Un Bywyd o Blith Nifer: Cofiant Saunders Lewis, 1892-1985

Chapman, T. (2006). Un Bywyd o Blith Nifer: Cofiant Saunders Lewis, 1892-1985. Llandysul: Gwasg Gomer.

Warianty realizacji austriackości w wybranych autorów (Joseph Roth, Stefan Zweig, Franz Theodor Csokor i Ődön von Horváth) w odniesieniu do kategorii granicznych starego i nowego świata

Wydział Neofilologii:Instytut Filologii Germańskiej

Lights and shades of mission work, or, Leaves from a worker's note book : being reminiscenses of seven years service at the capital, 1885-1892 / by B.H.W.

http://www.archive.org/details/lightsandshades00bhwuoft

Historical sketch of the Flathead Indian nation from the year 1813 to 1890 : embracing the history of the establishment of St. Mary's Indian Mission in the Bitter Root Valley, Mont. : with sketches of the missionary life of Father Ravalli and other early missionaries : wars of the Blackfeet and Flatheads and sketches of history, trapping and trading in the early days / by Peter Ronan.

http://www.canadiana.org/ECO/mtq?doc=16974 View document online

Northern Ireland, America and the emerging church movement: Exploring the significance of Peter Rollins and the Ikon collective

The Emerging Church Movement (ECM) is a primarily Western religious phenomenon, identifiable by its critical ‘deconstruction’ of ‘modern’ religion. While most prominent in North America, especially the United States, some of the most significant contributors to the ECM ‘conversation’ have been the Belfast-based Ikon Collective and one of its founders, philosopher Peter Rollins. Their rootedness in the unique religious, political and social landscape of Northern Ireland in part explains their position on the ‘margins’ of the ECM, and provides many of the resources for their contributions. Ikon’s development of ‘transformance art’ and its ‘leaderless’ structure raise questions about the institutional viability of the wider ECM. Rollins’ ‘Pyrotheology’ project, grounded in his reading of post-modern philosophy, introduces more radical ideas to the ECM conversation. Northern Ireland’s ‘Troubles’ and ‘marginal’ location provides the ground from which Rollins and Ikon have been able to expose the boundaries of the ECM and raise questions about just how far the ECM may go in its efforts to transform Western Christianity.

Das Bistum Würzburg 7. Die Würzburger Bischöfe von 1617 bis 1684

Winfried Romberg führt mit dem Band Die Würzburger Bischöfe von 1617 bis 1684 die Bischofsreihe fort, die Alfred Wendehorst begonnen hat (Germania Sacra Neue Folge 1/4/13). Damit erscheint ein Band, der in besonderer Weise für den Schwerpunkt der Dritten Folge der Germania Sacra steht: Die Darstellung von Diözesen und Domkapiteln der Kirche des Alten Reiches. Er beleuchtet die Lebensläufe und Amtstätigkeiten neuzeitlicher Würzburger Bischöfe des 17. Jahrhunderts und umfasst die Pontifikate von Johann Gottfried I. von Aschhausen (1617–1622) bis zum Pontifikat von Konrad Wilhelm von Wernau (1683–1684). Die Bischöfe dieser Zeit waren von überregionaler Bedeutung und Wirksamkeit, wie sich beispielhaft in der Person des Bischofs Johann Philipp I. von Schönborn (1642–1673) zeigt, der zugleich Erzbischof von Mainz war. Johann Gottfried I. von Aschhausen, Franz von Hatzfeld und Peter Philipp von Dernbach waren Bischöfe von Würzburg und Bamberg in Personalunion, womit sich der Band auch an die Darstellung der Bamberger Bischofsreihe von 1522 bis 1693 von Dieter J. Weiß (Germania Sacra Neue Folge 38) anschließt. Die Viten, die das Wirken des einzelnen Bischofs in seinem Amt in den Vordergrund stellen, bewegen sich im geschichtsträchtigen Umfeld von Rekatholisierung, Dreißigjährigem Krieg und Frühabsolutismus.

Stiftsherren und Vikare des Kollegiatstifts St. Peter und Paul in Zeitz 1400–1564.

Der hier publizierte Personenkatalog ist Teil des Anhangs der im Januar 2008 von Matthias Ludwig an der Martin-Luther-Universität Halle-Wittenberg eingereichten Magisterarbeit „Das Personal der Naumburger Domkirche und der Zeitzer Stiftskirche 1400–1564. Ein prosopographischer Beitrag zur mitteldeutschen Stiftskirchenforschung“. Ausgangspunkt der Arbeit war die Frage nach der Zusammensetzung der beiden geistlichen Gemeinschaften in Naumburg und Zeitz hinsichtlich eines vorgegebenen Rasters, bestehend aus den Kriterien Herkunft, Standeszugehörigkeit, Bildung, Karriereprofil, Weihegrade und personelle Netzwerke. Das zugrunde liegende biografische Material für Zeitz wurde vor allem aus der stiftischen Überlieferung selbst erhoben, deren wesentlicher Träger das Archiv des ehemaligen Kollegiatstifts ist, das heute zum Bestand des Stiftsarchivs und der Stiftsbibliothek Zeitz gehört. Es umfasst Angaben zu insgesamt 277 Stiftsherren und Vikaren, die für den Zeitraum von 1400 bis 1564 nachgewiesen werden konnten.

GABRIEL URBAIN FAURÉ, THE UNSUNG MODERNIST: A PERFORMANCE SURVEY OF SELECTED LATE WORKS WRITTEN AFTER 1892 FOR PIANO SOLO, AND PIANO IN COLLABORATION WITH VIOLIN, VIOLONCELLO, AND VOICE

Gabriel Urbain Fauré lived during one of the most exciting times in music history. Spanning a life of 79 years (1845-1924), he lived through the height of Romanticism and the experimental avant-garde techniques of the early 20th century. In Fauré's music, one can find traces of Chopin, Liszt, Mendelssohn, Debussy and Poulenc. One can even argue that Fauré presages Skryabin and Shostakovich. The late works of Gabriel Fauré, chiefly those composed after 1892, testify to the argument that Fauré holds an important position in the shift from tonal to atonal composition and should be counted among such transitional composers as Gustav Mahler, Claude Debussy, Erik Satie, Richard Strauss, and Ferruccio Busoni. Fauré's unique way of fashioning harmonic impetus of almost purely linear means, resulting in a synthesis of harmonic and melodic devices, led me to craft the term mélodoharmonique. This term refers to a contrapuntally motivated technique of composition, particularly in a secondary layer of musical texture, in which a component of harmonic progression (i.e. arpeggiation, broken chord, etc.) is fused with linear motivic or thematic development. This dissertation seeks to bring to public attention through exploration in lecture and recital format, certain works of Gabriel Fauré, written after 1892. The repertoire will be selected from works for solo piano and piano in collaboration with violin, violoncello, and voice, which support the notion of Fauré as a modernist deserving larger recognition for his influence in the transition to atonal music. The recital repertoire includes the following--Song Cycles: La bonne chanson, opus 61; La chanson d'Ève, opus 95; Le jardin clos, opus 106; Mirages, opus 113; L'horizon chimérique, opus 118; Piano Works: Prelude in G minor opus 103, No. 3; Prelude in E minor opus 103, No. 9; Eleventh Nocturne, opus 104, No.1; Thirteenth Nocturne, opus 119; Chamber Works: Second Violin Sonata, opus 108; First Violoncello Sonata, opus 109; Second Violoncello Sonata, opus 117.

AUSTRO-GERMAN VIOLIN REPERTORIE FROM BAROQUE THROUGH ROMANTIC PERIOD

At the end of the sixteenth century, Germany had become one of the most active centers of early Baroque music, and therefore Austro-German music came to dominate Western music. An investigation of violin works written during this period reveals the ways in which Austro-German compositions are extraordinary contributions to the violin repertoire. This research warranted further study and performance of these works in order to determine what influence these composers had on the violin repertoire as a whole. For my dissertation recital project, I trace the history of works for violin focusing the violin concerto repertoire in particular. A genre which remained popular throughout the century, the nineteenth-century concerto served primarily as a vehicle for virtuosic display of the violin and piano as never before. For my research I studied and performed works selected from the Baroque through the Romantic period in three recorded recitals with collaborative pianists Ilya Sinaisky, Sun-ha Yun, and Seyon Lee at the Gildenhorn Recital Hall, Clarice Smith Performing Arts Center. I selected particularly prominent pieces which represent the work of significant composers from each period. The composers discussed include Johann Sebastian Bach (1685-1750), owing to the fact that his works are the culmination of the Baroque era during the first half of the eighteenth century; from the Classical period, Wolfgang Amadeus Mozart (1756-1791) all of whom emerged mixing German and Italian traditions into his own style, and Ludwig van Beethoven (1770-1827), the bridge composer between the Classical and the Romantic periods; Romantic composers, Franz Schubert (1979-1828), Johannes Brahms (1833-1897), Robert Schumann (1810-1856), Felix Mendelssohn (1809-1847), and Max Bruch (1838-1920), all who tended to mix Classic and Romantic elements. As a violinist, I learned that their own original sound, rich harmonies and unique expression made these works worthy of becoming masterpieces. I have relished the opportunity for musical and professional growth in exploring these substantial compositions.

THE PIANO MUSIC OF ROBERT SCHUMANN (1810-1856) AND JOHANNES BRAHMS (1833- 1897): A SURVEY OF CONCERTI, VARIATIONS, AND CHARACTER PIECES

Robert Schumann (1810-1856) and Johannes Brahms (1833-1897), in some ways Robert Schumann's artistic descendant, are the most important and representative German piano composers during the Romantic period. Schumann was already a mature and established musician in 1853 when he first met the young Brahms and recognized his talents, an encounter that had a long-lasting affect on the lives and careers of both men. After Schumann’s mental breakdown and death, Brahms maintained his admiration of Schumann’s music and preserved an intimate relationship with Clara Schumann. In spite of the personal and musical closeness of the two men, Schumann’s music is stylistically distinct from that of Brahms. Brahms followed traditions from Baroque and Classical music, and avoided using images and expressive titles in his music. Brahms extraordinarily intermingled earlier musical forms with multicolored tones of German Romanticism. In contrast, Schumann saw himself as a radical composer devoted to personal emotionalism and spontaneity. He favored programmatic titles for his character pieces and extra-musical references in his music. While developing their own musical styles as German Romantic composers, Schumann and Brahms both utilized the piano as a resourceful tool for self-realization and compositional development. To investigate and compare the main characteristics of Schumann and Brahms’s piano music, I looked at three genres. First, in the category of the piano concerto, I chose two major Romantic works, Schumann’s A minor concerto and Brahms’s B-flat major concerto. Second, for the category of piano variations I included two sets by Brahms because the variation framework was such an important vehicle for him to express his musical thoughts. Schumann’s unique motivic approach to variation is displayed vividly in his character-piece cycle Carnaval. Third, the category of the character piece, perhaps the favorite medium of Romantic expression at the piano, is shown by Schumann’s Papillons and Brahms’s sets of pieces Op.118 and Op.119. This performance dissertation consists of three recitals performed in the Gildenhorn Recital Hall at the University of Maryland, College Park. These recitals are documented on compact disc recordings that are housed within the University of Maryland Library System.

THE PIANO FANTASY FROM BACH TO DANIELPOUR

The Fantasy, as the term suggests, is a genre that composers have found congenial for exploring innovative and imaginative processes. Works in this genre are numerous in the solo piano literature, and extend even to works for piano and orchestra and to chamber music with piano. I was curious to explore how a specific genre of music maintained similar characteristics but evolved over time. A fantasy is primed to be inventive and I wanted to see how composers from different eras and backgrounds would handle their material in this genre. I have learned that composers worked through formal developments while making innovations within this genre. The heart of my dissertation is presented through the recording project. Because ofthe abundance ofpiano fantasies, many works had to be excluded from this project for time's sake. On two compact discs, I have recorded approximately two hours of solo piano music. I have included some shorter fantasies to magnify significant developments from era to era, country to country, and composer to composer. The first disc has recordings of eighteenth and nineteenth-century fantasies: Chromatic Fantasy and Fugue, BWV 903 by J.S. Bach (1685-1750); Fantasia inC major, H. XVII, 4 by Franz Joseph Haydn (1732-1809); Fantasy inc minor, K. 475 by Wolfgang Amadeus Mozart (1756- 1791); Fantasia inf-sharp minor, Op. 28 by Felix Mendelssohn (1809-1847); and Polonaise-Fantaisie in A-flat major, Op. 61 by Frederic Chopin (1810-1849). On the second disc I have included mid-19th, 20th and 2151-century piano fantasies: Fantasy and Fugue on the Theme B-A-C-H by Franz Liszt (1811-1886); Fantasia Baetica by Manuel de Falla (1876-1946); Three Fantasies by William Bergsma (1921-1994); Fantasy, Aria and Fugue by Frederic Goossen (1927-2011); and Piano Fantasy ("Wenn ich einmal sol! scheiden") by Richard Danielpour (b. 1956). The accompanying document includes program notes for each of the pieces recorded. They were recorded on a Steinway "D" in Dekelboum Concert Hall at the University of Maryland by Antonino D'Urzo ofOpusrite Productions. This document is available in the Digital Repository at the University of Maryland and the CO's are available through the Library System at the University of Maryland.

[Book review] Peter Reimann and Hans Spada (eds), Learning in Humans and Machines: Towards an Interdisciplinary Learning Science

Review of: Peter Reimann and Hans Spada (eds), Learning in Humans and Machines: Towards an Interdisciplinary Learning Science, Pergamon. (1995). ISBN: 978-0080425696

[Book review] Reviews. Peter Aughton, The Transit of Venus: The Brief, Brilliant Life of Jeremiah Horrocks, Father of British Astronomy, Orion, 2004

Book review of: Peter Aughton, The Transit of Venus: The Brief, Brilliant Life of Jeremiah Horrocks, Father of British Astronomy, Orion, 2004, 0-297-84721-x, £18.99.

Franz Rosenzweig. Der Stern der Erlösung

Den Konflikt zwischen Modernität und jüdisch-orthodoxer Glaubenspraxis trug Franz Rosenzweig auf seine ganz eigene Art aus. Die Bewegung führt dramatisch von der noblen Peripherie in das Zentrum jüdischen Lebens und dessen Lehr- und Glaubenspraxis. Für das Werk von Emmanuel Levinas stellt Franz Rosenzweig wohl die wichtigste Referenz dar. "Mit ihrem „messianischen“ Zeitkonzept ist die jüdische Religion den Erfahrungsreligionen näher als das Christentum. Das Judentum, so schreibt Karlheinz Kleinbach in seinem Portrait des jüdischen Philosophen Franz Rosenzweig, „lebt innerweltlich in der Gegenwärtigkeit. Liturgie und Ritus stehen nicht im Gegensatz zum alltäglichen Leben, sondern sind vielmehr dessen Existenzmodus.“ Mensch und Gott und Welt sind für Rosenzweig nicht zu verbindende Elemente. Nur in der Gemeinschaft, im Gespräch wird es möglich, das trennende „Und“ zu überbrücken" (Reusch)