Research Paper (undergraduate) from the year 2006 in the subject Politics - Topic: European Union, grade: 1,8, The University of Sydney, language: English, abstract: With the 18.04.1951 ratified Schuman-Plan, one of the most important Contracts in European Integration has become valid. The European coal and steel community (ECSC) is overall seen as the first Milestone for the today known European Union (EU). This community was the first step towards the present European parliament, European commission, and the European court of justice. But there is the question, seen from the present point of view, if the Schuman-Plan was the birth of the European supranational community. Was this contract signed by the six nations out of idealistic goals, without any self-interest reasons to create a peaceful Europe? This question is admittedly very hard on the six nations that officially had idealistic reasons when they signed the ECSC Contract. But i will show that this project of a unified Europe was not Jean Monnet’s only goal as it is stated in some present perspectives. On the next pages i will focus on the reasons why the war opponents Germany, France and the other nations were willing the take on this project together. Quoting Kipping’s Work on the Schuman-Plan it is not certain if the plan was motivated more by economic or political reasons. Also it is disputed who the plan was developed by. On one side it is believed that all this was pressured by Jean Monnet and France. A different scenario states that the USA Interest was the empowerment of Germany, and that this was the real pressure behind the Schumann-Plan. A third one is a mix between the first two which states that the USA pressured the nations, but never directly intervened. Along with the controversy above, it is still unsure if peace or economic interests were the reasons for the teamwork of the six nations. At the beginning researchers believed that the main reasons were political and indirectly economical. At the beginning Schumann underlined the great security-political importance of the ECSC, as it stands for a unified Europe and reduced the risk of Germany going its own way in an unknown future. The economic interests by the nations developed later according to Kippings.
This study is an analysis of the first three of Beethoven's late quartets, Opp. 127, 132, and 130, commissioned by Prince Nikolai Galitzin. The five late quartets, usually considered as a group, were written in the same period as the Missa solemnis and the Ninth Symphony, and are among the composer's most profound musical statements. Daniel K. L. Chua believes that of the five quartets the three that he studies trace a process of disintegration, whereas the last two, Opp. 131 and 135, reintegrate the language that Beethoven himself had destabilized. Through analyses that unearth peculiar features characteristic of the surface and of the deeper structures of the music, Chua interprets the "Galitzin" quartets as radical critiques of both music and society, a view first proposed by Theodore Adorno. From this perspective, the quartets necessarily undo the act of analysis as well, forcing the analytical traditions associated with Schenker and Schoenberg to break up into an eclectic mixture of techniques. Analysis itself thus becomes problematic and has to move in a dialectical and paradoxical fashion in order to trace Beethoven's logic of disintegration. The result is a new way of reading these works that not only reflects the preoccupations of the German Romantics of that time and the poststructuralists of today, but also opens a discussion of cultural, political, and philosophical issues. Originally published in 1995. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Beller-McKenna counters music historians's reluctance to address Brahms's Germanness, wary perhaps of fascist implications. He gives an account of the intertwining of nationalism, politics, and religion that underlies major works, and enriches both our understanding of his art and German culture.
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