase the difference between immanence and transcendence". All of the activities proposed by Nitsch consist in rituals, sometimes of life and sometimes of death, but all with the aim of erasing the immanence/transcendence dichotomy. Hermann Nitsch's Theater adapts inborn symbolic language (in the Freudian sense) and old traditions in an attempt to demonstrate to the modernindividual that the universe that surrounds them, despite its diversity, is a coherent whole, a surviving continuity in which they participate.a
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Markwart, Thomas. "Die theatralische Moderne Peter Altenberg, Karl Kraus, Franz Blei und Robert Musil in Wien /." Hamburg : Verlag Dr. Kovac, 2004. http://catalog.hathitrust.org/api/volumes/oclc/59081113.html.
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MacDonald, Deanna. "Acknowledging the "Lady of the house" : memory, authority and self-representation in the patronage of Margaret of Austria." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38227.
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Margaret of Austria (1480--1530) ruled the Burgundian Netherlands for over twenty years and was an integral member of the joint Houses of Burgundy and Habsburg. She was also one of the most prolific patrons and collectors of her time. This dissertation examines Margaret's patronage in relation to her contemporary environment with the aim of extending and deepening our understanding of her commissions within the dynamics and discourses of the culture of the early sixteenth century.<br>Margaret of Austria was a highly conscientious patron and the art and architecture she commissioned intimately reflected her life. Chapter one introduces the historical facts of Margaret's life as well as issues affecting her patronage. Chapter two considers the monastery of Brou in Savoy as Margaret's architectural autobiography. Drawing on documentation and the building itself, it examines Margaret's involvement in Brou's creation. Chapter three looks at several of Margaret's other commissions such as her residence, the Palace of Savoy in Mechelen and the Convent of the Annunciate in Bruges. This chapter considers the potential goals of these projects, as ambitious as founding a capital city, embellishing her authority as a ruler, or attaining sainthood. Chapter four turns to Margaret's self-portraits, that is, images she commissioned of herself. Created in several mediums for a variety of audiences (including herself), Margaret's self-portraits portray her as everything from a widow to a goddess to a saint. Each image was designed for a specific audience and demonstrates Margaret's understanding of the function of images in negotiating a place in the contemporary world and history. Chapter five presents Margaret's view of herself as one of the rulers of a New World Empire with her pioneering collection of artefacts from the Americas. The conclusion considers the unique image of Margaret of Austria that emerges from her commissions.
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Shockley, Steven W. "A Match Made in Heaven or Hell: Historians Debate the Influence of Richard Wagner on Adolf Hitler and the Third Reich." [Johnson City, Tenn. : East Tennessee State University], 2001. http://etd-submit.etsu.edu/etd/theses/available/etd-0827101-153554/restricted/shockleys100401.pdf.
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Coccolo, Francesca. "The power of victory: Italy, Austria and the struggle for treasures of art and history after the First World War (1918-1923)." Thesis, IMT Alti Studi Lucca, 2021. http://e-theses.imtlucca.it/343/1/Coccolo_phdthesis.pdf.
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Stemming from the author’s previous years of research into how peace settlements have changed the destiny of so many artistic treasures and entire
historical collections in Europe, this work appears to have been only a matter of time. Despite there being a striking amount of records and first-hand accounts on artistic disputes between Austria and Italy at the end of the First World War, recent contributions, albeit precious, have so far remained quite circumscribed,
often focused on either Italian or Austrian sources and perspectives, but seldom taking both into account in equal measure. The fact that no broader analysis had been undertaken yet is partly attributable to the perhaps less appealing and less fictional features of post-1918 claims and restitutions. Exactly because no big-scale, thoroughly organised looting campaigns directed by incredibly power-thirsty individuals preceded those events, it may have seemed somehow intimidating comparing them to the sensational retrievals of the Napoleonic loots in Paris in 1815 and the equally unprecedented and
gigantic effort of the Allies, and the Americans in particular, towards the recovery and restitution of artworks displaced by Nazi and Fascist authorities.
Yet, what happened less than thirty years before that is in a sense the unintentionally neglected link in a chain that seems worth appreciating in its entirety.
During the Congress of Vienna no official treaty ever acknowledged the restitutions extolled from France through the military intervention of Prussia and Austria and the mediation of the British in favour of Canova’s requests. For reasons of international tact, relations with the restored French monarchy were not to be publicly compromised from the very onset. Conversely, the authority of the peace agreements and official restitution policies was to constitute the linchpin of post-1945 restitutions as administered mainly by the United States and their Army officials, particularly keen on abidance by the protocol and well-defined, ideally universal procedures. In 1919 and the years that followed, one interestingly witnesses a sort of liminal situation that borrows from previous instances of forced retrievals at the expenses of the vanquished but at
the same time paves the way for a more regulated implementation of
restitution demands through peace treaties, official protocols and bilateral
agreements. This type of legal primary sources just mentioned, along with official and personal correspondence kept in so many archives, Italian but in particular Austrian newspaper articles and the accounts penned and published
by all those who had a direct role in the events, constitute not only the heart of this work, but its very reason to be.
Acknowledging the potential of such a deep but partly untapped pool of information, this research has thus been intentionally and fundamentally archive-based. As it will become clear throughout the main text, the account
has given a significant priority to primary sources over second-hand and late contributions. The main reason for that is the fact that many recent studies rely on and constitute an interpretation only of part of those records. A work built too much on recent literature would have not left enough room and silence for the original voices to be heard, appreciated and contextualised in the historical events that framed and influenced them. The choice of proceeding along the lines drawn by the available yet greatly unpublished material has furthermore highlighted the need for a comprehensive chronological account of events only
partially known to scholars and the public alike. Against the backdrop of those five years that, after 1918, slowly and painfully dragged collapsed empires,
vanquished and victorious nations out of the cruelties of the war, the work
traces the steps of those in Italy and Austria who kept fighting for objects and collections of art and history with undiminished urge. In what can be seen as a backlash of the real hostilities that had just subsumed, the presence of the Italian military in Vienna ushered in a period of recriminations and threats that resulted in the forced seizure of dozens of paintings and manuscripts from the major institutions of the Austrian capital. The reaction of local intellectuals and
the public opinion contributed to making it an international affair with serious
repercussions on the peace negotiations in Paris. And in this sense the upcoming treaties, agreements and the official directives of international bodies like the Reparation Commission ended up playing a paramount role in the destiny of national collections like the Austrian ones, under the persisting
threat of claimant countries for years after the war. What ensues is thus the analysis of how pressing Italian demands had to translate into more
accommodating and diplomatic attitudes, despite a race against time to avoid the entanglements and caveats of post-war diplomacy and regulations. In the end, the ultimate destiny of major public collections and unique objects of art and history had, like in the past, to be subjected to exceptional and unprecedented political circumstances and power struggles that more often than not go unnoticed in the general art-historical discourse.
After discovering how much had been left untold that was actually available through so many documents and writings on both sides of the Alps, the urgency to catch up and put together a comprehensive, transnational history of those years arose naturally. For this cannot be but a story told from the Austrian and the Italian side at the same time, especially after more than a century has passed. Such a multi-centred way of proceeding resorts to a wide,
almost infinite range of connections between people, objects and places and thus automatically transcends political boundaries. In so doing, it also advocates an interpretation of the facts that wants to be as little biased as possible, an interpretation that won’t intrude too much throughout the narration so as to let the reader appreciate first and foremost the events as they followed and triggered one another, leaving some food for thought only at the very end. Consistently, the choice was also that of trying not to fall into mainstream discourses of art looting and restitution. Comparisons with earlier and later examples will inevitably be drawn, but this specific chapter of the past and its characters will still retain their own historical dignity and
autonomy. This automatically entails leaving behind binary interpretations along the lines of good and wrong, of customary and unlawful, compensation and punishment, both on an individual and on a collective level. Paradoxically
though, what is provided here is no real alternative to existing narratives except a fresh look at something that still remains hopelessly complex but, for this very reason, ever enriching.
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Brandow-Faller, Megan Marie. "An art of their own reinventing "Frauenkunst" in the female academies and artist leagues of late-imperial and first republic Austria, 1900-1930 /." Connect to Electronic Thesis (ProQuest) Connect to Electronic Thesis (CONTENTdm), 2010. http://worldcat.org/oclc/649823939/viewonline.
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Scherer, Solène. "Das Haus am Ring : construction et reconstruction de l'Opéra de Vienne, monument symbole de l'Autriche." Electronic Thesis or Diss., Toulouse 2, 2022. https://dante.univ-tlse2.fr/s/fr/item/32286.
Full textAbstract:
À l’instar d’autres grands bâtiments en Europe centrale, l’Opéra de Vienne est endommagé durant la Seconde Guerre mondiale par des bombardements détruisant une grande partie de sa structure originale. Reconstruit et rouvert en moins de dix ans, il accompagne le retour à la souveraineté de l’Autriche, se faisant d’une certaine manière le miroir de la reconstruction nationale. Partant de la construction de l’Opéra, pour remonter les étapes de sa destruction, puis de sa reconstruction, ce travail de thèse propose une exploration et une synthèse des problématiques de mémoire et de transmission inhérentes à la notion de monument et ce qu’on appelle en France, le patrimoine L’étude minutieuse des chantiers de construction entre 1860 et 1869 et de reconstruction entre 1945 et 1955, ainsi que de la période intermédiaire permet de saisir l’évolution du statut de monument de l’Opéra et la place qu’il a occupée dans les discours autour de l’État, la nation, la culture et l’identité au fur et à mesure que l’Autriche contemporaine s’est construite. D’un chantier à l’autre, l’Opéra est un symbole reflétant la relation qu’entretiennent Vienne et l’Autriche avec leur histoire et leur territoire. Le choix de reconstruire les parties détruites en 1945 de manière contemporaine réactualise le statut de l’Opéra et fait co-habiter deux architectures et deux époques. L’Opéra est un édifice-palimpseste sur lequel se greffe toute une dimension mythique, les anecdotes historiques et les légendes participent à un grand récit autour de l’institution, qui brouille la frontière entre fiction et réalité. En croisant les archives de l’État, de la ville de Vienne, celles des architectes employés sur les chantiers du bâtiment avec des sources imprimées – presse, critiques, livres, mémoires –, on parvient à dessiner de manière précise les contours de ce monument, qui frappe par l’ampleur de sa dimension discursive, tant les discours en ont forgé le statut. Aujourd’hui dans ses murs comme par sa mise en valeur, l’Opéra incarne toujours une certaine histoire de l’Autriche et il alimente encore l’image qu’on se fait du pays à l’international<br>Like other significant buildings in central Europe, the Vienna State Opera was damaged during World War II bombings, thus destroying a great part of its original structure. Rebuilt less than ten years after, the re-opening of the Opera was symbolic of Austria regaining control of its sovereignty, thus reflecting the national reconstruction of the country. Going from the building of the Opera house, then through the stages of its destruction, to finally look at the rebuilding process, this thesis is an exploration and a synthesis of the questions of memory and transmission inherently connected to the notion of monument, and of what we call in France, patrimoine. The meticulous study of construction works during its building between 1860 and 1869, and through reconstruction between 1945 and 1955, but also in the time between these periods, enables to understand the evolution of the Opera regarding its status and the role it had in debates centered on culture, identity and the nation. From one construction work to another, the Opera is a symbol mirroring the perspective of Vienna and Austria on their history and territory. To rebuild the parts destroyed in 1945 in a contemporary way renews its status as a monument. The Opera house is a "palimpsest building” and the mythical dimension of the building, fed by historical events and legends, participates in a collective narrative which blurs the limits between fiction and reality. By cross-referencing state archives, those of architects employed in the Opera’s construction works and printed sources, we manage to have a clear perspective on this building, which was also forged by what was said about it. To this day, the Vienna State Opera embodies a certain history of Austria, and still influences the way we see the country abroad<br>Während des Zweiten Weltkriegs wurde auch die Wiener Staatsoper wie andere große Gebäude in Mitteleuropa durch Bombenangriffe beschädigt, die einen großen Teil ihrer ursprünglichen Struktur zerstörten. Nach dem in weniger als zehn Jahren abgeschlossenen Wiederaufbau und der Wiedereröffnung begleitete die Oper die Wiedererlangung der Souveränität Österreichs und war in gewisser Weise ein Spiegelbild des nationalen Wiederaufbaus. Vom Bau des Opernhauses, über seiner Zerstörung bis zu dem anschließenden Wiederaufbau, strebt diese Dissertation eine Erforschung und Synthese der Probleme der Erinnerung und der Vermittlung an, die mit dem Begriff des Denkmals und dem, was man in Frankreich als „patrimoine“ bezeichnet, einhergehen.Die sorgfältige Untersuchung der Bauarbeiten zwischen 1860 und 1869 und des Wiederaufbaus zwischen 1945 und 1955 sowie der Zeit dazwischen ermöglicht es, die Entwicklung des Denkmalstatus der Oper und die Stelle, die die Oper in den Diskursen um Staat, Nation, Kultur und Identität eingenommen hat, zu erfassen, während das zeitgenössische Österreich aufgebaut wurde.Von einer Baustelle zu der nächsten ist das Opernhaus ein Symbol, das die Beziehung Wiens und Österreichs zu ihrer Geschichte und ihrem Territorium widerspiegelt. Die Entscheidung, die 1945 zerstörten Teile auf zeitgenössische Weise wiederaufzubauen, aktualisiert den Status des Opernhauses. Historische Anekdoten und Legenden sind Teil einer großen Erzählung über die Institution, die die Grenzen zwischen Fiktion und Realität verwischt. Durch die Verknüpfung der Archivdokumente des Staates, der Stadt Wien, sowie der Architekten, die auf den Baustellen des Gebäudes beschäftigt waren, mit gedruckten Quellen - Presse, Kritiken, Bücher, Memoiren – ist es gelungen, die Konturen dieses Denkmals genau zu umreißen, das durch das Ausmaß seiner diskursiven Dimension auffällt, da die Diskurse seinen Status geprägt haben. Die Oper verkörpert auch heute noch eine bestimmte Geschichte Österreichs und prägt das internationale Bild des Landes
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Wos, Nathaniel. "Australian Mateship and Imperialistic Encounters with the United States in the Vietnam War." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1703328/.
Full textAbstract:
This thesis attempts to prove the significance of the relationship between the United States and Australia, and how their similar cultures and experiences assisted creating that shared bond throughout the twentieth century. Chapter 2 examines the effects of the Cold War on both the United States and Australia, as well as their growing relationship during that period. There is some backtracking chronologically in order to make connections to important historical legacies such as the ANZAC Legend and settlement on the periphery of their respective societies. Then the first half of chapter 3 delves into the Vietnam War by examining the interactions of the American support unit, the 11th Combat Aviation Battalion, a helicopter unit that includes transports and gunships. Afterwards, the latter half of chapter 3 examines the Australians' after-action reports to better understand their tactical and operational methods. Finally, chapter 4 provides an overview of Australian and American interactions between the advisers and the Vietnamese, as well as their attitudes towards the end of the war and the withdrawal from Vietnam. The conclusion summarizes the significance of the thesis by reemphasizing the significance of US-Australian interactions in the twentieth century and the importance of continued studies on this topic between US and Australian historians.
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Voisin, Amélie. "François-Etienne de Lorraine (1708-1765) : l'éducation et la formation d'un prince lorrain à la cour des Habsbourg au XVIIIè siècle." Thesis, Lyon, 2017. http://www.theses.fr/2017LYSE2019.
Full textAbstract:
Cette thèse trouve son origine dans l’étude d’une partie méconnue de la biographie d’un prince lorrain au XVIIIème siècle, dont le destin l’amène à la tête de l’une des puissances décisives de l’Europe, le Saint Empire romain germanique. François-Étienne de Lorraine, né en 1708 dans le duché de Lorraine, y passe les premières années de sa vie, principalement au château de Lunéville, avant, en 1723, d’être envoyé par son père à Vienne, en Autriche, pour poursuivre son éducation à la cour de l’empereur Charles VI. Plus qu’une poursuite de son éducation, il s’agit davantage d’une réorientation de cette éducation, animée par des desseins politiques qui dirigent les modalités et les contenus de la formation reçue par François-Étienne. Les travaux biographiques sur ce dernier se sont surtout focalisés sur le prince devenu adulte : son gouvernement de la Toscane, son rôle aux côtés de sa femme, Marie-Thérèse d’Autriche, ou encore, dans une moindre mesure, sa vie en tant qu’empereur du Saint Empire romain germanique, après son élection à la tête de celui-ci en 1745. Mais son enfance et le parcours qui l’ont amené jusqu’à ce point sont particulièrement méconnus.Ainsi, la première partie de la thèse est l’objet d’un retour sur les environnements dans lesquels François-Étienne évolue depuis sa naissance et pendant ses années de formation. L’éducation est en effet le résultat de plusieurs paramètres ; elle emprunte aux théories et aux idées des siècles passés, mais se renouvèle sans cesse par les réflexions philosophiques qui en changent les méthodes et les contenus, notamment au XVIIIème siècle, avec la nouvelle vision de l’éducation des philosophes des Lumières. Les environnements matériels participent aussi à définir l’éducation, tout comme les personnes cotôyées : celles-ci vont soit impulser ou limiter une forme de soif de savoirs, ou peuvent diriger les modalités de l’éducation.L’éducation est multiforme et ne se résume pas seulement à un enrichissement intellectuel. Avant même de s’intéresser à son esprit, c’est sur son corps que se focalisent toutes les attentions familiales. L’aspect physique du prince, sa maitrise de son comportement et de ses gestes sont des préalables à l’introduction dans la société des princes. L’esprit du prince n’est pas pour autant longtemps délaissé ; très tôt, il lui est inculqué des préceptes religieux d’abord, puis des savoirs et des connaissances dont il doit savoir faire usage afin de devenir un bon prince. Mais c’est aussi ses interactions avec le monde extérieur qui doivent être encadrées et guidées selon plusieurs niveaux d’intimité et de relations avec autrui.Afin de dépeindre ces trois niveaux de formation, dans deux mondes différents, les axes d’étude choisis ont principalement été les modalités, les moyens, les buts et les personnes qui encadrent cette éducation. Principalement à partir de deux fonds regroupant les sources issues des archives de Vienne et les sources présentes aux archives départementales de Meurthe-et Moselle, à Nancy, il a ainsi été possible de revenir sur l’enfance et les années de formation de François-Étienne. La bivalence volontaire de son parcours est peu fréquente pour un prince, et pose également la question du devenir de cette éducation à l’âge adulte ; à travers cette étude, il apparaît qu’aucune des deux formes d’éducation reçues ne prend réellement l’avantage sur l’autre, elles se confondent au contraire ou se distinguent selon les domaines.Enfin, c’est aussi la question de la transmission d’un modèle éducatif qui est à l’étude, ou plutôt de la volonté ou non de transmettre les mêmes axes, contenus et modalités à ses propres enfants, ainsi que des conséquences à plus long terme des premières années de l’empereur François-Étienne<br>The aim of this thesis is to study the little-known part of a Lorrain prince’s life during the 18th century; destiny brought him to the head of one of the most powerful state in Europe, the Holy Roman Germanic Empire. Francis Stephen of Lorraine was born in 1708 in the duchy of Lorraine where he stayed for the first years of his life, mainly at Luneville castle; then, in 1723, his father sent him to Austria, in Vienna, at the court of the Emperor Charles VI, where his education was to proceed. But more than the next step to his education, a complete shift and reorganisation in methods and contents were operated, shift intended by his father who wanted a political ascension for his son. The biographies about Francis are more focused on his adult’s life, when he reigned in Toscana, when he became Holy Emperor after the 1745 election or his duties as Maria-Theresia’s husband. However, his childhood and education are particularly little-known.Thus, the first part of this thesis deals with his surroundings when he was a child. Education is the result of several factors, among which are the old theories and ideas, although these ideas are constantly renewed; this renewing is due to the philosophical reflection on education which changed the methods and contents, particularly in the 18th century, with the new philosophy of Enlightenment. The material conditions are very important too, as well as the persons involved in his tuition: these persons could act like a new impulse to the development of his eagerness to learn or a break to his progress, or could direct teaching methods.Education can be multiform and cannot be considered a mere intellectual enrichment. Before dealing with his mind, his family’s attention was drawn to his body. The prince’s physical aspect, the mastery of his behaviour and manners are paramount assets at court. Still, the education of his mind wasn’t left apart. Very early, he was taught religious precepts, then the learning he needed to become a good ruler. Moreover, his relationships with other people were controlled and supervised, according to different levels of intimacy and the relation to others.To depict these three levels of education in two different worlds, I have chosen to study the methods, the resources, the goals and the persons that took part in his education. I have exploited sources mostly from two different archives, one in Vienna and the other one at the departmental archives of Meurthe-et-Moselle, in Nancy. With these records, I have studied Francis-Stephen‘s childhood and education. The conscious bivalence of his life is quite unusual for a prince; this raises the issue of the evolution of this education when Francis Stephen became an adult: a priori, he assimilated both ways of training, with no predominance of one over the other.Finally, one can also wonder if Francis Stephen ‘s bicultural education became a model for his children or if he didn’t want to educate his sons and daughters with both influences, and as well what were its consequences on the first years of his reign as an emperor in the long run