Dissertationen: „Mass media and literature“

1

Machele, Moleboge. „The mass media and nation-building in independent Namibia“. Thesis, Cardiff University, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.286072.

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2

Sung, Dong-kyoo. „Globalisation and mass media : the case of publishing in Korea“. Thesis, Loughborough University, 1995. https://dspace.lboro.ac.uk/2134/10598.

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This thesis is an attempt to analyse publishing critically, in keeping with the current preoccupation with the phenomenon of 'globalisation'. The primary concern of this thesis is to systemise and elaborate a theoretical frame for the study of international publishing by looking into the following major research questions. I. How can we apply the concept of globalisation which has recently dominated discussion in the social sciences in analysing international publishing? 2. What are the major factors which influence contemporary international publishing that have resulted in an uneven intellectual structure? 3. As a case study of these issues what is the publishing situation in Korea in relation to the international publishing scene? In explicating these three research questions, the thesis combines a theoretical review with a field study.

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3

Willihnganz, Jonah Gabriel. „Radio blues : literature, mass communication and the human voice in depression America /“. View online version; access limited to Brown University users, 2005. http://wwwlib.umi.com/dissertations/fullcit/3174694.

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4

Casey, Cara C. „Imaginative play a review of literature on the influence of media and educational changes /“. Online version, 2008. http://www.uwstout.edu/lib/thesis/2008/2008caseyc.pdf.

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5

Jung, Nathan A. „Public relations| Diaspora, media, and the state(s) of American literature“. Thesis, Loyola University Chicago, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3722593.

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Like any good public relations campaign, this dissertation aims to offer a persuasive interpretation of certain key facts. The facts, as I see them, are as follows: first, a great number of contemporary novels and poems explore the personal and social consequences of diasporic migration. Second, these texts, along with their print and electronic paratexts, share a pervasive interest in media. And third, these works are rarely read in conversation with one another, despite their mutual concern for migration and media. Owing to this last point in particular, scholarship has failed to fully address the broader media theories developed in and across these works, and failed to fully pursue how these media theories respond to, and critically comment on, the prospects for deliberative democracy in an age of globalization. In response, my project argues that diasporic media practices advance a transnational critique of public sphere theories. And yet, I claim this critique seeks to recover the resources of such theories and redeploy them in a global context. The four chapters of this dissertation are arranged in a communications circuit that treats (in order) media production, circulation, reception, and survival. Together, these chapters observe how diasporic populations shift from invisible anomalies to visible publics through their highly stylized and politicized use of media technologies. Ultimately, I emphasize that contemporary American literature cannot be understood without engaging reading and writing publics from the Dominican Republic, Canada, Nigeria, Korea, and more.

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6

Bashmakova, Natalʹi︠a︡ Vanhala-Aniszewski Marjatta. „Re-reading Soviet and post-Soviet texts /“. Joensuu : University of Joensuu, 2005. http://www.loc.gov/catdir/toc/fy0604/2005530487.html.

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7

Sa, Sergio Araujo de. „A Reinvenção do Escritor: Literatura e Mass Media“. Universidade Federal de Minas Gerais, 2007. http://hdl.handle.net/1843/ECAP-798HLN.

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A partir da articulação entre literatura e comunicação, esta tese procura o lugar e a função do escritor no mundo urbano latino-americano contemporâneo. Para isso, recorre a narrativas de autores brasileiros e argentinos em que o escritor aparece como narrador e ou/ personagem. O trabalho examina também a figura de escritor e a obra ficcional construídas na mídia por meio da entrevista jornalística. Memória, imagem e deslocamento constituem núcleos temáticos que aproximam a literatura em prosa dos meios de comunicação de massa. Lixo, paranóia e sarcasmo configuram noções que tentam explicar o olhar lançado pela ficção da pós-ditadura na América Latina à cultura midiática, estendida como eixo central da sociedade do final do século XX, início do XXI. A posição do perdedor no mercado do valor cultural demonstra como o escritor - pessoa e personagem - está à margem do espetáculo massmediático, o que lhe possibilita ponto de vista único para encarar vida e texto literários em tempos de informação, publicidade e entretenimento

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8

Ingvoldstad, Bjorn Paul. „Post-socialism, globalization, and popular culture 21st century Lithuanian media and media audiences /“. [Bloomington, Ind.] : Indiana University, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3219906.

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Thesis (Ph.D.)--Indiana University, Dept. of Communication and Culture, 2006.
Source: Dissertation Abstracts International, Volume: 67-06, Section: A, page: 1962. Adviser: Barbara Klinger. "Title from dissertation home page (viewed June 21, 2007)."

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9

Saaris, Natalie Potok. „Refashioning the Novel in the Age of Image Media“. Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11477.

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This dissertation examines how the contemporary French novel is responding to television. While much has been written regarding the threat that television poses to books, narrative, and language, the survival strategies of writers have been largely overlooked. Rather than lamenting the novel's decline, this study asks how writers are rethinking the purpose and form of the novel to better represent televisual subjectivity and to adapt the genre to a new cultural paradigm. Contemporary novelists must negotiate a tension between distinguishing the novel from the medium of television while also integrating their work into mainstream culture in order to remain relevant. How can the novel both rival television and borrow from it?
Romance Languages and Literatures

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10

Al-Ibrahim, Yousef M. „The mass media in the Gulf region with special reference to the State of Qatar“. Thesis, Cardiff University, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.302619.

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11

Cozma, Codrina. „The power of the spoken word : literature in the American mass media of the 1990s“. [Tampa, Fla.] : University of South Florida, 2005. http://purl.fcla.edu/usf/dc/et/SFE0001223.

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12

Schiffer, Sabine. „Die Darstellung des Islams in der Presse Sprache, Bilder, Suggestionen : eine Auswahl von Techniken und Beispielen /“. Würzburg : Ergon, 2005. http://catalog.hathitrust.org/api/volumes/oclc/62185651.html.

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13

Walsh, Maria. „Indentity-in-motion : the narrative duration of the dis/continuous film moment“. Thesis, University of Plymouth, 2003. http://hdl.handle.net/10026.1/361.

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The trajectorv of this thesis is set out like a journey upon which encounters are staged between two films. film theor), and philosophers. such as Slavoj Zizek. Gilles Deletize, and Maurice Merleau-Ponty. An encounter with a moment of image suspension. a cut to the blank screen- in Tacita Dean's film, Disappearance atSea (1996). motivates the beginning of this journey's narrative. My reading of this moment counters the way that suspended film moments have been discussed in terms of non-narrative in 1970s film theory and in the contemporary psychoanalýlic filin theory of Slavoj Zizek. Using Gilles Deleuze's notion of narrativization as a process of serialization. I argue that the supposedly non-narrative moment is coextensive with the spectator's dis/continuity in time as opposed to Slavoj Zizek's static suspension or film theory's distanciation. A performative text based on Disappearance at Sea, which I refer to as a 'montage text' and for which precedence is found in Roland Barthes' writing, acts as an interlude that runs in tandem to the main theoretical trajectory. The generativity of absence that emerges from these encounters, both theoretical and poetic. is heightened in the second half of the thesis by the appearance of another 'montage text' based on Chantal Akerrnan's News From Home (1976). In this text. I reconfigure the negativity of historical readings of absence in Neus From Home where it was related to the impossible question of a woman's desire. In my reconfiguration, absence. rather than suspending time. generates a temporalized space and a spatialized time in which the spectator performs the dis/continuity of narrative duration. In the theoretical trajectory of this movement, Gilles Deleuze is hybridized with aspects of Merleau-Ponty's phenomenology, my argument being that the sublime infinity of Deleuzian serialization requires a relation to embodiment in order for it to be useftil in considering the spectator's relation to the two film encounters with absence. I read this hybridization in terms of a feminine mode of the sublime, which suggests the possibility of the real rather than its negation in representation and contributes to current thinking in feminist philosophy, particularly the work of Elizabeth Grosz.

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King, Alasdair James. „The plebiscite of the consumers : Hans Magnus Enzensberger and cultural populism“. Thesis, University of Southampton, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.302028.

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15

Gelfand, Lynn. „Tales, technology, and transformations how different media environments shape the structure, style, and content of folk narratives /“. [Bloomington, Ind.] : Indiana University, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3319906.

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Thesis (Ph.D.)--Indiana University, Dept. of Folklore and Ethnomusicology, 2008.
Title from PDF t.p. (viewed on May 11, 2009). Source: Dissertation Abstracts International, Volume: 69-08, Section: A, page: 3267. Adviser: Mary Ellen Brown.

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16

Beriker, Emma A. „Joan Didion's Iconic Nonfiction: Mass Media Distortion of the Written Form“. Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/847.

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This thesis explores Joan Didion’s concern of mass media’s infiltration on the processing and communication of her personal reality and memory. Didion herself communicates an anxiety of the infiltration of mass media into her individual communication of her unique, indescribable experience. Yet, she too is unable to escape this and instead, is forced to make this an act of adaptation, not separation. Mass media pervades Didion’s own mind, taking over her processing of experience and memory through the modes of photography and film. With these forms of mass media, Didion seeks a purity of personal expression through the form of writing. Ultimately, this proves to be just as problematic and is unable to escape the influence of mass media’s depersonalized representations of individual human experience.

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Blanc, Marc. „"Gramophones Playing the Same Tune": Club Ideology and Mass Media in George Orwell's Burmese Days (1934)“. Ohio University Honors Tutorial College / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1524847264997736.

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18

Hamilton, Joshua Bridgwater. „Resituating Desire, Rewriting Reading| Spanish Neo-Avant Garde Visual Poetry and the Critique of Mass Media and Consumer Capitalism“. Thesis, Indiana University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3587659.

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This dissertation examines the Spanish visual poetry of the 1960s and 1970s, which appeared during the later period of the Franco regime and responded to the rise of mass media and consumer capitalism. It draws on the theoretical work of Gilles Deleuze and Félix Guattari to examine how this poetry created an oppositional practice that destabilized the conventional use of codes in media, art, and literature. It brings to light what I will explore as the "schizoid" character of their work and how it redefines the roles of reader, writer, and text in order to create an awareness that is critical and resistant to what the visual poets position as authoritative discourses, such as capitalism, consumerism, and the authoritarianism of the dictatorship. They see these discourses as subjugating the individual's thought through codes of language and image, and they go about subverting such discourses by destabilizing the language and image itself on which those discourses are built.

This study focuses on the representative works of three different writers, Quizás Brigitte Bardot venga a tomar una copa esta noche by Alfonso López Gradolí, La caída del avión en el terreno baldío by José Luis Castillejo, and Textos y antitextos by Fernando Millán. López Gradolí's book restructures the notion of desire as it is represented in capitalist narratives of lack, ultimately schizophrenizing desire as a displaced logic of lack and creating new, interpersonal codes that redefine desire as immanent connection. Castillejo's work deconstructs representation through open-ended texts that multiply possible reading strategies, thus grounding desire in the process of building new codes. Millán's book deconstructs representation into a figural narrative that redefines the reader's role from that of a passive consumer to that of an active schizoanalyst that co-creates poetic codes and schizophrenizes transcendental structures that govern language and image.

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Takehana, Elisabet 'Osk. „Chuck Palahniuk and Jean Baudrillard: The terminal state of human subjectivity“. CSUSB ScholarWorks, 2006. https://scholarworks.lib.csusb.edu/etd-project/3039.

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Examines Chuck Palahniuk's novel Invisible monsters using the theories of Jean Baudrillard as a lens through which to better understand Palahniuk's commentary on the effects mass media have on human subjectivity in the terminal state.

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20

Hammer, Kate. „Reading Richard Schechner : allegories of performance“. Thesis, University of Surrey, 1998. http://epubs.surrey.ac.uk/842921/.

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'Reading Richard Schechner' explores the theatre, theory, and academic leadership of a key figure in American theatre studies, engaging critically with Schechner's contributions, in order to assess their value for future theatre research. Chapter One considers how Schechner's theatre participated in social change and situates Schechner's analogy of theatre to ritual within an avant-garde theatrical tradition. Chapter Two models Schechner's career in terms of a singular performance project which moves from its early focus on theatre production, through performance theory, leading finally to his leadership of Performance Studies as an institutionally validated area. I examine the interplay between Schechner's theatre and his growing interest in anthropology, identifying the ways in which anthropological discourse supported his authority as a theatrical auteur. These chapters include case studies of his productions Dionysus in 69 and The Tooth of Crime. Chapter Three develops the relation between creative authorship and academic authority by introducing two key concepts. Sociologist Pierre Bourdieu's concept of symbolic capital characterises the rewards for successful and authoritative authorship which, I argue, Schechner has pursued. Allegory articulates the historical relation between creative authorship and socially empowered authority. The logic of Schechner's performance paradigm is analysed as an allegorical structure, following Joel Fineman's definition. Chapter Four concentrates on the ways in which, over time, Schechner has repositioned theatre as subordinate to the broad spectrum he defines as performance. I give grounds for rejecting Schechnerian performance as a viable paradigm for theatre's study. Furthermore, I reinterpret it as an enterprising intermedia arts project aiming to disrupt the institution from within. To deauthorise Schechnerian performance in this way is also to reauthorise it, by returning its ostensibly objective structures to their origin in creative acts. To this end, I conclude by sketching a portrait of Richard Schechner as an author of avant-garde theatre and theory.

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21

Smith, Ian. „Through hell and high theory : Malcolm Lowry's 'Under the volcano' and contemporary issues of literary theory“. Thesis, University of Hull, 1997. http://hydra.hull.ac.uk/resources/hull:3486.

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22

McGowran, Katharine Margaret. „House and home in late Victorian women's poetry“. Thesis, University of Hull, 1999. http://hydra.hull.ac.uk/resources/hull:3954.

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Any consideration of the theme of ‘house and home’ leads into discussion on three different levels of discourse. First of all, houses have biographical and historical significance; they are, after all, real places in which real lives are lived. Secondly, home is an ideologically loaded noun, a bastion of value which is inextricably entwined with the notion of the pure woman. Thirdly, in literature, houses are metaphorical places. This thesis is primarily a study of those metaphorical places. It explores representations of ‘house’ and ‘home’ in late Victorian women's poetry. However, it also takes account of the biographical, historical and ideological significance of the house, looking at factors which may have helped to shape each poet's representations of ‘house and home’. The house occupies an ambiguous position in the poetry of the later Victorian period. It is variously imagined as a haunted house, a ruin, an empty house of echoes, and a prison of isolation and despair. At times, the house is a recognisable domestic place (the private house), at others, it is turned into a place of art or poetry, a new aesthetic ‘home’ for the female imagination. In some poems the house is a focus for nostalgia and homesickness. Yet it is also often a place which must be left behind. What unites the poets I have studied is the fact that the houses they inhabit in their work are never entirely their own and they are rarely entirely at home in them. Home is less roomy as a concept. It tends to carry religious or ideological connotations and is usually represented as a place of duty and responsibility. It also comes to mean the final resting place: the grave. Thus house and home, which are not identical terms, are freighted with different meanings. It is the mismatch of these two terms, the tension between them, which I explore in this thesis.

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23

Kaat, Jacques. „The reception of Dutch fictional prose in Great Britain : a reception-sociological study of Dutch twentieth century fictional prose in translation in Great Britain (1970-1983) in relation to the Dutch and English literary canon“. Thesis, University of Hull, 1987. http://hydra.hull.ac.uk/resources/hull:3099.

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24

Tudor, Adrian Philip. „The first old French Vie des peres : texts and contexts“. Thesis, University of Hull, 1998. http://hydra.hull.ac.uk/resources/hull:3889.

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25

Al-Kasim, Faisal Moayad. „Iconoclasm in modern British drama“. Thesis, University of Hull, 1989. http://hydra.hull.ac.uk/resources/hull:8285.

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Iconoclasm has proved to be a major feature in modern British drama, where in a short period of time, the theatre has witnessed a host of iconoclastic dramatists, where demythologization has been widespread and fierce and where the icons of the present and the past have been subjected to a wholesale desecration in large numbers at the hands of the Ardens, Brenton, Bond, Churchill and others, who, as their dramatization of history and its idols has shown, have much in common. Although the above playwrights and others were most active towards the end of the sixties and throughout the seventies, their assault, however, has not completely died away in the eighties. As I have shown, Berkoff in 1987 launched in Sink the Belgrano! a fierce onslaught on political sacred cows, including the present Prime Minister, Mrs Thatcher who was mercilessly pilloried. On the 19th of February, 1988, Radio Three began broadcasting a nine part iconoclastic cycle by the Ardens, Whose Is The Kingdom? in which iconized personages from Roman history are revealed in a new light. In the above cycle, the playwrights set out to "demolish" "established notions" about Christ, Christianity, and rewrite the history of the Roman Empire, exposing its heroes and icons such as Constantine as manipulators and hypocrites. In other words, the Ardens' iconoclasm does not seem to have subsided; indeed it is on the rise! However, as mentioned earlier, iconoclasm is not merely the result of petty spite; it is a major aspect of political drama. It works towards changing the received images that the audience hold of history, the present and their icons the latter of which represent both the former. However, like the political theatre of which it is part, iconoclasm has failed to achieve its objectives for a number of reasons, foremost of which is the fact that the denigration of a historic idolatrized figure amounts to attacking the audience itself in whose mind, the images of those assaulted are deeply ingrained as holy and untouchable. The audience sees in such figures its own reflection. Lindenberger, in his book Historical Drama rightly argues that historical playwrights could "present a historical character or action within a broad framework of accepted notions". In other words, a playwright dramatizing a historical figure should try to adhere as much as he can to what is handed down to him and to his audience about the figure by history. Lindenberger goes on to say that "Historical material had the same status as myth, both belonged to what Horace called 'publicly known matters' ... and both depended - indeed, still do depend on - an audience's willingness to assimilate the portrayal of a familiar story or personage". Any portrayal of Achilles as not "restless, irascible, unyielding, and hard" would appear to the audience as unacceptable. The above theory can be rightly applied to the iconoclastic modern British playwrights' treatment of venerated persons. The audience would certainly stick to the “accepted notions" about Lord Nelson, Queen Victoria, Sir Winston Churchill and others. Plays such as The Hero Rises Up, Early Morning, and The Churchill Play can only arouse indignation in the audience and not a renunciation of received images. As I have shown, many spectators and critics were offended by, say, Arden's treatment of Nelson or Bond's degradation of Queen Victoria and William Shakespeare. The audience would rather adhere to what it already knows than revise its views, which brings to mind Marx's statement about the spell that the past casts upon the people, "The old has a strong grip on the people and, progress proceeds slowly." "Tradition is a great retarding force, is the vis inertiae of history". "The tradition of all past generations weighs like an Alp upon the brains of the living”. However, although they may be considered to have failed politically to dislodge right-wing iconography, the modern British demythologizers have established iconoclasm as a major trend in modern British drama and have revived an old tradition and consolidated it . Bond, a playwright who has constantly since 1968 called for the renunciation of the past .and its icons is, however, only too aware of the difficulties that his iconoclasm faces, yet as we Mire seen, he has not stopped producing iconoclastic plays. In his play, The Bundle, his revolutionary hero, Wang works hard with his fellow rebels to rid themselves of the past. He eggs them on to think of the future. For that purpose, he narrates to them the story of a man who carried the king on his back all his life, who even "did not know the king had died long ago", and who "carried him always and wasted his life", He goes on to say that the worst thing is "to carry the dead on your back", What the iconoclasts have tried to do during the past two decades is to remove that dead man from their nation's shoulders.

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Vanacker, Sabine Anne. „The presence of women : modernist autobiography by Dorothy Richardson, Gertrude Stein and H.D“. Thesis, University of Hull, 1994. http://hydra.hull.ac.uk/resources/hull:3480.

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Ward, Diane Elizabeth. „Clear lamps and dim stars : new perspectives on the work of Ivor Gurney“. Thesis, University of Hull, 1994. http://hydra.hull.ac.uk/resources/hull:3481.

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28

Edgar, Robert Charles. „The schlemiel and anomie : the fool in society“. Thesis, University of Hull, 2001. http://hydra.hull.ac.uk/resources/hull:3533.

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This thesis examines the character of the schlemiel in comparative Jewish and Gentile American literature and cinema. It is the central claim that whilst the schlemiel is a strong Jewish character type this figure also appears in the texts of other socio-cultural groupings to an ever increasingly degree. With this is mind the character is examined in relation to the contemporary Western world, or Postmodern society.To achieve this aim the study is divided into three sections. The first deals with traditional perspectives on the schlemiel, examining prior definitions and gives a brief historically linear overview. Key examples are given to provide `case studies' in both literature and film. The examples chosen represent those characters considered to be archetypes, specifically Hyman Kaplan and the characters created by Woody Allen. Section Two examines processes of characterisation in literature and film to investigate whether there is anything at the most basic level of the text which identifies the traits and attributes of a schlemiel or from where an audience may derive information. This section examines a range of Jewish and non-Jewish texts via Structuralist and Narratological analysis. Section Three looks at the contemporary social function of schlemiels. Even if it is possible to clearly identify what schlemiels are their socio-cultural function remains important. The character is placed in a `postmodern' context. The final chapter develops from this into looking at the function of the schlemiel as a comic character and theories of comedy.Whilst the theoretical approaches utilised are there to test the character it is inevitable that the schlemiel will test the theories. It is the irrational and illogical nature of . schlemiebthat dictates that they will have problems fitting into the rigid patterns created by any neo-Structuralist approach such as Narratology. The character also tests rationalist responses to the `Postmodern condition' and this in turn provides a critique of the Aristotelian principles of Section Two and the socio-temporal definitions of Section One. This work attempts to provide a re-evaluation of a historically entrenched character for the late twentieth century and to provide a critique of theories, which purport to provide universal answers.

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Hinchliffe, Ian. „The documentary novel : fact, fiction or fraud? : an examination of three Scandinavian examples of the documentary novel from the 1960s and 1970s“. Thesis, University of Hull, 1989. http://hydra.hull.ac.uk/resources/hull:8034.

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This study seeks primarily to examine three Scandinavian examples of the documentary novel. Initially I endeavour to isolate certain purported characteristics of the genre as a whole by considering which aspects of a narrative have prompted the critics to call it a 'documentary novel'. I then examine the three works in detail, applying standard techniques of literary criticism and comparing the facts on which the novels are based with the novels themselves to determine what makes them 'documentary' and what makes them 'novels'. The three novels share common techniques and all deal with the subject of Scandinavian polar exploration, but the author's relationship and attitude to the facts he has at hand are sufficiently different in each instance to permit a discussion of the literary form, ambitions and potential of the 'documentary novel'. The evidence suggests that the documentary novel uses authentic historical material but presents it through the techniques and forms of creative literature: the novelists adapt documented facts to support a view of a history which typically differs from accepted tradition. I then show that the conclusions to which this unorthodox view points, however, are invariably the same as those the authors draw about life in their other, non-documentary fictional works. Finally I demonstrate how the documentary novel is a fluid form which can be used in the service of fact, fiction or fraudulent propaganda, and I suggest a definition that embraces the three novels examined and the three kinds of documentary fiction that they represent.

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Zamorano, Rueda Ana Isabel. „"A sea that had no shores" : the fiction of Violet Trefusis in relation to V. Sackville-West and V. Woolf“. Thesis, University of Hull, 1997. http://hydra.hull.ac.uk/resources/hull:5416.

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This thesis shows how the notion of androgyny works in the fiction of Violet Trefusis. It also posits her writing in connection to some novels by Vita Sackville-West and Virginia Woolf. Working within a theoretical framework provided by Julia Kristeva's psychoanalytical theory this thesis focusses on and seeks to redress the traditional conceptualization of androgyny providing a notion of the androgyne more in accordance to Woolf's androgynous ideal. The androgyne is understood in this thesis as a carnivalesque figure that disrupts the patriarchal system of hierarchical binary oppositions. Chapter Two provides a historical framework to Woolf's androgynous ideal. The research focuses, in Chapter Three, on the literary relationship sustained by Sackville-West, Woolf, and Trefusis which produced an, up to now unexplored, intertextual space where Challenge (1919), Orlando (1928) and Broderie Anglaise (1935) are interwoven. The apprehension of androgyny is an attempt on the part of these three women writers to find a different type of sentence whose construction has been theorised by Kristeva as Poetic language. This literary practice is an uncomfortable and dangerous one since it implies the avowal of the maternal serniotic in symbolic language. The difficulties in achieving the symbolic positionality of the subject of poetic language are addressed in Chapter Four in the analysis of Trefusis's Echo (1931) and Woolf's Between the Acts (1941). Chapter Five concentrates on Trefusis's discomforting sense of outsiderness. In Pirates at Play (1952) Trefusis explores the dialectics of foreignerness. Through the transubstantiation of her self into an armchair in Memoirs of an Armchair (1960) Trefusis acknowledges her abject in an attempt to relax the boundaries that separate self from other. Finally Chapter Six examines the search of a feminine Jowssance and its connections to death, or rather undeath, in two novels: Sackville-West's All Passion Spent (1931) and Trefusis's Hunt the Slipper (1937).

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Dullaghan, Andre. „Galina Ustvolskaya : her heritage and her voice“. Thesis, City University London, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.274611.

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32

Buckley, David Kenneth. „Strange fascination : a study of David Bowie“. Thesis, University of Liverpool, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.385456.

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This thesis examines the work of David Bowie and its main theme is identity construction. Bowie was the first male pop star to project a succession of personae and his vocal styles, stage performances, lyrical method and videos are analysed in the light of his redefinitions of himself for public consumption. Bowie's guiding aesthetic was that of collage and his indebtedness to a variety of extra-musical sources, most significantly from literature and the theatre, is discussed. The theses eschews traditional narrative approaches which have been used to discuss individuals within pop, and deals with its subject matter thematically. The thesis describes the context in which Bowie's work is set and discusses the commercial constraints on his art, the relationship between the work and pop ideology, and the struggle between his public and private selves. The interaction between iconography and fandom is shown as playing a crucial role in determining his importance, and this analysis draws on my findings from correspondence with Bowie fans. Bowie's protean art has demanded a multi-disciplinary analytical approach and the thesis discusses the usefulness of musicology, semiotics, subcultural theory and Postmodernist thinking. The thesis suggests a way of explaining individuals in pop through a theoretical equilibrium between text and context.

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Uniyal, Ranu. „A changing vision : women and landscape in the fiction of Margaret Drabble and Anita Desai“. Thesis, University of Hull, 1992. http://hydra.hull.ac.uk/resources/hull:3121.

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34

Stott, Rebecca Kathleen. „The kiss of death : a demystification of the late-nineteenth century 'femme fatale' in the works of Bram Stoker, Rider Haggard, Joseph Conrad and Thomas Hardy“. Thesis, University of York, 1989. http://etheses.whiterose.ac.uk/4267/.

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The thesis takes its beginnings from the work of Mario Praz, The Romantic Agony and from Michel Foucault's The History of Sexuality, Vol. 1. Praz has argued that the construction of the 'femme fatale' as a recognizable type is a phenomenon of the late nineteenth century. Foucault proposes that the nineteenth century is characterised not by a repression of sexual discourses but by a multiplication of centres from which such discourses are produced. The thesis places the 'femme fatale' in the socio-historical context of the 90s and searches both for the plurality of discourses mobilised to define her, and for her presence in other non-literary discourses of the period such as those of evolutionary theory, craniology, criminology and imperialist discourses. It locates this figure in a wide range of contexts: late nineteenth-century debates about female sexuality, biological determinism, theories of decadence and degeneration, invasion anxieties and the censorship debate. It juxtaposes two 'popular' novelists (Stoker and Haggard) with two 'major' novelists (Conrad and Hardy) to demonstrate that the particular discourses mobilised to describe the 'femme fatale' are to be found in works of differing literary 'quality' and in different literary genres. Chapter One examines the representation of the female vampires in Bram Stoker's Dracula in the context of Foucauldian theory about the production of sexual discourses in medicine and science in this period. These 'sexualised' women are contagious and must be annihilated. Chapter No explores the conflation of sexual and imperialist discourses in Rider Haggard's adventure fiction, particularly in She and King Solomon's Mines. Ayesha is an invading sexual being and FET- 'death in the flames can be seen as a 'devolution' into a 'monkey woman': an unveiling. This chapter also examines the other female 'missing links' of Haggard's fiction. Chapter Three continues the exploration of sexual and imperialist discourses, here in the early novels of Conrad: Almayer's Folly and An Outcast of the Islands, in particular. It explores the way in which Conrad's native women merge into jungle landscapes and into twilight; they signify the threatening 'otherness' of the jungle and of language. This chapter concludes with an examination of Winnie Verloc of the Secret Agent as female murderess and as 'free woman'. Chapter Four focuses on Hardy's Tess as victim and as murderess. It proposes a reading of Tess of the d'Urbervilles as a response to the enforced censorship of the text (Tess) expressed via the moral censure and execution of Tess. A short theoretical Afterword draws on feminist theory and Derridean analysis of phallocentrism to propose that the 'femme fatale' of this period is a sign signifying a multiple or conflated 'otherness': a multiplicity of cultural anxieties.

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35

Luckhurst, Roger Michael. „'Between two walls' : postmodernist theory and the 'problem' of J. G. Ballard“. Thesis, University of Hull, 1992. http://hydra.hull.ac.uk/resources/hull:3114.

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36

Rashwan, Nagy Mohamed Fahim Eweis. „Lyn Hejinian's and Charles Bernstein's language poetics : a postmodern conceptual grammar“. Thesis, De Montfort University, 2002. http://hdl.handle.net/2086/13271.

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37

CRINITI, STEPHEN FRANCIS. „NAVIGATING THE TORRENT: DOCUMENTARY FICTION IN THE AGE OF MASS MEDIA“. University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1189530451.

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38

Reeve, Anthony James Hutchinson. „Aspects of the life of Dr Thomas Arnold (1795-1842) in the light of the unpublished correspondence“. Thesis, University of Hull, 1988. http://hydra.hull.ac.uk/resources/hull:3130.

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39

Middleton, Deborah Kathleen. „The theatre of affect“. Thesis, University of Hull, 1993. http://hydra.hull.ac.uk/resources/hull:3554.

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There is an extensive body of work in the fields of philosophy, psychology, and sociology which identifies a specific world view based on the following criticism of modern society: that people live monocerebral existences divided from their physical, emotional, and intuitive abilities. In this state, the capacity for affect -emotional response - is believed to be atrophied, and experience nullified. Such a condition - which may be loosely termed 'mind/body split' - results in a diminished ability to relate to other people, a sense of alienation from the world, and a pathological loss of human capacities. Many psychologists believe that this state prefigures neuroses, destructiveness, and schizophrenia. This thesis is concerned with the concept of 'mind/body split' and its relation to affective communication in the theatre. The subjects of my enquiry are theatre practitioners or companies whose work has directly addressed these issues: Antonin Artaud, Jerzy Grotowski, The Living Theatre, The Performance Group, The Open Theatre, Peter Brook, and Eugenio Barba. My aim has been to re-examine the work of these seven in order to produce evidence of their concern for affect, heightened experience, and the healing of mind-body schism. I propose that an understanding of these concerns provides a major critical key to the appraisal of the practitioners in question.

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40

Tipper, Paul Andrew. „Colour symbolism in the works of Gustave Flaubert“. Thesis, University of Hull, 1989. http://hydra.hull.ac.uk/resources/hull:3814.

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The thesis adopts a structural and systematic approach to the study and analysis of colour terms in Flaubert's fiction.The Introduction highlights how Flaubert has come to be regarded as a problematic writer and how much existing work on his colour terms is in some way lacking in clarity. I proceed to fill this gap in Flaubert studies by elaborating a method of analysis of colour terms which clarifies how meaning is produced by the text. The method of analysis comprises eight stages which are systematically worked through as one considers eleven variables, one or several of the latter coming into play at any stage in the method and which may influence the ultimate type and degree of value-charge carried by a colour term. The method and the variables should be thought of as one ensemble or a methodology for the analysis of colour terms in prose fiction. The methodology is highly refined and is without precedent in that I examine the dual exchange of figurative charging which is always operational between a colour term and its associated referent.The thesis is divided into five chapters where each text is studied separately. The Oeuvres de Jeunesse are experimental writings and Flaubert is testing the figurative potential of colour terms. The chromatic codification is mainly traditional, though a nascent private elaboration may be discerned. Madame Bovary represents the peak of literary perfection. All the novel's colours contribute to the overall illusion/reality dichotomy which lies at the heart of the text.

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41

Warren, John Binfield. „The treatment of moral and intellectual education in radical and denominational British periodicals 1824-1875“. Thesis, University of Hull, 1990. http://hydra.hull.ac.uk/resources/hull:4579.

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42

Andersen, Hans Christian Ib. „The playwright and his theatre : Howard Brenton, David Hare and Snoo Wilson“. Thesis, University of Hull, 1987. http://hydra.hull.ac.uk/resources/hull:5336.

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In the context of changes in British theatre theory and practice, in particular in the post-1968 Fringe, is it possible to consider playscripts as literary works,expressing the views of individual writers? The emphasis within the early Fringe was on collectively organized workshops and group creativity, and on the exploration of non-verbal expression on stage, something which had been anticipated by the pre-1968 avant-garde and which amounted to a challenge to the playwright's traditionally dominant position in the theatre. However, the playscript, as an example of written fictional narrative, dependent on the theatre for its realization but not its creation, still commands an independent status as a work, and the fiction enables the playwright to explore and evaluate reality in his own terms. Snoo Wilson's works illustrate his clear awareness on the power of fiction to posit the equal reality of the rational and the irrational in dramatic terms, as a metaphor for our way of understanding reality outside the theatre, where reality and fiction seem difficult to distinguish. David Hare focusses on the discrepancy between fiction and reality in the way we experience our lives and interpret history, and he seeks, as a conscious story-teller, to reveal, in imaginative terms, how that discrepancy leads to actual suffering. Howard Brenton's declared preference for content and fact, rather than form and fiction, and for the theatre as a democratic medium, cannot conceal his consistent endeavour to use fictional narrative as fantastic as Wilson's to oppose bourgeois versions of reality. In spite of their having learned to work with theatre companies and, hence, come to see themselves as parts of a larger, complex art, these playwrights, like their predecessors, continue to write fictions which express their personal vision in a form, print, that is accessible and analysable in isolation from actual performance.

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43

Thompson, Shirley Catherine. „The autograph manuscripts of Marc-Antoine Charpentier : clues to performance“. Thesis, University of Hull, 1997. http://hydra.hull.ac.uk/resources/hull:5459.

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44

Cox, Donna. „Psycho-analysis and textual production“. Thesis, University of Hull, 2000. http://hydra.hull.ac.uk/resources/hull:3957.

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As its title suggests, this study is divided into two separate but related parts. Each part of the thesis is then sub-divided into sections. Part I is evolutionary in nature, building its argument in a more linear and expository style than those sections which comprise Part II which stand in a more dialogical relation to each other and are self-sufficient in form. The title of the thesis uses the term 'psycho-analysis' as it was first introduced by Freud with reference to a systemic methodology. It should be noted that the 'textual production' to which I refer in the title should not suggest a Marxist-based analysis. Instead, it refers to the activation of the text in conjunction with its encounter with the reading subject. As such, it does not refer to the creation of an author, nor to the material production via institutions in the strict historical sense. It does, however, refer to a material affect of the signifier in its interpretative rendering by emphasizing its bodily interlinking with the imaginary of the reader in a scene which is analogous to that of hysterical symptomatology. Part I is entitled 'Psycho-Analysis' and consists of three sections which explore the beginnings of psychoanalysis, its main theories on hysteria and the relationship between Josef Breuer and Sigmund Freud. The theoretical base of hysteria is considered to be illuminating to analyses of critical procedures such as those employed in literary criticism. Part II is entitled 'Textual Production' and is comprised of six sections of textual readings. These readings are presented as discrete in themselves yet of an interlocking character. This study of psycho-analysis and textual production has attempted to examine the mechanisms of critical encounter in relation to the psychoanalytical text and the literary text. Theories offered by psycho-analysis formulated with reference to hysteria are considered to offer an illuminating parallel to those processes which occur in critical practice.

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45

Bemelmans, Josephus Wilhelmus Maria. „Charlotte Bronte and the uses of creative writing : a study in function and form“. Thesis, University of Hull, 1988. http://hydra.hull.ac.uk/resources/hull:7027.

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This study examines the functions of Bronte's "scribblemania" at each stage of her intellectual and emotional development, as well as the narrative forms, many originating in the exceptional visual qualities of her imagination, which she employed to shape her thoughts into fictional correlatives. Young Bronte, while indifferent to contemporary fiction, aspired to become a painter, and looked upon her prose writings as a diary. Between 1829 and 1833, she recorded her visions of the realm of artists and poets in which she hoped one day to participate. In 1834 and early 1835, while the career in painting was becoming progressively elusive, she was baffled in her attempts to share in her imaginary Athens, but drew comfort from watching it through her narrator's eyes. During the Roe Head crisis, while at home for the holidays, she withdrew to the margin of Angria in order to allow her exhausted imagination to recover. Having failed in the later novelettes to devise a means of overcoming the burdensome reserve which shielded her imagination against an indifferent outer world, she resolved to leave Angria, but only for a while. Her half-hearted attempt to write a novel at the age of twenty-four was inspired by the hope of earning some money. In The Professor, another financial venture, she charted the struggles of an imaginative person who, like herself, was determined to win a stake in life. She returned to this theme in Jane Eyre. While writing Volume One of Shirley, she perceived a role for herself as a social reformer. The project collapsed after Emily's death. In Villette, she affirmed her faith in her memory and imagination. Three appendices discuss It is all up!, the dating of But it is not in Society (April 1839), and the dating of Bronte's letter to Hartley Coleridge (December 1841).

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46

Kincaid, Deirdre Lindsay. „Rough magic : the theatrical life of John Wilkes Booth“. Thesis, University of Hull, 2000. http://hydra.hull.ac.uk/resources/hull:4641.

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When John Wilkes Booth shot Abraham Lincoln in Ford's Theatre in Washington on the evening of April 14,1865, he destroyed any possibility that his reputation as an actor would be dispassionately assessed for the foreseeable future. A bitter, fratricidal war was drawing to its close, and Northern newspapers were not interested in being fair; opprobrium was heaped on Booth's name, beginning in the press the following day. Twelve days later he was dead, shot during an attempted arrest. In 1890, his fellow player Clara Morris asserted hopefully, ‘At this late day the country can afford to deal justly with John Wilkes Booth.’ That time had not yet come: in fact, some of the worst -- and silliest -- slanders have been perpetrated in the twentieth century. But surely now, over a hundred years later, it should be possible to set aside that April evening and look dispassionately at Booth's career in the theatre of his time. As well as extending simple justice to a man who seems to have been extremely likeable and idealistic, and an actor interesting enough to deserve study, such a reassessment may serve to correct a distortion which the 'mythologized' view of his career has created: the idea that Edwin Booth was the only promising young tragedian in the early 1860s, which falsifies both Edwin's career and the period in general. Moreover, John's entire career covered a mere ten years, and his four full seasons as a star occurred during the Civil War, an under-researched period. The necessary concentration on so brief a time-span allows a more detailed treatment than would be possible in examining a career of average length, which may in turn illuminate some broader aspects of American theatre during an unsettled and transitional period.

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47

Darcy, Jane. „Critical attitudes to the novels of Thomas Hardy 1870-1985“. Thesis, University of Hull, 1986. http://hydra.hull.ac.uk/resources/hull:6981.

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In this thesis an examination is made of criticism of Thomas Hardy's novels from the earliest comments of his publishers and reviewers in the late nineteenth century to the apparently more sophisticated studies of the mid-1980's. The thesis is organised chronologically with each chapter dealing with a specific historical period of not more than a few decades which marks a particular phase of criticism of Hardy's novels and which often reflects more general developments in critical attitudes to the novel as an art form. Thus, while much light is thrown on Hardy's own art as a novelist in the course of this study, its wider purpose has been to trace patterns of development in the theory and practice of novel criticism over the period 1870-1985 as a whole, and to examine the ideological assumptions which have informed it. In this sense criticism of Hardy's novels is a good subject for study because it reveals many features which may be said to be typical of the various phases of novel criticism; indeed, it often tells us far more about critical fashion and critical prejudice than it does about Hardy's art. Because this thesis traces general patterns of development in criticism, there has been no attempt to be all-inclusive in the coverage of Hardy's critics; books and articles have been chosen for their representativeness or their special merit. All the major critics have been discussed, however, and the study concludes that what criticism has gained in sophistication of technique ; and mode of expression appears to have been counterbalanced by its having lost the ability to respond directly to the impact of reading a novel and by the corresponding loss of a sense that literature (in this case Hardy's novels) has any value which can be related to life. It is suggested that recent critics might benefit from a study of the methods of their predecessors so that they might learn from their successes as well as from their mistakes.

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48

Czornyj, Peter John. „Georg Philipp Telemann (1681-1767) : his relationship to Carl Heinrich Graun and the Berlin circle“. Thesis, University of Hull, 1988. http://hydra.hull.ac.uk/resources/hull:4484.

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The history of music in Germany in the first half of the eighteenth century is best understood within the context of the social, cultural and intellectual history of the German people during this period.The intellectual coming of age of the middle classes during the first decades of the century occurred as a result of growing confidence in the establishment of a national spoken and literary language. In a gradual progression of liberation and purification, the German language broke away from the dominant voices and cultures of its closest neighbours, leading to the crystalization of a clearly indigenous culture later in the century. Few other art forms followed this development more closely and indeed benefitted more from it than music.At the beginning of the century German music, and German culture in general, was still very much subjected to vassalage to foreign powers. Only in its church music, however, could a small but distinctly native voice be detected. With the growth of literary confidence, in particular in devotional poetry, music received considerable creative impetus. The figure who most closely followed these linguistic and literary developments is Georg Philipp Telemann (1681-1767).The object of this thesis is to place in its proper context the highly influential musical personality of Telemann, in particular through a study of his relationship to a younger generation of composers and theorists: the 'Berlin Circle'. In a detailed study of the composer's relationship to Carl Heinrich Graun(1703 or 1704-1759), the court Capellmeister at Berlin, the association between words and music, between musical and literary languages, will be discussed and, furthermore, they will be seen to be interdependent

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49

Law, Sarah Astrid Jacqueline. „Ecriture spirituelle : the mysticism of Evelyn Underhill, May Sinclair and Dorothy Richardson“. Thesis, Queen Mary, University of London, 1997. http://qmro.qmul.ac.uk/xmlui/handle/123456789/25545.

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The association of women and mysticism this century is not always perceived as a positive one. In Power, Gender and Christian Mysticism (1995), the feminist philosopher of religion, Grace Jantzen, suggests that the experience of mysticism gradually became defined as an ineffable, private emotional encounter in order to remove it from the sphere of political management of society and religion. She writes of a direct increase of association between mysticism and women, who were permitted to have spiritual experiences, but powerless to speak with authority about their insights. Jantzen's view of this association of women with mysticism is therefore somewhat negative; she warns of mysticism's ability to silence and disempower. But as women mystics, particularly in the medieval period, have spoken and written of their (often vivid and imaginative) experiences with authority, this thesis explores how ideas about mysticism have been addressed by women writers this century. In particular, 1investigate whether the women writers treated in this thesis developed the definition of such spiritual experience in a more affirmative and expressive way than Jantzen suggests. Rather than assuming that mysticism is an unchanging spiritual experience within a strictly religious context, this thesis explores how women writers discovered a creative expression of their inner spirituality through the inspiration of contemporary ideas about mysticism, and how they helped to move these ideas on. I introduce my argument, therefore, by examining constructions of mysticism at the beginning of the twentieth century, when the idea of mysticism was defined and developed both in terms of experiential philosophy and of psychology. In particular, the attention paid to the emotional effects of a "mystical experience" became associated, by William James, with the importance of what he termed the "subliminal realm" of the mind, a realm which would subsequently be defined as the unconscious by Freud, but which James saw as a valid channel for imagination and spirituality As well as drawing attention to the "subliminal realm" and its role in spiritual experience, James first suggested the idea of the "stream of consciousness", a term which became important for much modernist literature, but which James did not link directly with the expression of mysticism. Not all psychological studies of mysticism were as open-minded as James'; I also look at texts which were hostile and eclectic in turn. And James himself was not immune to contemporary prejudice regarding gender. But the period's general interest in the imaginative workings of the mind, flowing from the unconscious into consciousness, and the struggle to express this imaginative process, has led me to the study of its literature in order to explore how such ideas about mysticism were used, by women writers, within a creative context. Evelyn Underhill provides a link between the areas of religious thought and women's fiction writing. Underhill in fact started her writing life as a novelist, exploring those themes of spirituality which she was later, more famously, to address in texts such as Mysticism, in which James' ideas are acknowledged. Importantly, Mysticism was certainly read by two women writers - May Sinclair and Dorothy Richardson - who, while fascinated by mysticism, were equally concerned to develop the novelistic form in order to allow the expression of individual consciousness. They were also interested in the subject of gender to a greater degree than was Underhill. By examining the work first ofMay Sinclair, whose mysticism is chiefly concerned with loss, then of Dorothy Richardson, who was to develop the mystical concepts of vision and illumination, I trace the progression of mysticism's influence in women's writing, an influence which Underhill had to a large extent initiated. Underhill, Sinclair and Richardson were not the only women writers to explore mysticism alongside stylistic innovation and an awareness of gender issues. There was, for example, Virginia Woolf, whose aunt, Caroline Stephen, was a respected Quaker. But rather than continue to explore all the women writing in this period, a task too large for this thesis, I move on to show how ideas about mysticism, gender and writing have developed in later thinkers. In examining the ideas of the feminist critics Cixous, Irigaray, and Kristeva, I show that mysticism, and the ways of articulating what James termed an "ineffable" experience, are even more strongly linked with gender and innovative creative writing in their work, whether "novelistic" in a strict sense or not. I have not anal.vsed the work ofUnderhill. Sinclair, and Richardson solely. in terms of psychoanalytically acute feminist criticism I, although I introduce such Such work is generally available: Jean Radford's examination of PiIbTfi mauc. for example critical ideas where appropriate, and have shown that these writers point towards the critical concepts of later feminist writers and thinkers. My emphasis is on the particular space lor creativity which mysticism develops and towards which psychoanalysis with its emphasis on the talking curehas indicated but paid less attention to than the aetiology and symptoms of madness and hysterical disorders. Rather than continue to pursue this psychoanalytical preoccupation, I have looked at the work of the later feminist critics as experimental mystical writers in their own right, and I suggest that it is mysticism. rather than hysteria or other forms of "madness", which has provided the creative space for gendered exploration of imagination and writing. Just as psychoanalytic criticism seeks to explore those "moments of vision" which madness has been said to facilitate in writers such as Woolf I have set out to show that the insights of mysticism, classed as neither mental illness nor rigorous rationality, have played an essential part in the development of women's fiction-writing, criticism and religious thought this century, allowing, additionally, the closer relationship of these three disciplines. In concluding this thesis therefore, I examine the way in which mysticism has provided a place for "visionary" gendered discourse in contemporary theology, and return to the area of religious thought, where I had begun my research. I examine ways in which there is now an increased awareness of the imagination in feminist theology and, specifically, in mysticism within a feminist theological context. The developments of mysticism's creative space have facilitated this awareness in theology, just as they have in the fiction and criticism through which I have traced its influence. Although the question of what constitutes mysticism and who counts as a mystic may remain open (plurality being one of the emphases of feminist critical thought), the conclusion of this thesis affirms that the space of spiritual creativity developed by mysticism has been one of the major forces to have shaped women's writing and critical thought (both literary and religious) this century.

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50

White, Bryan Douglas. „Louis Grabu and his opera 'Albion and Albanius'“. Thesis, Bangor University, 1999. https://research.bangor.ac.uk/portal/en/theses/louis-grabu-and-his-opera-albion-and-albanius(eafbda13-2be5-48fa-b16a-370ebf5bcf41).html.

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Albion and Albanius and its composer, Louis Grabu, have been unjustly dismissed by musical scholars. This thesis seeks to redress that injustice. A documentary biography of Grabu is provided, and a discussion of the inception of Albion and Albanius, detailing the role of each of its creators. The opera is subjected to a thorough examination, including a discussion of: 1) the relationship between the 1685 libretto and the 1687 score; 2) its largescale structure and tonal plan; 3) and its vocal and instrumental writing. These studies reveal that Grabu, in composing the music, Dryden, in writing the libretto, and Betterton, in designing staging, drew upon specific models from Lully's Phaêton (1683). Furthermore, it is shown that Grabu drew upon a thorough knowledge of Lully's other operas: not only the general compositional features and structures, but also specific movements. There is, in addition, evidence suggesting that Grabu borrowed musical ideas and techniques from Purcell's Dido and Aeneas. Information regarding the opera's performance is gathered from the score and developed through comparison with contemporary practices. In particular, the similarities between Grabu's score and those of Lully printed by Ballard suggest that Grabu wrote for an ensemble modelled on that of the Paris Opéra. The dance and staging elements of the opera are examined in the light of information about, and illustrations from, English and especially French productions (particularly the drawings of Berain). Grabu's influence on Purcell, and Dioclesian in particular, is demonstrated. The reception history of Albion and Albanius is explored, and the assertion that Grabu was an incompetent composer and the opera an artistic failure is shown to be unfounded. A modern edition of Albion and Albanius with critical commentary is provided.

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