Since the publication of Solomon Volkov's disputed memoirs of Dmitri Shostakovich, the composer and his music has been subject to heated debate concerning how the musical meaning of his works can be understood in relationship to the composer's life within the Soviet State. While much ink has been spilled, very little work has attempted to define how Shostakovich's music has remained so arresting not only to those within the Soviet culture, but also to Western audiences - even though such audiences are often largely ignorant of the compositional context or even the biography of the composer. This book offers a useful corrective: setting aside biographically grounded and traditional analytical modes of explication, Reichardt uncovers and explores the musical ambiguities of four of the composer's middle string quartets, especially those ambiguities located in moments of rupture within the musical structure. The music is constantly collapsing, reversing, inverting and denying its own structural imperatives. Reichardt argues that such confrontation of the musical language with itself, though perhaps interpretable as Shostakovich's own unique version of double-speak, also poignantly articulates the fractured state of a more general form of modern subjectivity. Reichardt employs the framework of Lacanian psychoanalysis to offer a cogent explanation of this connection between disruptive musical process and modern subjectivity. The ruptures of Shostakovich's music become symptoms of the pathologies at the core of modern subjectivity. These symptoms, in turn, relate to the Lacanian concept of the real, which is the empty kernel around which the modern subject constructs reality. This framework proves invaluable in developing a powerful, original hermeneutic understanding of the music. Read through the lens of the real, the riddles written into the quartets reveal the arbitrary and contingent state of the musical subject's constructed reality, reflecting pathologies ende

Since the publication of Solomon Volkov's disputed memoirs of Dmitri Shostakovich, the composer and his music has been subject to heated debate concerning how the musical meaning of his works can be understood in relationship to the composer's life within the Soviet State. While much ink has been spilled, very little work has attempted to define how Shostakovich's music has remained so arresting not only to those within the Soviet culture, but also to Western audiences - even though such audiences are often largely ignorant of the compositional context or even the biography of the composer. This book offers a useful corrective: setting aside biographically grounded and traditional analytical modes of explication, Reichardt uncovers and explores the musical ambiguities of four of the composer's middle string quartets, especially those ambiguities located in moments of rupture within the musical structure. The music is constantly collapsing, reversing, inverting and denying its own structural imperatives. Reichardt argues that such confrontation of the musical language with itself, though perhaps interpretable as Shostakovich's own unique version of double-speak, also poignantly articulates the fractured state of a more general form of modern subjectivity. Reichardt employs the framework of Lacanian psychoanalysis to offer a cogent explanation of this connection between disruptive musical process and modern subjectivity. The ruptures of Shostakovich's music become symptoms of the pathologies at the core of modern subjectivity. These symptoms, in turn, relate to the Lacanian concept of the real, which is the empty kernel around which the modern subject constructs reality. This framework proves invaluable in developing a powerful, original hermeneutic understanding of the music. Read through the lens of the real, the riddles written into the quartets reveal the arbitrary and contingent state of the musical subject's constructed reality, reflecting pathologies ende

Bachelorarbeit aus dem Jahr 2012 im Fachbereich Medien / Kommunikation - Public Relations, Werbung, Marketing, Social Media, Note: 1.0, Hochschule fur Technik und Wirtschaft Berlin, Sprache: Deutsch, Abstract: Abstract Geschichten sind ein wesentlicher Bestandteil des Menschen und begleiten ihn seit Jahrtau- senden in einer Vielzahl von Lebenssituationen. Auch Unternehmen entdecken zunehmend das Geschichtenerza hlen (Storytelling) als ein wichtiges Instrument, um sich von der Konkurrenz abzuheben. Die vorliegende Bachelorarbeit setzt sich mit Unternehmen auseinander, denen es allerdings nicht gelingt den Erza hlstrom ihrer individuellen Unternehmensgeschichte am Leben zu halten und demnach einem Bruch im Storytelling gegenu berstehen. Der Fokus der Arbeit liegt dabei auf den Zielen und Strategien, die Unternehmen im Umgang mit sich wandelnden Unternehmensgeschichten anvisieren. Im ersten Teil setzt sich die Arbeit mit theoretischen Vorbetrachtungen u ber die Begriffe der Unternehmensgeschichte und des Storytellings auseinander, um eine Grundlage fu r den weiteren Verlauf zu liefern. Im zweiten Teil werden die auslo senden Umsta nde beleuchtet, die zu einem Wandel der Geschichte eines Unternehmens fu hren ko nnen. Hauptaugenmerk liegt dann auf dem dritten Teil, in dem an Hand von unterschiedlichen Beispielen aus der Praxis gekla rt wird, welche Ziele und Strategien Unternehmen anvisieren und wa hlen, um den Unternehmensgeschichten-Wandel zu realisieren. Inhaltsverzeichnis KAPITEL 1 Einleitung KAPITEL 2 Theoretische Vorbetrachtungen 2.1 Unternehmensgeschichten 2.1.1 Begriff Unternehmensgeschichte 2.1.2 Aufbau einer (Unternehmens-)Geschichte 2.1.3 Ziele von Unternehmensgeschichten 2.2 Storytelling 2.2.1 Begriff Storytelling 2.2.2 Relevanz der Storytelling-Methode KAPITEL 3 Bru che im Storytelling 3.1 Bru che auf der Handelnden- und Bu hnenebene 3.2 Bru che in der Mikro- und Makroumwelt KAPITEL 4 Ziele im Umgang mit Unternehmensgeschichten 4.1