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A New Perspective on Post-Migration German Identity Sandra Digruber
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2015 A New Perspective on Post-Migration German Identity Sandra Digruber Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES A NEW PERSPECTIVE ON POST-MIGRATION GERMAN IDENTITY By SANDRA DIGRUBER A Thesis submitted to the Department of Modern Languages and Linguistics in partial fulfillment of the requirements for the degree of Master of Arts Degree Awarded: Spring Semester, 2015 Sandra Digruber defended this thesis on April 3, 2015. The members of the supervisory committee were: Christian Weber Professor Directing Thesis Birgit Maier-Katkin Committee Member A. Dana Weber Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the thesis has been approved in accordance with university requirements. ii TABLE OF CONTENTS Abstract .......................................................................................................................................... iv 1. INTRODUCTION ...................................................................................................................... 1 2. ATTEMPTS TO DEFINE GERMAN IDENTITY IN THE 19TH-CENTURY ......................... 3 2.1 Johann Gottlieb Fichte ........................................................................................................ 7 2.2 Richard Wagner ............................................................................................................... -
Licht Ins Dunkel“
O R F – J a h r e s b e r i c h t 2 0 1 3 Gemäß § 7 ORF-Gesetz März 2014 Inhalt INHALT 1. Einleitung ....................................................................................................................................... 7 1.1 Grundlagen........................................................................................................................... 7 1.2 Das Berichtsjahr 2013 ......................................................................................................... 8 2. Erfüllung des öffentlich-rechtlichen Kernauftrags.................................................................. 15 2.1 Radio ................................................................................................................................... 15 2.1.1 Österreich 1 ............................................................................................................................ 16 2.1.2 Hitradio Ö3 ............................................................................................................................. 21 2.1.3 FM4 ........................................................................................................................................ 24 2.1.4 ORF-Regionalradios allgemein ............................................................................................... 26 2.1.5 Radio Burgenland ................................................................................................................... 27 2.1.6 Radio Kärnten ........................................................................................................................ -
Podium Operette: Du Mein Schönbrunn
Podium Operette: Du mein Schönbrunn Kaiserin, Kaiser und Imperiales als Topoi der Wiener Operette Zum 300. Geburtstag Maria Theresias Universitätslehrgang Klassische Operette (Leitung: Wolfgang Dosch) Donnerstag, 11. Mai 2017 18.00 Uhr Musik und Kunst Privatuniversität der Stadt Wien MUK.podium Johannesgasse 4a, 1010 Wien PROGRAMM Leo Fall (1873, Olmütz – 1925, Wien) aus Die Kaiserin (Text: Julius Brammer/ Alfred Grünwald), 1915, Berlin Metropoltheater Wenn die Wiener Edelknaben Michiko Fujikawa, Sopran Nataliia Ulasevych, Sopran Jantus Philaretou, Bariton Wir sind drei feine Diplomaten Seungmo Jung, Tenor Wonbae Cho, Tenor Jantus Philaretou, Bariton Die Kaiserin: Original Klavierauszug Du mein Schönbrunn Adriana Hernandez Flores, Sopran Mir hat heute Nacht von ein’ Tanzerl geträumt Adriana Hernandes Flores, Sopran Jantus Philaretou, Bariton Ja, so singt man und tanzt man in Wien Nataliia Ulasevych, Sopran Seungmo Jeong, Tenor Fritzi Massary als Maria Theresia, UA Berlin 1915 2 Nico Dostal (1895, Korneuburg – 1981, Salzburg) aus Die ungarische Hochzeit (Text: Hermann Hermecke), 1939, Stuttgart Märchentraum der Liebe Wonbae Cho, Tenor Bruno Granichstaedten (1879, Wien – 1944, New York) aus Auf Befehl der Kaiserin (Text: Leopold Jacobson/ Robert Bodanzky), 1915, Wien Wann die Musik spielt Michiko Fujikawa, Sopran Nataliia Ulasevych, Sopran Seungmo Jeong, Tenor Dolores Schmidinger als Maria Theresia, Komm’, die Kaiserin will tanzen Die Ungarische Hochzeit, Lehár Festival Bad Ischl, 2015 © Foto Hofer Sonja Gebert, Sopran Branimir Agovi, Bariton -
German Operetta on Broadway and in the West End, 1900–1940
Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 German Operetta on Broadway and in the West End, 1900–1940 Academic attention has focused on America’sinfluence on European stage works, and yet dozens of operettas from Austria and Germany were produced on Broadway and in the West End, and their impact on the musical life of the early twentieth century is undeniable. In this ground-breaking book, Derek B. Scott examines the cultural transfer of operetta from the German stage to Britain and the USA and offers a historical and critical survey of these operettas and their music. In the period 1900–1940, over sixty operettas were produced in the West End, and over seventy on Broadway. A study of these stage works is important for the light they shine on a variety of social topics of the period – from modernity and gender relations to new technology and new media – and these are investigated in the individual chapters. This book is also available as Open Access on Cambridge Core at doi.org/10.1017/9781108614306. derek b. scott is Professor of Critical Musicology at the University of Leeds. -
Sissi in Amerika“
DIPLOMARBEIT Titel der Diplomarbeit „Sissi in Amerika“ Verfasserin Elisabeth Niklas angestrebter akademischer Grad Magistra der Philosophie (Mag.phil.) Wien, 2014 Studienkennzahl lt. Studienblatt: A 317 Studienrichtung lt. Studienblatt: Theater-, Film- und Medienwissenschaft Betreuer: Ao. Univ.-Prof. Dr. Rainer Maria Köppl 2 Danksagung: An dieser Stelle möchte ich mich bei all jenen Personen bedanken, die mich auf meinem Studienweg begeleitet haben, und dazu beigetragen haben, dass die vorliegende Arbeit in dieser Form zustande gekommen ist. Professor Rainer M. Köppl danke ich für die Anregung zu diesem Thema, die gute Betreuung, die interessanten Seminare im Laufe des Studiums und die Geduld, die er mir bis zur Fertigstellung der Arbeit entgegen brachte. Den Mitarbeitern des Filmarchivs Austria, Thomas Ballhausen, und Günter Krenn danke ich für die Unterstützung bei den ersten Recherchen. Clara Huber, die mir in ihrer eigenen Studienabschlussphase wertvolle Informationen zur Verfügung stellte, sei ebenfalls gedankt. Weiters möchte ich mich bei Kristine Krueger von der Margaret Herrick Library in Kalifornien bedanken, die mir Pressematerial zum Film Forever my Love aus dem Archiv der Bibliothek zugesendet hat. Auch meiner Familie, meinen Eltern und Geschwistern möchte ich Danke sagen. Sie haben mich geformt und zu dem gemacht, was ich bin. Danke für den Rückhalt und die Unterstützung, die ich von euch erfahren habe. Ohne euch wäre ein Studium nicht möglich gewesen. Ebenso ist meinen Freunden zu danken und im Besonderen Andreas: für Diskussion, -
Programmheft (Pdf)
Die ersten Europäer Habsburger und andere Juden – eine Welt vor 1914 Begleitprogramm Die ersten Europäer Habsburger und andere Juden – eine Welt vor 1914 25. März – 5. Oktober 2014 Hundert Jahre nach dem Beginn des Ersten Weltkriegs steckt Europa erneut in einer tiefen Krise. Das Jüdische Museum Hohenems blickt zurück auf die Lebenswelt der „Habsburger Juden“ und ihre Erfahrungen, ihre transnationalen Netzwerke und ihre Mobilität, ihre Hoffnungen auf eine europäische Einigung und ihre Illusionen über das Habsburger „Vielvölkerreich“. Die Ausstellung präsentiert kostbare Leihgaben aus Museen und Sammlungen in Europa und den USA. Sie erzählt von Kaufleuten und Lastenträgern, Erfin- dern und verkauften „Bräuten“, Künstlern und Salon- damen, Hausiererinnen und Gelehrten, Spionen und Patrioten. So entfaltet die Schau das Panorama eines untergegangenen Reiches, vom späten Mittelalter bis 1914. Am Ende existierten mehr als 400 jüdische Gemeinden auf dem Gebiet der Habsburger Doppel- monarchie, in denen sich die ganze Vielfalt des Reiches widerspiegelte. Lange Zeit war Hohenems freilich die einzige öffentlich anerkannte jüdische Gemeinde auf dem Gebiet des heutigen Österreich westlich des Burgenlandes, bevor das Staatsgrundgesetz 1867 Juden den Eintritt in die Gesellschaft eröffnen sollte – und der moderne Antisemitismus zur neuen Heilslehre Europas wurde. Juden gehörten in dieser Welt vor 1914 zu den aktivsten Mittlern zwischen den Kulturen und Regionen. Ihre Mobilität und ihre grenzüber- schreitenden Beziehungen machten sie zum dynami- schen Element der europäischen Entwicklung. Die Angehörigen dieser jüdischen Gemeinden waren alles andere als homogen. Sie bestanden aus Monar- chisten und Revolutionären, aus Chassidim und Maskilim, Frommen und Aufgeklärten, ländlichen und urbanen Juden, Armen und Reichen, Traditionalisten und Kämpfern für Gleichheit und Recht, Feministinnen und Utopisten. -
Équinoxe Screenwriters' Workshop / Palais Schwarzenberg, Vienna 31
25. éQuinoxe Screenwriters’ Workshop / 31. October – 06. November 2005 Palais Schwarzenberg, Vienna ADVISORS THE SELECTED WRITERS THE SELECTED SCRIPTS DIE AUSGEWÄHLTEN DIE AUSGEWÄHLTEN AUTOREN DREHBÜCHER Dev BENEGAL (India) Lois AINSLIE (Great Britain) A Far Better Thing Yves DESCHAMPS (France) Andrea Maria DUSL (Austria) Channel 8 Florian FLICKER (Austria) Peter HOWEY (Great Britain) Czech Made James V. HART (USA) Oliver KEIDEL (Germany) Dr. Alemán Hannah HOLLINGER (Germany) Paul KIEFFER (Luxembourg) Arabian Nights David KEATING (Ireland) Jean-Louis LAVAL (France) Reclaimed Justice Danny KRAUSZ (Austria) Piotrek MULARUK (Poland) Yuma Susan B. LANDAU (USA) Gabriele NEUDECKER (Austria) ...Then I Started Killing God Marcia NASATIR (USA) Dominique STANDAERT (Belgium) Wonderful Eric PLESKOW (Austria / USA) Hans WEINGARTNER (Austria) Code 82 Lorenzo SEMPLE (USA) Martin SHERMAN (Great Britain) 2 25. éQuinoxe Screenwriters‘ Workshop / 31. October - 06. November 2005 Palais Schwarzenberg, Vienna: TABLE OF CONTENTS / INHALT Foreword 4 The Selected Writers 30 - 31 Lois AINSLIE (Great Britain) – A FAR BETTER THING 32 The Story of éQuinoxe / To Be Continued 5 Andrea Maria DUSL (Austria) – CHANNEL 8 33 Peter HOWEY (Great Britain) – CZECH MADE 34 Interview with Noëlle Deschamps 8 Oliver KEIDEL (Germany) – DR. ALEMÁN 35 Paul KIEFFER (Luxembourg) – ARABIAN NIGHTS 36 From Script to Screen: 1993 – 2005 12 Jean Louis LAVAL (France) – RECLAIMED JUSTICE 37 Piotrek MULARUK (Poland) – YUMA 38 25. éQuinoxe Screenwriters‘ Workshop Gabriele NEUDECKER (Austria) – ... TEHN I STARTED KILLING GOD 39 The Advisors 16 Dominique STANDAERT (Belgium) – WONDERFUL 40 Dev BENEGAL (India) 17 Hans WEINGARTNER (Austria) – CODE 82 41 Yves DESCHAMPS (France) 18 Florian FLICKER (Austria) 19 Special Sessions / Media Lawyer Dr. Stefan Rüll 42 Jim HART (USA) 20 Master Classes / Documentary Filmmakers 44 Hannah HOLLINGER (Germany) 21 David KEATING (Ireland) 22 The Global éQuinoxe Network: The Correspondents 46 Danny KRAUSZ (Austria) 23 Susan B. -
Stanford Prison Experiment - Wikipedia, the Free Encyclopedia
Stanford prison experiment - Wikipedia, the free encyclopedia Log in / create account Article Discussion Read Edit View history Stanford prison experiment From Wikipedia, the free encyclopedia Main page Contents The Stanford prison experiment was a study of the psychological effects of becoming a Featured content prisoner or prison guard. The experiment was conducted from August 14th to 20th[citation needed], Current events 1971 by a team of researchers led by Psychology professor Philip Zimbardo at Stanford University. Random article Twenty-four students were selected out of 75 to play the prisoners and live in a mock prison in the Donate to Wikipedia basement of the Stanford psychology building. Roles were assigned randomly. The participants adapted to their roles well beyond what even Zimbardo himself expected, leading the "Officers" to Interaction display authoritarian measures and ultimately to subject some of the prisoners to torture. In turn, Help many of the prisoners developed passive attitudes and accepted physical abuse, and, at the request About Wikipedia of the guards, readily inflicted punishment on other prisoners who attempted to stop it. The Community portal experiment even affected Zimbardo himself, who, in his capacity as "Prison Superintendent," lost Recent changes sight of his role as psychologist and permitted the abuse to continue as though it were a real prison. Contact Wikipedia Five of the prisoners were upset enough by the process to quit the experiment early, and the entire Toolbox experiment was abruptly stopped after only six days. The experimental process and the results remain controversial. The entire experiment was filmed, with excerpts made publicly available. -
Operetta After the Habsburg Empire by Ulrike Petersen a Dissertation
Operetta after the Habsburg Empire by Ulrike Petersen A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in Charge: Professor Richard Taruskin, Chair Professor Mary Ann Smart Professor Elaine Tennant Spring 2013 © 2013 Ulrike Petersen All Rights Reserved Abstract Operetta after the Habsburg Empire by Ulrike Petersen Doctor of Philosophy in Music University of California, Berkeley Professor Richard Taruskin, Chair This thesis discusses the political, social, and cultural impact of operetta in Vienna after the collapse of the Habsburg Empire. As an alternative to the prevailing literature, which has approached this form of musical theater mostly through broad surveys and detailed studies of a handful of well‐known masterpieces, my dissertation presents a montage of loosely connected, previously unconsidered case studies. Each chapter examines one or two highly significant, but radically unfamiliar, moments in the history of operetta during Austria’s five successive political eras in the first half of the twentieth century. Exploring operetta’s importance for the image of Vienna, these vignettes aim to supply new glimpses not only of a seemingly obsolete art form but also of the urban and cultural life of which it was a part. My stories evolve around the following works: Der Millionenonkel (1913), Austria’s first feature‐length motion picture, a collage of the most successful stage roles of a celebrated -
The Oxford Democrat
The Oxford Democrat. NUMBER 33. VOLUME 73. SOUTH PARIS, MAINE, TUESDAY, AUGUST 14, 1906. wail waa a rouna noie. No Knew nis man. Γη· tigntening arouou tue corner οι ΐοβ οο- against tue c. JON ES, Oxford County Observations. Billy ateanug AMONG THE FAKMERS. of Black Hank's close knit brews tel She put ber baud to her heart one was touched. ^ It waa s privilege for the editor of the smoke and Machinist* meant but one One does not gain and listened. Her understanding of ▲ silence fell. The lightened Smith Firmer to see s section of Maine not be- thing. t'A RIS, MAINE. "SfKCU THE PLOW.·· in the west motives was but and blew slowly through the window jgotl fore visited—Oxford chieftainship of any kind the et ranker'a vague, of uenera: machinery, ste*n> en county—last week, that her door. The horses, long since H*nufaeturer and needless to to who have without ascendency with ebe had caught his confession and open Housekeepers ana tools say those propping ..ne», ulll work, spool machinery 9 STEWAKT favor of dies and drill* made ant Correspondence un practical agricultural By decision. kiss had meant much to him and even deserted their guardian in «et screw·, tape. topic» looked upon the hills, lakes and f I acts of ruthless Billy leaped by Vu ma ta solicited. Addreea all communication* In- valleys, ! Sewlag, mowing and threehln* streams with the sudden· auxletv sbe felt an inclination the excitement within, whinnied. The have been vexed when C .aire tended for this to IlKNRT D. -
Diplomarbeit
DIPLOMARBEIT Titel der Diplomarbeit Der Topos „Musikstadt Wien“ in den Filmen von Willi Forst Analyse der Filme „Wiener Blut“ und „Wiener Mädeln“ Verfasserin: Daniela Burgstaller angestrebter akademischer Grad Magistra der Philosophie (Mag. phil.) Wien, 2009 Studienkennzahl lt. Studienblatt: A 316 Studienrichtung lt. Studienblatt: Musikwissenschaft Betreuerin / Betreuer: ao.Univ.Prof. Dr. Margareta Saary Inhaltsverzeichnis Vorwort ............................................................................................................................ 3 1. Musikstadt Wien ......................................................................................................... 5 2. Wiener Film ................................................................................................................. 9 2.1 Definition ................................................................................................................ 9 2.2 Entwicklung .......................................................................................................... 10 2.3 Themen und wichtige Persönlichkeiten ................................................................ 11 3. Willi Forst .................................................................................................................. 13 3.1 Von der Theaterbühne zum Film – Leben und Werk ........................................... 13 3.2 Im Aufsichtsrat der Wien-Film GmbH ................................................................. 16 3.3 Die Filme über Wien ............................................................................................ -
Pdf, 11.814 Kb
AFC_07-8Cover_6 25.10.2007 10:45 Uhr Seite 1 AUSTRIAN AUSTRIAN FILMS FILMS 2008 2007 2007/ 2008 AFC-Katend_CP_MaB_c 17.10.2007 22:21 Uhr Seite 1 AUSTRIAN FILMS 2007 2008 Published by the Austrian Film Commission AFC-Katend_CP_MaB_c 17.10.2007 22:21 Uhr Seite 2 Austrian Films 2007/8 – Catalogue Owned by: Austrian Film Commission A-1070 Vienna, Stiftgasse 6 tel: +43 1 526 33 23 fax: +43 1 526 68 01 e-mail: [email protected] website: www.AustrianFilm.Com, www.afc.at © 2007 Austrian Film Commission, Vienna Publisher: Martin Schweighofer Editors: Charlotte Rühm, Karin Schiefer Translations: Steve Wilder Graphic design: Catherine F. Rollier Printed by: REMAprint Printed in: Vienna AFC-Katend_CP_MaB_c 17.10.2007 22:21 Uhr Seite 3 CONTENTS Introduction ........................................................ 4 Feature Films ....................................................... 7 Documentary Films .............................................. 29 Video Features .................................................... 49 Coproductions .....................................................61 Short Films ........................................................ 73 TV Features ....................................................... 81 Coming Soon ..................................................... 107 List of Directors ................................................. 143 List of Films ...................................................... 147 Production Companies ........................................ 151 World Sales .....................................................