Dissertationen zum Thema „Song in literature“
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Nedvin, Brian. „Holocaust Song Literature: Expressing the Human Experiences and Emotions of the Holocaust through Song Literature, Focusing on Song Literature of Hirsh Glick, Mordechai Gebirtig, and Simon Sargon“. Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc4850/.
Der volle Inhalt der QuelleBadnall, Toni Patricia. „The wedding song in Greek literature and culture“. Thesis, University of Nottingham, 2009. http://eprints.nottingham.ac.uk/12089/.
Der volle Inhalt der QuelleMirapuri, Dawn. „Discordant tunes : Christina Rossetti's sing-song /“. [St. Lucia, Qld.], 2000. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe16358.pdf.
Der volle Inhalt der QuelleHenry, N. „The Song of Songs and virginity : the study of a paradox in early Christian literature“. Thesis, University of Cambridge, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.603966.
Der volle Inhalt der QuelleGriffiths, David. „Song writing : poetry, Webern, and musical modernism“. Thesis, King's College London (University of London), 1993. https://kclpure.kcl.ac.uk/portal/en/theses/song-writing--poetry-webern-and-musical-modernism(eda44e12-79d4-423f-887f-4d0543a03bc9).html.
Der volle Inhalt der QuelleGill, Valerie Philbrick. „"Song of Myself" and the Divided Subject“. W&M ScholarWorks, 1990. https://scholarworks.wm.edu/etd/1539625607.
Der volle Inhalt der QuelleBoston, Kris A. „Stephen Sondheim: Crossover Songs for the Classical Voice Studio“. University of Cincinnati / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ucin985625314.
Der volle Inhalt der QuelleNedvin, Brian. „Holocaust song literature : expressing human experience and emotions of the Holocaust through the song literature of Hirsh Glick, Mordecai Gebertig, and Simon A. Sargon /“. connect to online resource, 2005. http://www.unt.edu/etd/all/Aug2005/nedvin%5Fbrian/index.htm.
Der volle Inhalt der QuelleDeedman, Cheryl. „'The song of the pen' : popular Romantic literature 1839-1889“. Thesis, Goldsmiths College (University of London), 2014. http://research.gold.ac.uk/10546/.
Der volle Inhalt der QuelleFeng, Zhihong. „Bei Song gu wen yun dong de xing cheng = The formation of the Northern Song classical prose movement /“. click here to view the fulltext click here to view the abstract and table of contents, 2006. http://net3.hkbu.edu.hk/~libres/cgi-bin/thesisft.pl?pdf=b20208145f.pdf.
Der volle Inhalt der QuelleJang, Yeonok. „Development and change in Korean narrative song, p'ansori“. Thesis, SOAS, University of London, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.313421.
Der volle Inhalt der QuelleSnydacker, Sarah Elizabeth. „The new American song: a catalog of published songs by 25 living American composers“. Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/1265.
Der volle Inhalt der QuelleDunn, Leslie C. „The poetics of song : Thomas Campion and Renaissance Melopoeia“. Thesis, University of Cambridge, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.293754.
Der volle Inhalt der QuelleFurey, Simon. „Harmony in discord : an analysis of Catalan folk song“. Thesis, University of Sheffield, 2002. http://etheses.whiterose.ac.uk/962/.
Der volle Inhalt der QuelleProsch, Tina Marie. „Incorporating environmental education into the curriculum through the use of children's literature“. CSUSB ScholarWorks, 1996. https://scholarworks.lib.csusb.edu/etd-project/1263.
Der volle Inhalt der QuelleIngram, Catherine. „Word and Song: The Paradox of Romanticism“. TopSCHOLAR®, 1996. http://digitalcommons.wku.edu/theses/805.
Der volle Inhalt der QuelleHintz, Patricia Louise. „"Song of the Husbandman": A Critical Edition“. W&M ScholarWorks, 1989. https://scholarworks.wm.edu/etd/1539625525.
Der volle Inhalt der QuelleRowan, Sarah. „The efficacy of song itself : Seamus Heaney's defence of poetry“. Doctoral thesis, University of Cape Town, 2009. http://hdl.handle.net/11427/8235.
Der volle Inhalt der QuelleIncludes bibliographical references (p. 204-224).
The defence of poetry dates back, in English literature, to Sidney's 'An Apology for Poetry' (1595), and the twentieth and twenty-first centuries have seen an increasing number of writers advancing arguments in support of an art form that seems, more than ever, to be under threat. In this thesis, Seamus Heaney's essays on the purpose of poetry are considered as they constitute a defence of the art form. While Heaney's poetry and prose have, as a result of his popularity and standing as a poet, generated an almost unprecedented body of critical work, his defence of poetry has not been recognised as such, nor has it come under sufficient critical scrutiny. Essentially a defence of a defence, this thesis redresses that omission by examining Heaney's apology as it takes shape in his essays, and in its application to a selection of his own poems.
Chambers, Carol. „Song and metaphoric imagery in forensic music therapy“. Thesis, University of Nottingham, 2008. http://eprints.nottingham.ac.uk/10833/.
Der volle Inhalt der QuelleChoi, Sung-hei, und 蔡崇禧. „Scholar-officials' penchant for flower appreciation in Song Dynasty“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2011. http://hub.hku.hk/bib/B46425743.
Der volle Inhalt der QuelleBray, Carys. „'A Song for Issy Bradley' : a novel and poetics“. Thesis, Edge Hill University, 2014. http://repository.edgehill.ac.uk/6502/.
Der volle Inhalt der QuelleWest, Ewan Donald. „Schubert's Lieder in context : aspects of song in Vienna 1778-1828“. Thesis, University of Oxford, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.306522.
Der volle Inhalt der QuelleRinger, Rebecca Scharlene. „Beyond the "Year of Song": Text and Music in the Song Cycles of Robert Schumann after 1848“. Thesis, connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3622.
Der volle Inhalt der QuelleWalsh-Harrington, Geraldine. „The function of the incidental song in contemporary French and Belgian cinema“. Thesis, University of Sheffield, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.310725.
Der volle Inhalt der QuelleCollett, Jacqueline L., und Jacqueline L. Collett. „Benjamin Britten and Contemporary Art Song Literature: A Discussion of A Birthday Hansel“. Diss., The University of Arizona, 1986. http://hdl.handle.net/10150/626233.
Der volle Inhalt der QuelleHarden, Sarah Joanne. „Self-referential poetics : embedded song and the performance of poetry in Greek literature“. Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:69380265-1014-4965-bc6a-32dbc244721a.
Der volle Inhalt der QuelleStanton, Brandi. „On location race and family in the poetry of Sonia Sanchez, June Jordan, and Cathy Song /“. [Bloomington, Ind.] : Indiana University, 2009. 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:3378394.
Der volle Inhalt der QuelleTitle from PDF t.p. (viewed on Jul 8, 2010). Source: Dissertation Abstracts International, Volume: 70-10, Section: A, page: 3857. Adviser: Susan Gubar.
Dawson, Melanie. „From Song to Silence: The Coding of Music in Kate Chopin's "The Awakening"“. W&M ScholarWorks, 1990. https://scholarworks.wm.edu/etd/1539625602.
Der volle Inhalt der Quelle梁李步正 und Li Po-ching Leung. „The Pianwen of the six prose masters of the Song dynasty“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1987. http://hub.hku.hk/bib/B3120773X.
Der volle Inhalt der QuelleLinekin, Kim. „The modern popular song as a literary art form“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ37216.pdf.
Der volle Inhalt der QuelleChew, Ellen C. „Goethe’s "Gretchentragodie" in Song: A Multidimensional Woman, not Victim“. University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1458893328.
Der volle Inhalt der QuelleThomas, Joan Potter. „Broken Branches: The Search for Ancestry in Toni Morrison's Novels "Song of Solomon" and "Beloved"“. W&M ScholarWorks, 1991. https://scholarworks.wm.edu/etd/1539625676.
Der volle Inhalt der QuelleTsutsumi, Setsuko. „Kawabata Yasunari : interweaving the "old song of the East" and avant-garde techniques /“. Thesis, Connect to this title online; UW restricted, 1997. http://hdl.handle.net/1773/6657.
Der volle Inhalt der QuelleChan, Kar Yue. „Ambivalence in poetry : Zhu Shuzhen of the Song Dynasty“. Thesis, University of Edinburgh, 2006. http://hdl.handle.net/1842/28704.
Der volle Inhalt der QuelleVonKamp, Rebecca Lee. „Contemporary art song of the United States: a graded handbook“. Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6326.
Der volle Inhalt der QuelleBuckley, Ann I. „A study of old French lyric lais and descorts and related latin song to c. 1300“. Thesis, University of Cambridge, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.316675.
Der volle Inhalt der QuelleRamos, Sefferino. „Silence, Power, and Mexicans in Willa Cather's The Song of the Lark“. CSUSB ScholarWorks, 2016. https://scholarworks.lib.csusb.edu/etd/280.
Der volle Inhalt der QuelleChen, Jue. „Making China's greatest poet| The construction of Du Fu in the poetic culture of the Song Dynasty (960-1279)“. Thesis, Princeton University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10010843.
Der volle Inhalt der QuelleIn traditional narrative of Chinese literary history, Du Fu (712–770) is arguably the “greatest poet of China,” and it was in the Song (960–1279) that his greatness was finally recognized. This narrative naturally presumes that the real Du Fu in history is completely accessible to us, which is not necessarily true.
This dissertation provides another perspective to understand Du Fu and the “greatness” of his poetry. I emphasize that the image of Du Fu that we now have is more of a persona that has been constructed from his available poetic texts. Poets in the Song Dynasty, especially those in the eleventh century, took initiative to construct this persona, and their construction of Du Fu was largely conditioned by their own literary and intellectual concerns.
The entire dissertation is divided into five chapters. Chapter 1 investigates how Du Fu’s poetic collection emerged. His collection, as it was compiled and edited, not only provided a platform, but also set restrictions, for the construction of Du Fu. Chapter 2 examines how Du Fu used to be remembered before his collection took form. Memory of him before the eleventh century was considerably different from his received image. The remaining chapters focus on three major aspects of Du Fu’s persona—namely his images as a poet-historian, a master of poetic craft, and a Confucian poet—to analyze how and why Du Fu was constructed as such in the Song. Song poets accepted poetry as a medium loaded with valuable information, and they thus explored Du Fu’s poetry for history; they concerned themselves with issues pertaining to poetic craft, and retrospectively looked for examples in Du Fu’s poetry as established standards; they, as scholar-officials, committed themselves to the state, and declared Du Fu as their model. In sum, Song poets provided particular readings to Du Fu’s particular poems, and claimed these readings as the result of Du Fu’s intentional production. Through interpretation of Du Fu’s surviving poems, they constructed Du Fu as China’s greatest poet.
Dunham, Phyllis M. „The People's Poets: Literature Born of the Texas Singer-Songwriter Movement of the Last Forty Years“. ScholarWorks@UNO, 2016. http://scholarworks.uno.edu/td/2212.
Der volle Inhalt der QuelleJönsson, Ola. „Autobiographical Existentialism in Norman Mailer's The Executioner's Song“. Thesis, Blekinge Tekniska Högskola, Institutionen för humaniora, 2003. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-1666.
Der volle Inhalt der QuelleGregg, Thomas Andrew. „Song composers and their poetry choices : an analysis of the literary background and textual selections of twelve composers“. The Ohio State University, 1989. http://rave.ohiolink.edu/etdc/view?acc_num=osu1241188637.
Der volle Inhalt der QuelleBarlow, Rachelle Louise. „The 'land of song' : gender and identity in Welsh choral music, 1872-1918“. Thesis, Cardiff University, 2015. http://orca.cf.ac.uk/91290/.
Der volle Inhalt der QuelleHowell, Mark Hunter. „A War of Words: Satire and Song in the Pre-Revolutionary Virginia Gazettes“. W&M ScholarWorks, 1998. https://scholarworks.wm.edu/etd/1539626155.
Der volle Inhalt der QuelleKing, John Paul. „The Sad Kitchen and Song of Neon: Two Novellas“. TopSCHOLAR®, 2019. https://digitalcommons.wku.edu/theses/3149.
Der volle Inhalt der QuellePelonis, Claire M. „"Let's do it!"| Criminality, space, and law in Norman Mailer's The Executioner's Song“. Thesis, California State University, Long Beach, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1598648.
Der volle Inhalt der QuelleThis thesis will demonstrate the ways in which Mailer treats the Gilmore v. Utah case, the space of the courtroom, and the legal system that Gary Gilmore challenged. The Executioner’s Song can be used as a document of sorts, displaying changing attitudes within the traditional American fascination with marginal characters, death-row inmates specifically. This thesis also argues that Mailer presents a man who believes in the law and in upholding the sentences that are given to those who break it. Additionally, Mailer exploits the space of the courtroom and the state of Utah as places in order to establish a discussion regarding capital punishment and criminal figures in the United States. Finally, this thesis will look at the specific way that Mailer presents the legal facts of the case and the liberties he took with these details in order to construct his “true-life novel” in a very particular way.
Westerfield, Lillian Leigh. „"This anguish, like a kind of intimate song" : resistance in women's literature of World War II /“. Amsterdam ; New York : Rodopi, 2004. http://catalogue.bnf.fr/ark:/12148/cb40037120p.
Der volle Inhalt der QuelleMalloy, Bronwyn. „"Measure me in metered lines": unreliable narration and the hermeneutics of narrative identity in contemporary 'Indie' song lyrics“. Thesis, McGill University, 2014. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=123324.
Der volle Inhalt der Quelle"Measure me in metered lines": Narration non-fiable et les herméneutes d'identité narrative dans les paroles de chansons 'Indie' contemporaines Dans l'intérêt d'explorer les herméneutes d'identité narrative dans les paroles de chansons populaires, c'est-à-dire le procès textuel par lequel le narrateur d'une chanson partage leur histoire avec l'auditeur, cette thèse examine un groupe de paroles narratives d'une convention de genre et de temporalité particulière, à l'encontre de théorie établie concernant la narration non-fiable. Des théories de narration non-fiable ont été sélectionnées en tant que cadre théorique principal, car ce domaine est central aux études de littérature contemporaine (Nünning 2005 :2) et car, comme les paroles elles-mêmes, les théories de narration non-fiable rendent problématique l'idée de flux unidirectionnel du message transmis par l'orateur/l'auteur impliqué au lecteur/auditeur. Les paroles réfléchies, soutenues par de la recherche et littéraires sont primordiales à l'esthète du genre musical indie. Donc, cette thèse ce concentre principalement sur deux des auteurs lyriques les plus célébrés de la scène indie : Colin Meloy de The Decemberists, un groupe américain de musique indie-rock-prog et John K. Samson de The Weakerthans, un groupe canadien de musique indie-folk-punk. Je propose que Meloy et Samson font plus qu'endurer l'examen critique minutieux de leur paroles et vont jusqu'à l'inviter. En demandant (et possiblement en l'imposant) un nouveau contrat avec l'auditeur, les paroles de Meloy et Samson sont représentationnelles d'un mouvement par lequel les auditeurs de musique indie « idéaux » se transforment d'écouteurs décontractés en écouteurs actifs (Schafer; Nancy), pratiqués et critiques. Engageant dans une gamme de théorie littéraire et de textes de musicologie, les vastes intentions de ce projet sont l'exploration des complexités formelles des récits à la première personne dans les paroles de musique indie contemporaine et, également, de diversifier l'application des théories de narration non-fiable.
Negreiros, Eliete Eça. „Paulinho da Viola e o elogio do amor“. Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-12122012-102202/.
Der volle Inhalt der QuelleThis dissertation is about the relation between the songs of Paulinho da Viola and the tradition occidental, the philosophy and literature.
Oliveira, Leonardo Davino de. „Pletora de alegria: a aventura frustra e reluzente do país mulato na poesia de Caetano Veloso“. Universidade do Estado do Rio de Janeiro, 2010. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=1710.
Der volle Inhalt der QuelleCriador moderno e conceitual, Caetano Veloso trabalha com inúmeras referências, da ordem da canção, da literatura e das artes em geral, em contato com a memória cultural do país, colocando essa memória em crise. Sob a perspectiva Zabé come Zumbi, Zumbi come Zabé, Caetano realiza a mistura e a antropofagia teórica e estética que representa (apresenta) o Brasil. Caetano resgata o popular de um isolamento profundo, promovido pela retórica purista de certa elite. Percebe que, preservar cegamente uma cultura, ou simplesmente desprezá-la, é uma perversão, em um país tão diverso quanto o Brasil. Ele assume os sucessos da massa e usa a canção como instrumento teórico e crítico para pensar o país; quebra a linearidade e desmonta o automatismo violentando-os através de uma estrutura feita de fragmentos superpostos, algo, ao mesmo tempo alusivo e ilusório. O presente trabalho analisa as canções de Caetano Veloso a partir de uma leitura baseada no procedimento de hibridação e da presença mulata, para além do étnico-racial, tomando tais componentes teóricos como um processo circular (recorrente) e característico da obra de Caetano. Por hibridação entenda-se que não é um terceiro termo que resolve a tensão entre duas culturas, de outro modo, é a crise no sistema de reconhecimento
A modern and conceptual creator, Caetano Veloso works with numerous references, of the order of the song, literature and the arts in general, contacting the cultural memory of the country, putting this memory in crisis. Under the perspective "Zabé come Zumbi, Zumbi come Zabé" Caetano performs mixing and the cannibalism theory and aesthetics that represents (presents) Brazil. Caetano rescues the folk from a deep isolation promoted by purist rhetoric of some elite. He realize that, blindly preserving a culture, or simply dismiss, it is a perversion, in a country as diverse as Brazil. He takes the hits of the mass and uses the song as a tool for theoretical and critical thinking about the country, breaking the linearity and dismantles the automatism, raping them through a structure made of overlapping fragments, something elusive and illusory at the same time. This work analyzes the songs of Caetano Veloso from a reading based on the procedure of hybridization and the presence of mulatto, in addition to ethnic-racial, taking theoretical components such as a circular process (applicant) and characteristic of Caetanos work. For hybridization understand that there is not a third term that resolves the tension between two cultures, otherwise, is the crisis in the system of recognition
Rainbow, Jesse. „The Song of Songs and Solomonic biography in early Jewish and Christian literature (with special reference to traditions of Solomonic magic and exorcism)“. Theological Research Exchange Network (TREN), 2007. http://www.tren.com/search.cfm?p036-0377.
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