Dissertations / Theses on the topic 'E T A (Ernst Theodor Amadeus)'
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Lindner, Henriett. ""Schnöde Kunststücke gefallener Geister" : E. T. A. Hoffmanns Werk im Kontext der zeitgenössischen Seelenkunde /." Würzburg : Königshausen & Neumann, 2001. http://catalogue.bnf.fr/ark:/12148/cb38963885d.
Full textHoffmann, Alfred. "E. T. A. Hoffmann : Leben und Arbeit eines preussischen Richters /." Baden-Baden : Nomos Verlagsgesellschaft, 1990. http://catalogue.bnf.fr/ark:/12148/cb35543046s.
Full textTriebel, Odila. "Staatsgespenster : Fiktionen des Politischen bei E. T. A. Hoffmann /." Köln ; Weimar ; Wien : Böhlau, 2003. http://catalogue.bnf.fr/ark:/12148/cb38846125r.
Full textDizengremel, Aurélie. "L'anthropologie de e. T. E. Hoffmann et son empreinte dans la litterature europeenne au xixe siecle une recherche centree principalement sur la france,la russie et les pays de langue anglaise au xixe siecle, avec une ouverture sur le xixe siecle." Paris 12, 2000. http://www.theses.fr/2000PA120030.
Full textHörmann, Yvonne. "Die Musikerfiguren E. T. A. Hoffmanns ein mosaikartiges Konglomerat des romantischen Künstlerideals." Würzburg Königshausen & Neumann, 2008. http://d-nb.info/989139603/04.
Full textKohns, Oliver. "Die Verrücktheit des Sinns : Wahnsinn und Zeichen bei Kant, E. T. A. Hoffmann und Thomas Carlyle /." Bielefeld : Transcript, 2007. http://catalogue.bnf.fr/ark:/12148/cb411179245.
Full textRehfeld, Swantje. ""... seltsames Knistern unter Bindestrichen" : Franz Fühmanns produktive Rezeption E. T. A. Hoffmanns /." Trier : WVT, Wiss. Verl. Trier, 2007. http://www.wvttrier.de/top/Beschreibungen/ID942.html.
Full textKaiser, Anne Katrin. "Die Kunstästhetik Richard Wagners in der Tradition E.T.A. Hoffmanns /." Freiburg, Br. ; Berlin Wien : Rombach, 2009. http://d-nb.info/998448737/04.
Full textNassiri, Massoud. "Aspekte des Dualismus im Roman Die Elixiere des Teufels bei E.T.A. Hoffmann." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=29517.
Full textIn his novel, the poet did not just seek to portray a psychological conflict, but rather to use the various means provided by his knowledge and imagination to write a captivating, interesting story, which also reflects his ideas and ideals. Hoffmann was not a psychologist, but rather a poet. He didn't write a medical case history, he wrote a novel. His experience and observations of the internal and external world of human beings served as a stimulus for literary creation, without being the sole theme of the artistic work.
Miller, Harry A. W. (Harry Alfred Werner). "Elements of Shamanic Mythology in E. T. A. Hoffman's Romantic Conception of Music." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc277978/.
Full textRybicki, Dariusz A. (Dariusz Antoni). "Geheimnis und Einbildung : eine vergleichende Studie von E.T.A. Hoffmanns "Der Sandmann" und A. Pogorelʹskijs "Pagubnye posledstvii︠a︡ neobuzdannogo voobrazhenii︠a︡" (Die verhängnisvollen Aauswirkungen einer ungezügelten Pphantasie)." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=56628.
Full textThis study sets out to analyze two comparable short stories, E. T. A. Hoffmann's "Der Sandmann" (The Sandman) and A. Pogorel'skij's "Pernicious Consequences of an Unrestrained Imagination". Besides the extensive comparative interpretation which concerns itself with the questions of origin and genre, as well as plot and character analysis, this study offers an insight into the structure and function of elements of the uncanny in these texts and their realisation in the rhetorical sphere. The correspondence in the content of these two stories justifies the title, "Mystery and Imagination", which has been borrowed from E. A. Poe.
Chèvremont, Alexandre. "Du romantisme au classique dans la musique : E. T. A. Hoffmann, Amadeus Wendt et la musique de Ludwig Van Beethoven." Lille 3, 2010. http://www.theses.fr/2010LIL30003.
Full textNobody would deny today that Beethoven's music belongs to the classical style started out by Haydn and Mozart. Yet, the obviousness of this statement hides a genuine philosophical problem : what does speaking of "classical music" imply ? The following work pursues two aims : exhuming the thought of a neglected philosopher, Amadeus Wendt, who gave the first formulation of the idea of a classical period in music in 1836 ; and proving that his aesthetics prolongs and confirms E. T. A Hoffmann's musical romanticism, which in this perspective will be given more thought. To both Hoffmann and Wendt, Beethoven's music represents the height of instrumental music, and must be clarified in this regard by their thinking about the universal history of music and art. Their aesthetics is thoroughly studied here. The confronting views of Hoffmann and Wendt about Beethoven are the exact opposite of the result of Hegel's aesthetics, who considers, at the time of Wendt's writings, that music, because of its extreme "romanticism", is on the brink of transgressing the bounds of art, and remains surprisingly silent about Beethoven. The classic, according to Wendt, must on the contrary be understood as the fulfilling of the promises of Hoffmann's romanticism about music. Beyond their thinking about the history of art, Hoffmann and Wendt suggest that music completes the essence of art, what cannot be superseded in history
Vinardell, Puig Teresa. "El coloquio de los textos: E.T.A. Hoffmann y la literatura española del siglo de oro." Doctoral thesis, Universitat de Barcelona, 1997. http://hdl.handle.net/10803/673552.
Full textPabst, Rainer. "Schicksal bei E.T.A. Hoffmann : zur Erscheinungsform, Funktion und Entwicklung eines Interpretationsmusters /." Köln : Böhlau Verl, 1989. http://catalogue.bnf.fr/ark:/12148/cb35501351w.
Full textGoak, Jeang-Yean. "Die Ich-Problematik in E.T.A. Hoffmanns "Die Elixiere des Teufels" : eine psychoanalytische Untersuchung in Auseinandersetzung mit der deutschen idealistischen Philosophie /." Frankfurt am Main : P. Lang, 2000. http://catalogue.bnf.fr/ark:/12148/cb37658421d.
Full textPerlwitz, Ronald. "L'invention du Moyen âge dans l'oeuvre d'Ernst Theodor Amadeus Hoffmann : des implications romantiques à l'idée d'un Moyen âge révolu." Amiens, 2003. http://www.theses.fr/2003AMIE0014.
Full textKlein, Ute. "Die produktive Rezeption E.T.A. Hoffmanns in Frankreich /." Frankfurt am Main ; Paris : P. Lang, 2000. http://catalogue.bnf.fr/ark:/12148/cb376891819.
Full textDurand, Daniel. "Ecriture littéraire et écriture musicale : l'esthétique musicale dans l'oeuvre narrative d'E.T.A.Hoffmann de "Ritter Gluck" à "Kater Murr"." Rennes 2, 1999. http://www.theses.fr/1999REN20037.
Full text@This comparative study considers the influence of the aesthetics of music on Hoffmann's narrative themes and structures : their formal creativity and rigour have been little studied to date. Hoffmann 's writing shows a significant evolution. We have therefore conducted a diachronic study of his whole work and, in parallel a detailed analysis of the narrative structure of individual works. We obtained the following results : -Initially, Hoffmann wove his musical ideal which, as yet, lacked precision (his reference to Glück and the aspiration to musical romanticism) into his fantastic tales. . - The short stories of his middle period, notably " Der Sandmann ", demonstrate that Hoffmann's literary texts had broken free from most expressions of musical aesthetics. His writing then expressed a tension between a poetic ideal partially inherited from the first German Romantics and his need for formal rigour which aspired to a perfect composition born of his own musical activity and his admiration for Beethoven's instrumental music. -Although his later short stories still represent aesthetic issues (e. G. Opera), their structure is largely inspired by schemes from instrumental works (cf. Rat Krespel) which recalls a sonata allegro). -Hoffmann used the fugue to reconcile his need for formal perfection with Romantic creative fantasy : in "Kater Mutter " ; a polyphonic novel, the different voices form a systematic pattern. This novel seems, at first, highly disorganized and requires attentive reading to distinguish themes already " heard " and their contrapuntal relationships. Reading them resembles listening to a musical score
Lelièvre, Stéphane. "Musique et littérature dans l'œuvre de Hoffmann : une conception de l'art et ses prolongements dans les lettres et la musique françaises au XIXe siècle." Paris 4, 2008. http://www.theses.fr/2008PA040206.
Full textThe importance attached to music characterizes the work of Hoffmann probably as much as the adjective "fantastic" which the French readers usually assign to it : for the numerous allusions to music enable Hoffmann to assert his beliefs as regards composition, interpretation - or more generally art -, but also to weave tight links between the musical and literary languages. These musically or artistically oriented pages received less attention in France than the so-called "fantastic" tales, but nevertheless had a profound and long-term influence in such domains as art criticism, literary creation or musical composition; they enable to extend the presence of the German writer far beyond the 1830-1840 decade to which it is usually restricted
Harnischfeger, Johannes. "Die Hieroglyphen der inneren Welt : Romantikkritik bei E.T.A. Hoffmann /." Opladen : Westdeutscher Verlag, 1988. http://catalogue.bnf.fr/ark:/12148/cb34988071k.
Full textMoraldo, Sandro M. "Wandlungen des Doppelgängers : Shakespeare - E.T. A. Hoffmann - Pirandello, von der Zwillingskomödie (the comedy of errors) zur Identitätsgefährdung (Prinzessin Brambilla; Il fu Mattia Pascal) /." Frankfurt am Main : Peter Lang, 1996. http://catalogue.bnf.fr/ark:/12148/cb38889460n.
Full textWürz, Ulrike. "Unheimliche Häuser eine vergleichende Motivanalyse an Texten deutschsprachiger Literatur des 19. Jahrhunderts." Saarbrücken VDM Verlag Dr. Müller, 2004. http://d-nb.info/991123948/04.
Full textBrückner, Leslie. "A. F. Loève-Veimars (1799-1854) traducteur et diplomate : étude sur un médiateur culturel." Paris 8, 2011. http://www.theses.fr/2011PA083358.
Full textCantagrel, Laurent. "De la maladie à l'écriture : l'expression littéraire de la mélancolie (en particulier chez E.T.A. Hoffmann et Théophile Gautier)." Paris 4, 2000. http://www.theses.fr/1999PA040141.
Full textHall, Anne. "Scènes d'enfance : uen représentation de l'expérience musicale infantine chez E.T.A. Hoffmann, Jules Verne, George du Maurier et Michel Leiris." Aix-Marseille 1, 2000. http://www.theses.fr/2000AIX10110.
Full textValk, Thorsten. "Literarische Musikästhetik eine Diskursgeschichte von 1800 bis 1950." Frankfurt, M. Klostermann, 2006. http://d-nb.info/989077713/04.
Full textAraujo, Monique Cunha de. "Entre miragem e sucumbência : os homens de areia de Hoffmann, Kirchhoff e Herrndorf." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2015. http://hdl.handle.net/10183/129998.
Full textEsta dissertação tem como propósito analisar três obras de diferentes momentos na história literária alemã: O homem de areia (1816) de E.T.A Hoffmann, O homem de areia (1992) de Bodo Kirchhoff e Areia (2011) de Wolfgang Herrndorf. O relacionamento entre elas se dá em três níveis distintos: narratológico, temático/metafórico e identitário. O primeiro refere-se aos pontos em comum do ponto de vista estrutural, como a metaficção, a multiperspectividade e a alternância de vozes, que são elementos generativos do efeito inconfiável dos narradores. No plano temático/ metafórico, podem se arrolar a questão visual atribuída ao elemento da areia que, tanto como elemento constitutivo do deserto, onde miragens acontecem, quanto como um grão intruso nos olhos, converge para a metáfora da visão distorcida ou inventada. Por último, o nível identitário refere-se, especialmente, à construção da identidade a partir do olhar do outro, o que nos livros ocorre como um colapso, em que o eu se desestabiliza, resultando assim na sucumbência. Os protagonistas destas obras representam, sobretudo, o homem como sujeito irrevogável do devir.
Remy-Lacheny, Ingrid. "Etude des « Frères de Saint-Sérapion » d'E.T.A. Hoffmann : discours esthétiques et scientifiques." Thesis, Paris 3, 2009. http://www.theses.fr/2009PA030126/document.
Full textUsing the aesthetic theories of the Schlegel brothers, Novalis and Schelling, this thesis examines aesthetic and scientific discourse as it appears in E.T.A. Hoffmann’s The Serapion Brethren and considers to what extent Hoffmann appropriates early Romantic thought or distances himself from it. Faced with the philistinism and maliciousness of others and with his own interior demons, the Serapiontic artist pursues both a social and psychic ideal. Dreamers, madmen, children or those who are under the influence of magnetidm, Hoffmann’s characters are all seeking recognition and an identity. Polymorphous and heterogeneous, centered on artistic interaction and on the work of creation and reception, The Serapion Brethren is a type of ‘total work of art’ before its time in which the sciences and the arts come together
Becker, Katrin. "Viva vox iuris, oder die juridische Stimme der Literatur : Kafkas Der Proceß und Hoffmanns Der Sandmann im Spiegel der dogmatischen Anthropologie Pierre Legendres." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040123.
Full textThe doctoral dissertation “Viva vox iuris” is aimed at extending the research on law and literature by developping a new perspective, based on Pierre Legendre’s “dogmatic anthropology”. Starting with an overview of the current state of research in this field, and based on a detailed presentation of Legendre’s theory, the dissertation develops the hypothesis that the deep entanglement of law and literature confers upon literature the capacity of either reinforcing the effectivity of cultural normativity, or of influencing it in the sense of a modificatory force. The plausibility of this hypothesis is then assessed by a thorough analysis of Kafka’s The Trial and Hoffmann’s The Sandman. The Trial is presented as being a novel that stages the failure of interpretation on the diegetic, hermeneutic as well as the production level, i.e. with regard to the author (– interpretation being, from Legendre’s perspective, the fundamental cultural technique assuring a non-delusional human existence). Being confronted with this failure and the consequent lack of a regime of sense, the reader gains insight, ex negativo, into the necessity of being inscribed, by way of interpretation, into an order of Reference that needs to be mediated by literature and law. With regard to The Sandman, the dissertation undertakes to show, through a combination of the concept of testimony with the dogmatic-anthropological core concepts of alterity and representation, how the fantastical blurring of the limits between reality and fiction, as staged in the novel, provides insights into the contingency of the fundamental structure of the normative order of cultural and subjective identity
Santos, Isabel Cristina Chaves Seia Russo dos. "Geniegedanke bei E.T.A. Hoffmann : Platonisches und Neuplatonisches in Werken Hoffmanns." Diss., 1999. http://hdl.handle.net/10500/17664.
Full textSummary in English
As a latecomer to the Romantic Movement, Hoffmann viewed art as a force drawn from within. He based his understanding of the artist on the Platonic reasoning about original and imitated art, which Plato correlated with his theories about the perfect World of Ideas. According to Hoffmann, a genius seeks beauty and knowledge as laid down by Neoplatonism, and has inner visions of the ideal world which is his inspiration. Such an especially sensible person, who is being called upon to remember his original, pre-existent state in the World of Ideas will, through this path of realization, be recognized as a true artist and genius. Constantly striving for the Neoplatonic Ideal, the earthly world becomes a place in which he no longer feels at home, and he seeks to be in the aspired ideal world which for Hoffmann is ultimately found in the inner self.
Classics and Modern European Languages
M.A. (Classics and Modern European Languages)
Cingrošová, Veronika. "Ozvuky německé fantastické literatury období romantismu ve fantastických prózách Jakuba Arbese a Julia Zeyera." Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-300125.
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