Schumann's Opus 39 "Liederkreis": The story of an engagement

The objective of this thesis is twofold: (1) to confirm Robert Schumann's selection of the twelve poems by Josef von Eichendorff for Schumann's own purposes in the song cycle entitled Eichendorff Liederkreis opus 39; and (2) to establish a theme or story line in the final order of the poems. ^ The methodology employed first a research into the biography of Josef von Eichendorff, including an understanding of his use of poetic images that represented Catholicism and nostalgia for his privileged childhood, and a contrast with Robert Schumann's biography and his very different motivations during his song year (Liederjahr) of 1840: love and his traumatic 1835–1840 engagement to Clara Wieck. The songs were then analyzed as a collection and as pairs, both musically and with regard to textual meaning. Finally, the events of the Schumann/Wieck engagement were weighed against the twelve song texts. ^ The results of the findings confirm the likely existence of a theme for the Liederkreis, which is Robert Schumann's 4-1/2 year engagement to Clara Wieck. ^

Ghost Tree Social

GHOST TREE SOCIAL tells a coming out story of sorts. In terms of style, many of the poems are short, imagistic lyrics, though some are extended catalogues. Specific natural images—lakes, rivers, and snow—are often contrasted with cultural markers. The imagistic poems are thinking through the work of Sylvia Plath. The catalogue poems shift between diaristic, narrative, and critical modes, responding to the poetry of Elizabeth Bishop and the essays of Edouard Glissant. Voice-driven fragments disrupt the more traditional lyric poems. The fragments fall between formal lyrics like confetti from a gay club’s rafters; or the fragments hold the lyric poems in bondage. The lyric poem then re-signifies as form through resonances with the other discursive and poetic form of the fragment. Following critical writers such as Adrienne Rich and Audre Lorde, the re-signification of lyric form reflects the need for new signs for self and community organized queerly as opposed to more typical binary categories—man or woman, living or dead, rich or poor, white or black—where the first term is privileged and the second term often denigrated.