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Andrade, Sueli Chaves. "Chris Cunningham: autoria em videoclipe." Pontifícia Universidade Católica de São Paulo, 2009. https://tede2.pucsp.br/handle/handle/5263.
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Previous issue date: 2009-10-26Conselho Nacional de Desenvolvimento Científico e Tecnológico
The work from the video artist Chris Cunningham is the main theme of this research. The several audiovisual productions of this director include video installations, advertising and mainly music videos. There are two reasons for the choice of this object. The first one is related to the contemporary themes of Cunningham´s projects such as cyborg and freak bodies in the context of the post-human issue. The second reason is the possibility of placing the British as author in the audiovisual field. The music videos All Is Full Of Love (1999) and Rubber Johnny (2005) are the selected works for analysis of this research. The theoretical references over which this investigation is supported are related to the issues of authorship, post-cinema images and post-human body. Around the authorship discussion this research can be placed on debates proposed by the traditional French journal Cahiers du Cinéma during 1950s and the machine-artist relationship proposed by Vilém Flusser in Towards a Philosophy of Photography. To discuss the music video the selected authors are Arlindo Machado, E. Ann Kaplan and the pop culture experts Andrew Goodwin and Simon Fritch. Besides there are also the theorists Raymond Bellour (1997) who provides a place to the video and Philippe Dubois (2004) who suggests to think of it as a state and not as a product since it´s intimately tied to the device for which it has been designed. The approach to the body theme is based on works from Lucia Santaella, Paula Sibilia and Ieda Tucherman
O trabalho do videomaker Chris Cunningham é o tema principal dessa dissertação. A variedade de produções audiovisuais desse diretor engloba videoinstalações, publicidade e principalmente videoclipes. A escolha desse objeto dá-se por duas razões. A primeira pela contemporaneidade dos temas abordados nos projetos de Cunningham, como a temática dos corpos ciborgue e freak no contexto de discussão do pós-humano. Já a segunda razão é a possibilidade de situar o britânico como autor no campo audiovisual. Os videoclipes All Is Full Of Love (1999) e Rubber Johnny (2005) são as obras selecionadas para estudo analítico nesta pesquisa. As referências teóricas que embasam este trabalho estão ligadas ao tema da autoria, das imagens pós-cinemas e corpo pós-humano. No campo da discussão acerca de autoria, o trabalho situa-se nos debates propostos pelo tradicional periódico francês Cahiers du Cinema na década de 1950 e relação artista-máquina proposta por Vilém Flusser em Filosofia da Caixa Preta. Para se dissertar sobre o videoclipe, os autores selecionados são Arlindo Machado, E. Ann Kaplan e a dupla especialista em cultura pop Andrew Goodwin e Simon Fritch, além do teórico Raymond Bellour (1997), que dá lugar ao vídeo, e Philippe Dubois (2004) que sugere pensá-lo como estado e não como produto, na medida em que está intimamente atrelado ao dispositivo para o qual foi concebido. A abordagem do tema corpo respalda-se em textos das autoras Lúcia Santaella, Paula Sibilia e Ieda Tucherman
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Turková, Hana. "Merce Cunningham a jeho technika." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2013. http://www.nusl.cz/ntk/nusl-177744.
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This thesis approaches the personal life, artistic creation and dance technique of American dancer and choreographer Mercier Philip Cunningham. The first part focuses on the artist?s life stages during his evolution in dance from the beginnings of his choreographic work, and seeks the origins for the establishment of his own dance company ? Merce Cunningham Dance Company. A chronological overview of his extensive repertoire is also incorporated. The second part deals with collaboration, connection and interaction among the dance, music, design and film fields during the artistic work of Merce Cunningham. Following the author?s experience with Cunningham technique, the final part is directed to an understanding of this dance technique, its principles and specific elements used in contemporary dance world.
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Struck, Tracy Joy. "A Revision of Family and Domesticity in Michael Cunningham's A Home at the End of the World, Flesh and Blood, and The Hours." The University of Montana, 2007. http://etd.lib.umt.edu/theses/available/etd-08272007-134317/.
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Primarily through the experiences of his gay protagonists, Michael Cunningham critiques the heteronormative nuclear family structure of the 1950s and depicts alternatives to it. Drawing on the work of feminist critics who focus on the political intent of American women authors during the nineteenth century, the findings of family historians who examine families of the 1950s, and the work of anthropologist Kath Weston, I argue that Michael Cunningham represents domesticity in ways that promote readers' appreciation of and support for alternative family models.
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Honeycutt, Michael Wade. "William Cunningham : his life, thought, and controversies." Thesis, University of Edinburgh, 2002. http://hdl.handle.net/1842/17555.
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The central thesis of this work is that Cunningham's life and work must be understood in terms of his struggle to defend and promote the principles of the Reformation in response to numerous challenges from Church and State. Cunningham's responses to these challenges are presented in a biographical study, chronologically examining his life, thought and controversies. This biography presents a theological history of his life, incorporating social and political history only where needed for contextual purposes. An examination of letters, pamphlets, contemporary periodicals and newspapers reveals a far 1nore nuanced portrait of William Cunningham than previously acknowledged and one that recognizes to a greater extent the significant contributions of this nineteenth-century minister, Churchman, Professor, and Principal. His was a life of controversy, as he attempted to recover the theology of the Reformers and to advance the mission of evangelicalism. In chapter one, Cunningham, as a student, transitions within the Church of Scotland from Moderatism to Evangelicalism, and wages his first major controversy, fighting to improve the Edinburgh Divinity library. In chapter two, Cunningham, as a minister in Greenock, confronts the Rowites, then challenging the Westminster Confession of Faith. In chapter three, Cunningham battles Scottish Dissenters, Moderates, and the State over the nature of the Church, during the Ten Years' Conflict. In chapter four, Cunningham fights to establish the Free Church of Scotland, but his efforts to strengthen ties with evangelicals throughout Christendom brings opposition from abolitionists, other denominations, and Free Church ministers. In chapter five, Cunningham opposes Roman Catholicism and efforts within his denomination to build additional theological colleges. In chapter six, Cunningham enjoys a respite from controversy, concentrating on New College and contributing articles defending the Reformers and their theology.
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Andrade, Sueli Chaves. "Chris Cunningham: corpo e dejeto no vídeo contemporâneo." Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/19734.
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Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq
Chris Cunningham is the main subject in this thesis. Cunningham was one of the most influential and creative music video directors in the 90’s and early 2000’s. Visible throughout his art is the theme of the body and its innards - an important and wide discussion in contemporary culture studies. The hypothesis of this text is that the music video is one of the main audiovisual narratives of postmodern culture from the aspect of new aesthetics and artistic experiments. Cunningham adds original marks to the characteristics that constitute contemporary art, especially the one that has placed the body under interrogation and also the art object as waste. The contemporary art discussion in this thesis is inspired by psychanalysts Jacques-Allan Miller and Gerard Wajcman and the positioning of the object, and a new gaze at it is provided by Didi-Huberman. Concerning the role of the body in this setting, Santaella brings a contribution on it as an art support, besides presenting much of the specific problems of the body in culture. Raymond Bellour, Philippe Dubois and Arlindo Machado with their discussions around film and video allow the insertion of the music video as a language with its own characteristics and history, as the theorists Andrew Goodwin, E. Ann Kaplan and Carol Vernallis point out. The Lacanian theory provides a formal way to analyze and discuss the body from an instinctive perspective that drives the subject in the contemporary world. In order to prove this assertion and the hypothesis of this thesis, three semiotic-psychoanalytic analyses were done on the following works: All is Full of Love (1999), Flex (2000) and Rubber Johnny (2005)
Chris Cunningham é o objeto de investigação desta tese. Trata-se de um autor reconhecido de videoclipes e narrativas audiovisuais contemporâneas das décadas de 1990 e 2000. Seus trabalhos são permeados por uma temática de suma importância e ampla discussão no campo de estudos da cultura contemporânea: o tema do corpo e suas estranhezas. A hipótese que se coloca é a de que o videoclipe é um dos principais formatos narrativos audiovisuais do pós-moderno, sob o aspecto da produção de novas estéticas e experimentações artísticas. Tendo isso em vista, a obra de Cunningham acrescenta marcas originais às características próprias da arte contemporânea, especialmente aquela que vem colocando o corpo sob interrogação e o objeto enquanto dejeto. No que diz respeito aos debates que envolvem a arte contemporânea, há uma escuta daquilo que os psicanalistas Jacques-Allan Miller e Gerard Wajcman têm a dizer sobre o lugar do objeto, bem como sobre uma nova forma de olhá-lo, tal qual propõe Didi-Huberman. A respeito do papel do corpo neste mesmo cenário, Santaella traz uma contribuição sobre o mesmo como suporte da arte, além de apresentar as problemáticas específicas do corpo na cultura. Raymond Bellour, Philippe Dubois e Arlindo Machado aprofundam a discussão sobre cinema e vídeo, o que permite a inserção do videoclipe como uma linguagem com características e história próprias, conforme apontam os teóricos Andrew Goodwin, E. Ann Kaplan e Carol Vernallis. Toma-se, então, a perspectiva psicanalítica de orientação lacaniana para observar o corpo para além de sua função como suporte na arte: o das pulsões que tomam conta do sujeito no universo contemporâneo. De modo a comprovar tal afirmação e a hipótese desta tese, três análises de cunho semiótico-psicanalítico abordam os trabalhos: All is Full of Love (1999), Flex (2000) e Rubber Johnny (2005)
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Martins, Laís Rodrigues Alves [UNESP]. "Faces do feminino em As Horas, de Michael Cunningham." Universidade Estadual Paulista (UNESP), 2018. http://hdl.handle.net/11449/154863.
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Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)
A arte pós-moderna caracteriza-se, segundo a teórica literária canadense Linda Hutcheon, por promover uma revisita e uma revisão crítica de textos e demais manifestações discursivas do passado, e por transpô-los a novos cenários e lhes conferir renovados vieses e nuances. A narrativa As Horas (The Hours, 1998), de autoria do norte-americano Michael Cunningham (1952 --), pode ser tomada como representante dessa estética, posto que se vale, tanto estrutural quanto tematicamente, de Mrs. Dalloway (1925), um dos romances canônicos do modernismo em língua inglesa, e produção de destaque em meio ao opus literário de Virginia Woolf (1882 – 1941), para sua composição. Intenta-se, no presente trabalho, promover uma análise do livro As Horas, objetivando investigar, sobretudo, como se articulam as representações do feminino na supracitada obra; para tanto, recorre-se a teorias e críticas feministas anglo-americanas e a pressupostos teóricos relativos à ficção pós-moderna. Procura-se salientar, ainda, a emergência do espólio crítico-literário woolfiano — enfatizando, principalmente, sua escrita ensaística e suas concepções feministas — na contemporaneidade.
The postmodern art is characterized, accordingly to the Canadian literary theorist Linda Hutcheon, by the revision and critical evaluation of texts and other discursive manifestations of the past, and by their transposition to new scenarios, in which they gain renewed signification. The narrative The Hours (1998), from the North-American writer Michael Cunningham (1952 --), can be seen as a representative of this aesthetic, since it recalls both structurally and thematically the novel Mrs. Dalloway (1925), one of the seminal works of modernism written in English, and prominent production amid the literary opus of Virginia Woolf (1882 - 1941), for its composition. In the present work, we intend to analyze the book The Hours, aiming to investigate, above all, how the representations of the feminine are articulated in the aforementioned work, and, to this end, we depart from Anglo-American feminist theories, as well as critiques and theoretical discussions about postmodern fiction. It is also intended to highlight the emergence of the Woolfian critical-literary collection — emphasizing, mainly, her essayist production and her feminist conceptions — in contemporaneity.
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Martins, Laís Rodrigues Alves. "Faces do feminino em As Horas, de Michael Cunningham /." Araraquara, 2018. http://hdl.handle.net/11449/154863.
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Orientador: Aparecido Donizete RossiBanca: Aparecido Donizete Rossi
Banca: Maria Aparecida de Oliveira
Banca: Fernanda Aquino Sylvestre
Resumo: A arte pós-moderna caracteriza-se, segundo a teórica literária canadense Linda Hutcheon, por promover uma revisita e uma revisão crítica de textos e demais manifestações discursivas do passado, e por transpô-los a novos cenários e lhes conferir renovados vieses e nuances. A narrativa As Horas (The Hours, 1998), de autoria do norte-americano Michael Cunningham (1952 --), pode ser tomada como representante dessa estética, posto que se vale, tanto estrutural quanto tematicamente, de Mrs. Dalloway (1925), um dos romances canônicos do modernismo em língua inglesa, e produção de destaque em meio ao opus literário de Virginia Woolf (1882 - 1941), para sua composição. Intenta-se, no presente trabalho, promover uma análise do livro As Horas, objetivando investigar, sobretudo, como se articulam as representações do feminino na supracitada obra; para tanto, recorre-se a teorias e críticas feministas anglo-americanas e a pressupostos teóricos relativos à ficção pós-moderna. Procura-se salientar, ainda, a emergência do espólio crítico-literário woolfiano - enfatizando, principalmente, sua escrita ensaística e suas concepções feministas - na contemporaneidade.
Abstract: The postmodern art is characterized, accordingly to the Canadian literary theorist Linda Hutcheon, by the revision and critical evaluation of texts and other discursive manifestations of the past, and by their transposition to new scenarios, in which they gain renewed signification. The narrative The Hours (1998), from the North-American writer Michael Cunningham (1952 --), can be seen as a representative of this aesthetic, since it recalls both structurally and thematically the novel Mrs. Dalloway (1925), one of the seminal works of modernism written in English, and prominent production amid the literary opus of Virginia Woolf (1882 - 1941), for its composition. In the present work, we intend to analyze the book The Hours, aiming to investigate, above all, how the representations of the feminine are articulated in the aforementioned work, and, to this end, we depart from Anglo-American feminist theories, as well as critiques and theoretical discussions about postmodern fiction. It is also intended to highlight the emergence of the Woolfian critical-literary collection - emphasizing, mainly, her essayist production and her feminist conceptions - in contemporaneity.
Mestre
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LIMA, Fábio Ferreira de. "Sentidos fluidos: uma abordagem semiótica dos videoclipes de Chris Cunningham." Universidade Federal de Goiás, 2006. http://repositorio.bc.ufg.br/tede/handle/tde/2767.
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Previous issue date: 2006-05-18Os vídeos da cultura de massa são importantes meios para a compreensão de um ambiente cultural contemporâneo, capazes de revelarem significados dos costumes e valores sociais. Dentro dos vários gêneros existentes, o videoclipe é um modelo de grande disseminação na sociedade, contendo uma tipologia irregular. A escolha desses formatos prende-se a fatores propriamente relacionados à investigação de fenômenos sígnicos híbridos de grande visibilidade. Encontra-se numa abordagem do objeto inserida no contexto dos processos contemporâneos de produção de imagens visuais e busca-se nesse objeto, a realização de exames, reconhecimentos das suas signagens videográficas. Então, o propósito da presente dissertação é de, através dos discursos sonoro, textual e imagético, procurar identificar traços do fenômeno de natureza sonoro-visual e as suas marcas sígnicas nos segmentos dos videoclipes cuja estruturação semiótica esteja comprometida com o processo de desconstrução videográfica, a partir do contexto de criação do diretor e videasta Chris Cunningham. As análises incluem os seguintes trabalhos: Come to Daddy, para Aphex Twin; Afrika Shox, para Leftfield e All is Full of Love, para Björk. O referencial teórico-metodológico de pesquisa adotado foi o semiótico, estabelecido por pontos de contato entre as categorias sintáticas, semânticas e pragmáticas desenvolvidas por Charles W. Morris, além de conceitos de Charles S. Pierce. Acrescentam-se aí, os métodos analíticos de Siegfried Maser, estudos de Daniel Bougnoux, Rudolf Arnheim, Arlindo Machado, Raymond Bellour, Jacques Aumont e outros, que sustentam a apreciação realizada. Na decomposição analítica foram levantados os elementos constituintes dos videoclipes, descritos em pormenores, operação que remonta as combinações sintáticas das idéias materializadas nesses signos. A partir da sintaxe são alcançados os aspectos semânticos e posteriormente, estende-se o contexto pragmático. Os estudos foram dispostos também em forma de tabela, contendo gráficos e dados mensurativos, servindo para fixar com exatidão referências das algumas discussões teóricas realizadas. É incluído também um exame da metodologia utilizada, a partir desses resultados e elementos identificados, no resgate dos conceitos semióticos de Charles W. Morris. Por fim, são observadas algumas questões da produção de sentidos, dessas associações em vista à obtenção de objetivos específicos, onde essas atividades possam ser recontextualizadas dentro da cultura visual.
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Unrau, Sharon L. "Children's Dance : an exploration through the techniques of Merce Cunningham /." The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1488194825668023.
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Damkjær, Camilla. "The aesthetics of movement : variations on Gilles Deleuze and Merce Cunningham /." Stockholm : Dept. of Musicology and Performance Studies, Stockholms universitet : Stiftelsen för utgivning av teatervetenskapliga studier, 2005. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=015470188&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.
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Caribé, Yuri Jivago Amorim. "Tradução, adaptação e reescrita da obra de Virginia Woolf por Michael Cunningham em The hours (1998)." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-09062015-133748/.
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Esta tese propõe uma análise do romance americano The Hours (1998), de Michael Cunningham, que afirmamos ser uma reescrita da obra da escritora canônica Virginia Woolf na contemporaneidade. Trabalhamos com a ideia principal de adaptação, nos referindo de forma particular às adaptações literárias, tendo em vista que Cunningham utilizou para a composição de The Hours diversos trabalhos de ficção e não ficção que chamamos de obra de Woolf, estando assim inserida no campo dos trabalhos acadêmicos relacionados aos Estudos da Tradução e da Adaptação. Por esse motivo, decidimos utilizar dois conceitos principais de adaptação para embasar esta discussão: o de Linda Hutcheon (2006) e o de Julie Sanders (2006), pesquisadoras que atuam nessas áreas. Embora o trabalho de Hutcheon seja mais direcionado às chamadas adaptações fílmicas, sua importante teorização em torno da adaptação e dos adaptadores foi amplamente utilizada dentro da discussão que propomos sobre Michael Cunningham e a problemática em torno da elaboração do romance em questão. Segundo Hutcheon (2006), a adaptação é vista como um processo que comporta tanto a repetição quanto a novidade, sendo os adaptadores responsáveis pela seleção dos textos adaptados e também pelo modo como esses textos serão configurados em um produto final. Também trabalhamos com os conceitos de adaptação e de apropriação de Sanders (2006). Esse último revela o aspecto autoral e ideológico dos adaptadores nas adaptações. As apropriações servem, segundo nossa conclusão, para mostrar a interferência direta do adaptador na narrativa, seus preceitos e propostas literárias. Também evidenciam sua interpretação particular de temas, argumentos e personagens do texto-fonte. Ainda nos valemos do conceito de reescrita de Lefevere (1992a) para caracterizar The Hours como o trabalho que retomou as discussões em torno da obra virginiana na contemporaneidade. Essa retomada se deu para dois públicos: os professional readers conhecedores de seus textos de ficção e não ficção, as refrações e também para os non-professional readers, novo público que não necessariamente teve contato com a obra dessa autora. Esta pesquisa examinou o segundo volume dos Diários (1980), o sexto volume das Cartas (1982), além do romance Mrs. Dalloway (1925), trabalhos de Woolf, para mostrar, através de alguns exemplos e comentários, como se deu o processo de adaptação e apropriação de temas, personagens e outros elementos desses textos. Também serviu para observar de que maneira o adaptador Cunningham alternou adaptações com apropriações para formar a narrativa The Hours, produto literário final. Esse romance reescreve a obra de Woolf no contexto atual porque dialoga principalmente com o conceito pertinente de apropriação, indispensável para a apreciação de formas narrativas que trabalham com a ideia de adaptação. O leitor contemporâneo busca na ideologia do escritor-adaptador seu entendimento particular e propostas atuais para esse diálogo.This thesis proposes an analysis of the American novel The Hours (1998), by Michael Cunningham, which we claim to be a modern-day rewrite of the oeuvre of canonical writer Virginia Woolf. We worked with the main idea of adaptation, referring in particular to literary adaptations, considering that Cunningham used several works of fiction and nonfiction, which we call Woolfs oeuvre, for the composition of The Hours. As such, it belongs to the field of academic work related to the Translation and the Adaptation studies. Therefore, we used two main concepts of adaptation to provide a basis for this discussion: those of Linda Hutcheon (2006) and Julie Sanders (2006), researchers working in these areas. Although Hutcheons work is more directed toward so-called filmic adaptations, its important theorizing regarding adaptation and adapters was extensively used in the discussion that we put forward on the subject of adapter Michael Cunningham and the problems surrounding the creation of the novel The Hours. According to Hutcheon (2006), adaptation is considered to be a process that involves as much repetition as it does novelty, and adapters are responsible both for the selection of adapted texts and also for how these texts will be configured in a final product. We also worked with the concepts of adaptation and appropriation of Sanders (2006). The concept of appropriation reveals the authorial and ideological aspect of adapters in adaptations, the direct intervention of the adapter in the narrative, its precepts and literary proposition. Besides, it demonstrates the adapters particular interpretation of themes, arguments and characters of the source text. We also availed ourselves of Lefeveres concept of rewriting (1992a) to characterize The Hours as the work that resumed the discussions surrounding Woolfs work in current times. This resumption was aimed at two readerships: professional readers connoisseurs of her works of fiction and nonfiction, and the refractions and also for non-professional readers a new readership that has not necessarily had contact with Woolfs oeuvre. This research then examined the second volume of Diaries (1980), the sixth volume of Letters (1982), and the novel Mrs Dalloway (1925) works by Woolf to show, through examples and comments, how the process of adaptation of themes, characters and other elements of these texts played out. It was also necessary to observe how the adapter Cunningham alternated adaptations with his appropriations to create the narrative of The Hours, the final literary product. The novel The Hours rewrites Woolfs work in the current context because it principally maintains a dialog with the relevant concept of appropriation, indispensable to the enjoyment of narrative forms that work with the idea of adaptation. Present-day readers seek their own personal understanding and current propositions in the ideology of the writeradapter for this dialog.
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Damkjaer, Camilla. "The Aesthetics of Movement : Variations on Gilles Deleuze and Merce Cunningham." Doctoral thesis, Stockholms universitet, Institutionen för musik- och teatervetenskap, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-645.
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This thesis is an interdisciplinary study of the aesthetics of movement in Gilles Deleuze’s writings and in Merce Cunningham’s choreographies. But it is also a study of the movement that arises when the two meet in a series of variations, where also their respective working partners Félix Guattari and John Cage enter. It is a textual happening where the random juxtaposition between seemingly unrelated areas, philosophy and dance, gives rise to arbitrary connections. It is a textual machine, composed of seven parts. First, the methodological architecture of the juxtaposition is introduced and it is shown how this relates to the materials (the philosophy of Deleuze and the aesthetics of Cunningham), the relation between the materials, and the respective contexts of the materials. The presence of movement in Deleuze’s thinking is then presented and the figure of immobile movement is defined. This figure is a leitmotif of the analyses. It is argued that this figure of immobile movement is not only a stylistic element but has implications on a philosophical level, implications that materialise in Deleuze’s texts. Then follow four parts that build a heterogeneous whole. The analysis of movement is continued through four juxtapositions of particular texts and particular choreographies. Through these juxtapositions, different aspects of movement appear and are discussed: the relation between movement and sensation, movement in interaction with other arts, movement as a means of taking the body to its limit, movement as transformation. Through these analyses, the aesthetics of Cunningham is put into new contexts. The analyses also put into relief Deleuze’s use of figures of movement, and these suddenly acquire another kind of importance. In the seventh and concluding part, all this is brought into play.
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Stanger, Arabella. "The choreography of space : Merce Cunningham and William Forsythe in context." Thesis, Goldsmiths College (University of London), 2013. http://research.gold.ac.uk/8171/.
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This thesis takes the work of Merce Cunningham and William Forsythe as case studies for a socio-historical analysis of choreographic space and, in so doing, develops a sociology of dance around the qualitative study of spatial aesthetics. By locating the spatial innovations of these artists in the social space of their practice and in the light of spatial models inherited by each, it argues that the choreography of space can express ideals of human relationality produced in and productive of its broader societal landscape. Drawing from Henri Lefebvre’s contention that ‘the space of a (social) order is hidden in the order of space’, the thesis takes classical ballet as a primary example of how political ideals come to be embodied in spatial aesthetics and uses the ‘classical model’ to coordinate a sociologically orientated dance-historical context for these artists. The thesis is structured around four case studies that together form a context for understanding Cunningham’s and Forsythe’s spatial practices. These are: firstly, a sociopolitical history of harmony in courtly expressions of classical ballet from fifteenth- century Italy to late Imperial Russia; secondly, an analysis of George Balanchine’s and Martha Graham’s respective choreographies of the ‘American geographical imagination’; thirdly, a comparative study of Rudolf von Laban’s and Oskar Schlemmer’s theories of space and technology in their pre-war German contexts; finally a contextualisation of John Cage’s 1952 event in relation to Marshall McLuhan’s ‘electronic age’ and John Dewey’s ‘democratic’ social space. The final two chapters weave these spatial models into comparative frames for measuring the socio-historical specificity of Cunningham’s and Forsythe’s choreographic spaces. Cunningham’s ‘no fixed points’ aesthetic is understood as producing a coexistent space commensurate with McLuhan’s electronic paradigm and Dewey’s democratic individualism. Forsythe’s fluctuating space is understood as producing a ‘space of flows’ emblematic, for Manuel Castells, of a late twentieth-century ‘digital age’.
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Carneiro, Leonardo Bérenger Alves. "Queerness e AIDS em As Horas." Universidade do Estado do Rio de Janeiro, 2007. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=240.
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Esta dissertação é uma análise dos novos modelos de organização familiar e da epidemia de AIDS como são apresentados em As Horas, de Michael Cunningham. Para discutir as experiências familiares no romance, as personagens Laura Brown e Clarissa Vaughan foram analisadas em função de suas identidades queer e normativa, respectivamente. No referente à epidemia de AIDS, foi discutida a sua potencialidade metafórica na literatura, principalmente em relação ao personagem Richard Brown. A contextualização da síndrome no cenário norte-americano e seu impacto na comunidade gay foram também examinados.This thesis is an analysis of new forms of familiar arrangements and the AIDS epidemic as presented in Michael Cunninghams The Hours. In order to discuss familiar experiences in the novel, the characters Laura Brown and Clarissa Vaughan were analyzed in terms of their queer and normative identities, respectively. In reference to the AIDS epidemic, its metaphorical potentiality in literature was discussed, mainly in relation to the character Richard Brown. The contextualization of the syndrome in the American scenario and its impact over the gay community were also examined.
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Khanian, Maryam [Verfasser], Michael [Gutachter] Breuß, and Douglas [Gutachter] Cunningham. "3D reconstruction using generalized perspective photometric stereo / Maryam Khanian ; Gutachter: Michael Breuß, Douglas Cunningham." Cottbus : BTU Cottbus - Senftenberg, 2019. http://d-nb.info/1184279659/34.
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Gamarra, Bellido Edgardo. "Cunningham y Jeffrey J. Haas. Corporate Finance and Governance. Durham, North Carolina: Carolina Academic." Universidad Peruana de Ciencias Aplicadas (UPC), 2015. http://hdl.handle.net/10757/550943.
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Lynch, Regina. "Corporeal Modernity: Shared Concepts in the Work of Jackson Pollock, Martha Graham, and Merce Cunningham." Master's thesis, Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/197560.
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Art HistoryM.A.
Although working in two different mediums, Jackson Pollock, Martha Graham, and Merce Cunningham created works during the 1940s and 1950s that share several analogous formal characteristics, as well as a body-centered process that reminded viewers of both the corporeality of the artists and of themselves. My thesis identifies and interprets the formal analogies evident in each the artists' approach to asymmetry, repetition, gravity, and space. I argue that the common aspects among the works of the three artists resulted from their participation in a shared modernist discourse circulating post-war America, especially in New York. This discourse provided the artists access to common sources of inspiration, such as the writings of Carl Jung, Native American imagery, and Asian cultures. Each of these elements characterizes the work of all three artists, along with similar ideas concerning the individual, national identity, and modern technology.
Temple University--Theses
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Grant, Brooke Leora. "A Virginia Woolf of One's Own: Consequences of Adaptation in Michael Cunningham's The Hours." Diss., CLICK HERE for online access, 2007. http://contentdm.lib.byu.edu/ETD/image/etd2163.pdf.
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Oliveira, Maria Aparecida de [UNESP]. "A busca do tempo perdido em As horas de Michael Cunningham: a modernidade revisitada pela pós-modernidade." Universidade Estadual Paulista (UNESP), 2006. http://hdl.handle.net/11449/99155.
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oliveira_ma_me_arafcl.pdf: 765596 bytes, checksum: b7f44563f3be1ac4a613ed30f6a2a52e (MD5)O debate entre a modernidade e a pós-modernidade tem levado grandes questões para uma compreensão do que representou a primeira e a partir da qual se pode delinear a segunda. O objetivo dessa pesquisa é analisar de que forma um romance pós-moderno, As horas, do autor norte-americano Michael Cunningham (1952- ) se apropriou da obra moderna Mrs. Dalloway de Virginia Woolf. O presente trabalho propõe-se a discutir essa apropriação, evidenciando as relações paródicas entre os dois textos; a investigar a configuração do tempo na narrativa, verificando as possíveis relações entre história e ficção e a analisar a construção das personagens femininas, ex-cêntricas do romance, examinando como o discurso das figuras femininas é construído na referida obra de Cunningham.
The discussion between modernism and post-modernism has brought about several questions that we must answer in order to have an overview of both movements, once we are able to understand what the first has represented, we can better situate the second. Taking this into consideration, our aim is to analyze in which ways the contemporary The hours, written by the north-American author Michael Cunningham, appropriates the earlier Mrs. Dalloway, by Virginia Woolf. Thus, the aim of this study is to discuss these questions, verifying the parodic between the two texts. Furthermore, our intention is to investigate another important discussion: the time, verifying the possibel relations between history and fiction. Lastly, our attention focuses on the construction of the ex-centric characters, examining how the discourse of these characters is built in Cunningham's novel.
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Oliveira, Maria Aparecida de. "A busca do tempo perdido em As horas de Michael Cunningham : a modernidade revisitada pela pós-modernidade /." Araraquara : [s.n.], 2006. http://hdl.handle.net/11449/99155.
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Orientador: Maria Clara Bonetti ParoBanca: Márcia Valéria Zamboni Gobbi
Banca: Marisa Giannecchini Gonçalves de Souza
Resumo: O debate entre a modernidade e a pós-modernidade tem levado grandes questões para uma compreensão do que representou a primeira e a partir da qual se pode delinear a segunda. O objetivo dessa pesquisa é analisar de que forma um romance pós-moderno, As horas, do autor norte-americano Michael Cunningham (1952- ) se apropriou da obra moderna Mrs. Dalloway de Virginia Woolf. O presente trabalho propõe-se a discutir essa apropriação, evidenciando as relações paródicas entre os dois textos; a investigar a configuração do tempo na narrativa, verificando as possíveis relações entre história e ficção e a analisar a construção das personagens femininas, ex-cêntricas do romance, examinando como o discurso das figuras femininas é construído na referida obra de Cunningham.
Abstract: The discussion between modernism and post-modernism has brought about several questions that we must answer in order to have an overview of both movements, once we are able to understand what the first has represented, we can better situate the second. Taking this into consideration, our aim is to analyze in which ways the contemporary The hours, written by the north-American author Michael Cunningham, appropriates the earlier Mrs. Dalloway, by Virginia Woolf. Thus, the aim of this study is to discuss these questions, verifying the parodic between the two texts. Furthermore, our intention is to investigate another important discussion: the time, verifying the possibel relations between history and fiction. Lastly, our attention focuses on the construction of the ex-centric characters, examining how the discourse of these characters is built in Cunningham's novel.
Mestre
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Cunningham, Shawn. "The role of market failure in the utilisation of quality management services by the tooling industry / Shawn Cunningham." Thesis, North-West University, 2009. http://hdl.handle.net/10394/4131.
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The primary objective of this research is to identify the determinants of market failure that affect transactions between the tool, die and mould making industry and Quality Management service providers within the Nelson Mandela Bay area. A literature review of market failure, the service economy and the evolution of donors' interventions in business service markets was conducted. It provided valuable insights into the identification of issues that could indicate whether a market was performing optimally, whether the design of the market was functional and how the characteristics of the service allowed it to be traded through market mechanisms. For the empirical study, a questionnaire was developed and administered to 71 tool, die and mould making firms and 15 Quality Management service providers in the Nelson Mandela Bay area in South Africa.
The results revealed several areas in the Quality Management service marketplace that are underperforming due to market failures. These are often the result of insufficient information flows which lead to asymmetrical information and adverse selection. There was evidence of market failures caused by the inadequate expression of costs in the prices of Quality Management services, mainly due to the high search and evaluative costs involved in finding a Quality Management service provider or in differentiating between the qualities of the service offerings. It was found that the Quality Management service marketplace was affected by several negative externalities that were often related to insufficient provision of public goods. However, there is a rich institutional landscape supporting the Quality Management marketplace that offsets many of the market failures in the area.
The competitiveness of the Quality Management service providers is influenced by several factors, which include the competitive pressure on their customers such as the tool, die and mould making firms, as well as the support and governance provided by supporting institutions. The study concludes with recommendations to the tool, die and mould making firms, Quality Management service providers and the institutions supporting the Quality Management service market place in the Nelson Mandela Bay Metropolitan area.Thesis (Ph.D. (Business Administration))--North-West University, Potchefstroom Campus, 2009.
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Pascual, Galbis Pau. "Lo monstruoso en los vídeos musicales de Floria Sigismondi y Chris Cunningham en los años noventa (1993-1999)." Doctoral thesis, Universitat Politècnica de València, 2011. http://hdl.handle.net/10251/11801.
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La presente tesis doctoral emprende la investigación de lo monstruoso y sus implicaciones de carácter ideológico, estético y político, especialmente desarrollado en los vídeos musicales de Floria Sigismondi y Chris Cunningham en la década de los noventa. En ese período en concreto nace una nueva generación de directores de videoclips, que ya no se encuentran en el anonimato, como sucedía en los ochenta, ahora son conocidos y respetados, además de transgredir frecuentemente las reglas del marketing promocional del clip estandarizado. Directores entre otros como Michel Gondry, Chris Cunningham, Spike Jonze y Floria Sigismondi, estarían dentro de esta lista privilegiada. Por lo demás estos respectivos realizadores en general trabajan misceláneos ámbitos estilísticos fronterizos, la ultrafragmentación, la intertextualidad y las narraciones figurativas no lineales.
Nuestro objetivo es proponer un corpus teórico interdisciplinar que determine las consecuencias que origina lo abominable en el lenguaje fluctuante del videoclip de esos respectivos autores, y sus analogías con otras corrientes del pensamiento postmoderno; a la vez que nos permiten ofrecer nuevas interpretaciones transversales sobre la ideación corporal inverosímil. A nivel metodológico hemos partido del estudio de la monstruosidad histórica y sobre todo de la cinematografía de terror como antecedente de la otredad somática en movimiento, de la cuál formulamos la hipótesis de que el concepto de lo teratológico contemporáneo aplicado al videoclip de factura grotesca; es similar en muchos aspectos al mencionado cine de género, especialmente desde la vertiente del psicoanálisis. Igualmente hemos utilizado el análisis estético aplicado a los videoclips de Carol Vernallis, el concepto de la audiovisión definido por Michel Chion, las teorías de Gilles Deleuze, Michel Foucault, Julia Kristeva, Gérard Lenne y Friedrich Nietzsche, entre otros; para la disertación en profundidad de las obras videográficas.Pascual Galbis, P. (2011). Lo monstruoso en los vídeos musicales de Floria Sigismondi y Chris Cunningham en los años noventa (1993-1999) [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/11801
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Fidler, Tristan. "Music video auteurs : the directors label DVDs and the music videos of Chris Cunningham, Michel Gondry and Spike Jonze." University of Western Australia. School of Social and Cultural Studies, 2007. http://theses.library.uwa.edu.au/adt-WU2008.0251.
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Music video is an intriguing genre of television due to the fact that music drives the images and ideas found in numerous and varied examples of the form. Pre-recorded pieces of pop music are visually written upon in a palimpsest manner, resulting in an immediate and entertaining synchronisation of sound and vision. Ever since the popularity of MTV in the early 1980s, music video has been a persistent fixture in academic discussion, most notably in the work of writers like E. Ann Kaplan, Simon Frith and Andrew Goodwin. What has been of major interest to such cultural scholars is the fact that music video was designed as a promotional tool in their inception, supporting album sales and increasing the stardom of the featured recording artists. Authorship in music video studies has been traditionally kept to the representation of music stars, how they incorporate post-modern references and touch upon wider cultural themes (the Marilyn Monroe pastiche for the Madonna video, Material Girl (1985) for instance). What has not been greatly discussed is the contribution of music video directors, and the reason for that is the target audience for music videos are teenagers, who respond more to the presence of the singer or the band than the unknown figure of the director, a view that is also adhered to by music television channels like MTV.
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Williams, G. "Disability, the dancer and the dance with specific reference to three choreographers : Caroline Bowditch, Marc Brew and Claire Cunningham." Thesis, Coventry University, 2014. http://curve.coventry.ac.uk/open/items/49662a71-d15a-48a7-a817-7bae88d03a9b/1.
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This thesis offers critical exploration of the intersection of four elements within the historical space, or field, of UK theatre dance between 2007 and 2012: disability, impairment, dance and artistry. It addresses four questions: What is disability? What is disability in relation to dance? What supports the entry of a disabled dance artist into the field of professional dance in the twenty-first century? How can we approach a critical analysis of the works they create? At the centre of the thesis are case studies of three self-described disabled dance artists, performers and choreographers: Caroline Bowditch, Marc Brew, and Claire Cunningham. The studies attend to the form and content of their creative work, the structures of the dance field in which they practice as artists, and their personal and career trajectories. The studies are both situated by and situate earlier chapters addressing constructions of disability, cultural representations of disability and the emerging field of Disability Arts. They demonstrate that disability, in dance as in other fields, concerns attitudes, arrangements and structures that disable participation. These are attitudes fed by imaginings around the ideal dancing body, and the illusion that variations in bodily form and capabilities are neither normal nor to be expected. I draw on Bourdieu’s concepts of habitus and field to consider the interconnections between structures, external and internalised, that support or limit the disabled artist’s perception of what is possible for them within the professional dance field. Using Cameron’s affirmative model of disability, I argue that when disabled dance artists are freed to use their experiences of living in a disabling world, and to make use of the unique capabilities of their bodies as valid sources for their art, they can and do contribute to the capacity of dance as an art form to explore the full depth and range of human experience.
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Al-Sharqi, Laila. "The rhetoric of literary rewriting : a study in postmodern fiction by J.M. Coetzee, Michael Cunningham, Peter Huber and Bharati Mukherjee." Thesis, University of Nottingham, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.430576.
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Castro, Lina Frazão de. "O corpo em estado de transparência : abordagens didáticas em dança." reponame:Repositório Institucional da UnB, 2014. http://repositorio.unb.br/handle/10482/15771.
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Dissertação (mestrado)—Universidade de Brasília, Instituto de Artes, 2014.Submitted by Albânia Cézar de Melo (albania@bce.unb.br) on 2014-06-03T15:19:59Z No. of bitstreams: 1 2014_LinaFrazaoCastro.pdf: 3071212 bytes, checksum: 8e38a681a082e36ec3e6f9f60569a6d7 (MD5)
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As inovações coreográficas do norte-americano Merce Cunningham provocaram um deslocamento no olhar sobre o movimento ao romper com alguns paradigmas básicos na transição entre a dança moderna e a dança contemporânea. Como intérprete-criadora, participei do processo criativo do espetáculo “De Água e Sal” que foi uma forte referência na sistematização de uma ampliação expressiva na atuação cênica do intérprete. Adotando a percepção sensorial abordada pela Educação Somática como eixo principal de reflexão, e também a partir de Cunningham e da experiência em “De Água e Sal”, esta dissertação pretende realizar uma discussão sobre uma experimentação prática em dança, realizada na unidade curricular Práticas Corporais II, ministrada por mim para discentes do segundo semestre no curso de Licenciatura em Dança do Instituto Federal de Brasília. Nesta, aplicou-se com os alunos uma abordagem didática que visava a ampliação da percepção corporal e maiores possibilidades de exploração nas qualidades de movimento, provocando um repensar sobre a dança e promovendo uma ampliação na percepção do movimento corporal. Desenvolvido nesta dissertação, o conceito de corpo em estado de transparência surge então como um resultante situado pela evidência de um corpo que se move conectado pelas sensações e percepções, gerando um mover-se mais visceral e orgânico. ______________________________________________________________________________ ABSTRACT
The innovations of the American choreographer Merce Cunningham led to a displacement on the perspective over movement while breaking some basic paradigms in the transition between modern and contemporary dance. As interpretercreator I took part of the creative process in the show “De Água e Sal” (Of Water and Salt), which was a strong reference in the systematizing of an expressive broadening of the scenic work of the interpreter. By adopting the sensorial perception addressed by Somatic Education as the main axis of reflection, and also based on Cunningham and the experience with “De Água e Sal”, this dissertation aims to discuss a practical experimentation in dance accomplished in the curricular class Bodily Practices II, taught by me to second semester students from the Dance Department at the Federal Institute of Brasilia. During the class a teaching approach was applied on the students aiming to widen bodily perception and provide greater possibilities in exploring the qualities of movement, leading to rethinking dance and promoting a deautomatization of bodily perception. The concept of body in a state of transparency is the result of the evidence of a body that moves connected by sensations and perceptions, generating an authentic, visceral, and organic movement.
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Lee, Chi-kwan Anita. "From Mrs. Dalloway to The hours : bisexuality/bitextuality and ècriture fèminine /." View the Table of Contents & Abstract, 2005. http://sunzi.lib.hku.hk/hkuto/record/B3160268X.
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Lee, Chi-kwan Anita. "From Mrs. Dalloway to The Hours bisexuality/bitextuality and écriture féminine /." Click to view the E-thesis via HKUTO, 2005. http://sunzi.lib.hku.hk/HKUTO/record/B38628764.
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Vitor, Ana Luísa Ferreira Miranda. "Mrs Dalloway and The hours in the book and film: an intertextual analysis." Master's thesis, Universidade de Aveiro, 2014. http://hdl.handle.net/10773/12551.
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Mestrado em Línguas, Literaturas e Culturas - Estudos InglesesThis dissertation aims to analyse two narratives: Virginia Woolf’s Mrs Dalloway (1924) and Michael Cunningham’s The Hours (1998), along with the film adaptations that resulted from the novels. This study will outline the shift of women’s roles throughout the 20th century and also the development of a liberal sexual identity.
A presente dissertação propõe analisar duas narrativas: Mrs Dalloway de Virginia Woolf (1924) e The Hours (1998) de Michael Cunningham, juntamente com as adaptações cinematográficas de ambos os livros. Este estudo irá incidir na progressão do papel da mulher ao longo do século XX e na compreensão do desenvolvimento da liberdade sexual.
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Castillo, Alejandre Susana [Verfasser], Douglas W. [Gutachter] Cunningham, Michael [Gutachter] Breuß, and Marcus [Gutachter] Magnor. "Digital humanity: the temporal and semantic structure of dynamic conversational facial expressions / Susana Castillo Alejandre ; Gutachter: Douglas W. Cunningham, Michael Breuß, Marcus Magnor." Cottbus : BTU Cottbus - Senftenberg, 2020. http://d-nb.info/121203693X/34.
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Büscher, Barbara. "Gegenseitige Durchdringung und Nicht-Behinderung: Über das Verhältnis zweier Performance-Systeme am Beispiel der Live Electronic Music in Produktionen der Merce Cunningham Dance Company." map - media archive performance ; 2012/3 (E-Journal, URL: http://www.perfomap.de), 2012. https://slub.qucosa.de/id/qucosa%3A4363.
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Die Zusammenarbeit von Merce Cunningham und John Cage beruhte auf dem grundlegenden Prinzip der getrennten Entwicklung und Erarbeitung von Klang/Musik und Tanz/Bewegung (Cunningham 1994). Für den getrennten Arbeitsprozess wurden nur Zeitklammern und die Dauer der Gesamtaufführung als gemeinsame Parameter festgelegt. Diese Trennung von Musik und Tanz bildet die notwendige Voraussetzung für die erweiterte Arbeit der Merce Cunningham Dance Company (MCDC) mit Cage und anderen Composer-Performern in den 1960er und 1970er Jahren, die die elektronischen Klänge live, in der Aufführung, generierten. Der Text untersucht das Verhältnis und die Schnittstellen der beiden Performance-Systeme.
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Pedroza, González Pedro. "Efecto de la fertilización con lombricomposta en el desarrollo de Leucaena leucocephala var. cunningham en un sistema silvopastoril en el sur del estado de México." Tesis de Licenciatura, Universidad Autónoma del Estado de México, 2017. http://hdl.handle.net/20.500.11799/69316.
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Trabajo relacionado con el uso de lombricomposta en la fertilización de árboles forrajerosEl Silvopastoreo es un tipo de agroforestería, considerada como una opción de producción pecuaria en donde las leñosas perennes donde interactúan con los componentes tradicionales (forrajeras herbáceas y animales) bajo un sistema de manejo integral. El objetivo de este trabajo es evaluar el efecto de la lombricomposta en el desarrollo morfológico de Leucaena leucocephala var. Cunningham en un sistema silvopastoril realizado en el Rancho del Centro Universitario UAEMTemascaltepec. El establecimiento de la Leucaena leucocephala var. Cunningham se llevó a cabo en los meses de octubre del 2016. Se realizaron dos experimentos: Exp 1. Se evaluó el desarrollo aéreo para lo cual se midió la longitud de la planta, número de brotes y cobertura aérea con una regla graduada en cm. En el Exp 2 Desarrollo radicular, se le evaluó la longitud de la planta y de la raíz, a cada planta se le retiró el sustrato. En ambos experimentos se utilizó un diseño completamente al azar. En el Exp 1 se obtuvieron los siguientes resultados. En los tratamientos, con y sin lombricomposta existió diferencias significativas (P=0.0001) en las tres variables de medición, longitud de la planta, numero de brotes y cobertura aérea. La L. leucocephala que presentó mayor longitud, mayor número de brotes y mayor cobertura aérea fue la fertilizada con lombricomposta. En el Exp 2 se obtuvieron resultados en los tratamientos existió diferencias significativas (P=0.0001) para los dos muestreos. En el que muestra mayor longitud aérea y radicular la L. leucocephala que tenía como sustrato la lombricomposta. En el análisis químico del follaje de las plantas de L. leucocephala se obtuvieron resultados similares en la determinación de MS y H. El contenido de C incrementó 0.53%, la PC incrementó de 1.39% en el follaje la Leucaena abonada con lombricomposta. La FDN incrementó 3.16% en el tratamiento sin lombricomposta. La LDA incrementó 2.09% en el tratamiento sin lombricomposta. Se concluye que la utilización de la lombricomposta favoreció el establecimiento de L. leucocephala en el desarrolló de su cobertura aérea, desarrollo brotes y presento incremento de altura a través de la evaluación.
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COLIN, NAVARRO VIANEY 329518, and NAVARRO VIANEY COLIN. "Establecimiento y evaluación del potencial forrajero de leucaena leucocephala var. cunningham en un sistema silvopastoril utilizado por ovinos y fertilizado con vermicompost de eisenia fetida." Tesis de doctorado, Universidad Autonoma del Estado de México, 2018. http://hdl.handle.net/20.500.11799/94800.
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El objetivo del presente estudio fue establecer y evaluar el potencial forrajero de Leucaena leucocephala var. Cunningham en un sistema silvopastoril pastoreado por ovinos en finalización, y fertilizado con vermicomposta de Eisenia fetida. El trabajo experimental se desarrolló en tres etapas. Etapa 1. Se analizaron las características físicas, químicas y microbiológicas de estiércol pecuario composteado durante el proceso del vermicompostaje. El estiércol pecuario utilizado estaba mezclado con residuos de la alimentación que se proporcionó a cada especie: bovinos, caprinos, equinos y ovinos que fueron colectadas de los corrales de cada especie. El suplemento alimenticio de los bovinos fue a base de soya, maíz molido, sorgo y sales minerales (MULTISAL). El suplemento alimenticio de los caprinos y ovinos se basó en rastrojo de maíz, sorgo molido, maíz molido, pasta de soya y sales minerales (MULTISAL). La alimentación de los equinos estaba basado en avena henificada. El estiércol se composteo por 45 d en pilas. El vermicompostaje con Eisenia fetida duró 60 d. El diseño experimental fue completamente al azar, con cuatro tratamientos (T1: compost estiércol ovino, T2: compost estiércol caprino, T3: compost estiercol equino y T4: compost estiercol bovino) con seis repeticiones cada uno. Las variables pH, MO, C orgánico y N total entre los procesos, presentaron diferencias (p = 0.001, p = 0.0001, p = 0.0001, p = 0.007, p = 0.0001, respectivamente). En la vermicomposta se detectó contenido mayor de Pseudomonas, hongos (Aspergillus) y actinomicetes. El proceso del vermicompostaje permite estabilizar biológicamente los estiércoles composteados para que puedan ser utilizados como enmienda orgánica para los suelos. Etapa 2. Se estableció un SSP con Leucaena leucocephala var. Cunningham en dos parcelas de Brachiarias sp sembradas en el 2012, en la parcela 1 se trasplantaron 1500 v plantas, formando 15 hileras (20 m de largo x 1.20 m de ancho) con 100 plantas por hilera, y en la parcela 2 1200 plantas formando 12 hileras (20 m de largo x 1.20 m de ancho). En cada hilera la distancia entre planta y planta fue de 20 cm. Los tratamientos fueron: L. leucocephala con vermicompost (Tratamiento 1) y L. leucocephala sin vermicompost (Tratamiento 2). Cada planta de la parcela 1, después del trasplante se abonó con 100 g vermicomposta de Eisenia fetida. Se seleccionaron seis plantas de ocho hileras donde se midio altura de planta, número de brotes, porcentaje de germinación y desarrollo radicular. Se encontraron diferencias entre tratamientos (p=0.0001) y días de germinación (p=0.0001), estos resultados muestran que las condiciones de crecimiento de las plantas se ven mejoradas al ser abonadas con vermicompost. Etapa tres. Se utilizaron 30 corderos (Dorper x Katahdin) de 20±1 kg de PV y se distribuyeron al azar, 15 por tratamiento. T1: ovinos finalizados en corral y T2: ovinos finalizados en el SSP. Se evalúo el crecimiento durante 90 d. Posterior al período de engorda los ovinos fueron sacrificados y se tomaron medidas morfométricas de la canal, se midió el pH, color, fuerza de corte y área del ojo de la chuleta. Para la GDP y características de la canal se utilizó un diseño completamente al azar, los datos fueron analizados con PROC MIXED (SAS, 2004) y se realizaron contrastes con LSMESTIMATE y CONTRAST. La GDP y las características de la canal y la carne no presentaron diferencias (P>0.05) entre tratamientos. El tipo de alimentación obtuvo similares características de la canal y carne, por lo cual el SSP puede ser una alternativa en el pastoreo de ovinos.
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Thomas, Catherine Cazenave. "Danse contemporaine : le hasard comme processus de création." Paris 8, 1994. http://www.theses.fr/1994PA080857.
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Avec "Suite by chance" apparait en 1953 la première chorégraphie "entièrement compose par le jeu de hasard". John cage, précurseur des "methods of chance" en musique, définissait la danse comme "absence intentionnelle d'intention". Notre recherche vise a apporter une nouvelle contribution a l'analyse de ces méthodes, du statut du "hasard" dans le processus de création chorographique, et du questionnement des enjeux sur lesquels ils se fondent (redéfinition du statut du compositeur, de l’interprète, du spectateur, et de l’œuvre d'art). Partant des principales "disparités de la désignation du hasard dans l’esthétique contemporaine, nous avons tout d'abord questionne cette notion a partir des recherches dadaïstes, puis de l'analyse sociologique de la promotion des jeux de hasard (agon et aléa) et de la nouvelle alliance du "hasard" et de "l'antihasard". Dans la seconde partie de notre recherche, nous analysons les processus de création d'artistes pour lesquels le hasard a une dimension fondamentale en peinture, en littérature, en musique. La troisième partie est consacrée a L’étude des processus de création chorégraphique de M. Cunningham, S. Buirge, D. Dupuy, M. Tompkins, T. Brown. En conclusion, nous avons cherche a déterminer la spécificité du statut du hasard dans la création chorégraphique contemporaine.
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Blades, Andrew Michael. "Retroviral writings : reassessing the postmodern in American AIDS literature." Thesis, University of Oxford, 2010. http://ora.ox.ac.uk/objects/uuid:2aa5ac09-bd75-4730-9ac0-6b448de7cbdd.
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This thesis reassesses American AIDS literature of the 1980s and 1990s by focusing on four major writers: the poets Thom Gunn (1929-2004), James Merrill (1926-1995) and Mark Doty (1953-), and the novelist Michael Cunningham (1952-). It questions the dominant critical discourse on literature of the epidemic, contending that while competing versions of the postmodern provided useful models for reading AIDS in the 1980s and 1990s, it is now necessary to adjust the critical position in line with the intellectual turn away from the cultural theories of that time. The introduction provides an overview of the most prevalent constructions of AIDS’ postmodernity through the period, arguing that critics were anxious to fit the epidemic to the theoretical models of the day, and going on to suggest that the writers under scrutiny actively question or even resist these models. Chapter One reads the later collections of Thom Gunn against his earlier work, arguing that he writes a "poetry of prophylaxis" which draws on his literary past in order to construct a defence against the uncertainties of the epidemic age. Chapter Two develops this question of self-reconstruction, examining the last two collections of James Merrill and his 1993 memoir in light of his own diagnosis with HIV. It proposes that in the renegotiation of his body, he might help the reader both remember and "re-member" him. Chapter Three turns to the work of Mark Doty, in particular the memoir Heaven’s Coast and the two collections, My Alexandria (1995) and Atlantis (1996), suggesting that Doty reclaims metaphor for palliative good at a time when AIDS theorists such as Paula Treichler registered scepticism during the "epidemic of signification". Chapter Four discusses the 1990s novels of Michael Cunningham, arguing that in order to “know” AIDS, outside of contemporaneous postmodern readings, it is necessary to "re-know" or "recognise" older literary models. The thesis ends with a brief account of post-1990s AIDS literature and theory, before concluding that each writer argues for models of literary continuity as a means of neutralising the possible creative rupture wrought by immunodeficiency.
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Santana, Ivani Lúcia Oliveira de. "Corpo aberto - mídia de silício, mídia de carbono: a dança em interação com as novas tecnologias." Pontifícia Universidade Católica de São Paulo, 2000. https://tede2.pucsp.br/handle/handle/5193.
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Corpo Aberto: mídia de carbono, mídia de silício, aborda uma das vertentes da dança contemporânea: a relação do corpo com as máquinas da nova era e, consequentemente, a dança em interação com as novas tecnologias. O pensamento e a obra do coreógrafo americano Merce Cunningham são escolhidos como fio condutor desta dissertação. À luz deste artista torna-se possível identificar alguns dos fatores que propiciaram a emergência deste diálogo entre a dança e as tecnologias. Suas obras propõem sofisticadas interações e as expõem como um trânsito que ocorre no corpo. Cunningham é fundamental para uma nova visão de dança, de arte e, principalmente, de corpo. E é também um pioneiro no uso das novas tecnologias neste campo. Através dele, serão discutidos artistas e obras contemporâneas onde o limite entre corpo de carbono e de silício está borrado. Carbono e silício estão implicados. Corpo Aberto: mídia de carbono, mídia de silício representa um primeiro passo no entendimento desta nova manifestação da dança, dando margem à sua continuidade, que se realizará na pesquisa de doutorado que segue essa, aqui apresentada. Corpo Aberto pertence a um mundo constituído por sistemas abertos, e por signos no sentido empregado por Charles Sanders Peirce. Por esta via percebe-se que todas as coisas no mundo, sendo signos, sistemas abertos, estão em constante troca e transformação na cadeia evolutiva. Portanto, o corpo, ambiente onde ocorre a dança, pode ser entendido como um sistema em interação eco-evolução com o mundo. É impregnado por ele ao mesmo tempo que passa a impregná-lo. Um está implicado no outro. A dança em interação com as tecnologias dos tempos de agora é aqui analisada não como um estilo ou gênero a mais em dança, mas como um reflexo, uma resposta estética da própria evolução do universo. Trata-se de um Corpo Evolutivo
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Moss, Katie Reece. "The Power of Timelessness and the Contemporary Influence of Modern Thought." Digital Archive @ GSU, 2008. http://digitalarchive.gsu.edu/english_diss/32.
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In this dissertation I examine a variety of modern and postmodern texts by applying the theories of French philosopher Henri Bergson. Specifically, I apply Bergson's theories of time, memory, and evolution to the texts in order to analyze the meaning of the poem and novels. I assert that all of the works disrupt conventional structure in order to question the linear nature of time. They do this because each must deal with the pressures of external chaos, and, as a result, they find timeless moments can create an internal resolution to the external chaos. I set out to create connections between British, Irish, and American literature, and I examine the influence each author has on others. The modern authors I examine include T. S. Eliot, James Joyce, Virginia Woolf, and William Faulkner. I then show the ways this application can elucidate the works of postmodern authors Toni Morrison and Michael Cunningham.
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Büscher, Barbara. "Gegenseitige Durchdringung und Nicht-Behinderung." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2014. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-140675.
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Die Zusammenarbeit von Merce Cunningham und John Cage beruhte auf dem grundlegenden Prinzip der getrennten Entwicklung und Erarbeitung von Klang/Musik und Tanz/Bewegung (Cunningham 1994). Für den getrennten Arbeitsprozess wurden nur Zeitklammern und die Dauer der Gesamtaufführung als gemeinsame Parameter festgelegt. Diese Trennung von Musik und Tanz bildet die notwendige Voraussetzung für die erweiterte Arbeit der Merce Cunningham Dance Company (MCDC) mit Cage und anderen Composer-Performern in den 1960er und 1970er Jahren, die die elektronischen Klänge live, in der Aufführung, generierten. Der Text untersucht das Verhältnis und die Schnittstellen der beiden Performance-Systeme.
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Cox, Gerald Paul. "Collaged Codes: John Cage's Credo in Us." Case Western Reserve University School of Graduate Studies / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=case1301716791.
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Elrufaie, Elharith Omer. "A Wiki paradigm to manage online course content." CSUSB ScholarWorks, 2004. https://scholarworks.lib.csusb.edu/etd-project/2446.
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This project develops a new version of the Wiki style administration of online course content. It will implement a teaching and learning tool that works as a easy and quick communication interface between instructor and student. The second purpose of the project is to design an easily extendable and maintainable architecture, which provides a generic Wiki system that can work for any information technology department and handle sets of courses and insturctors.
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Stjernholm, Johan. "Performativities, virtualities, abstractions, and Cunningham's BIPED." Thesis, University of the Arts London, 2009. http://ualresearchonline.arts.ac.uk/7781/.
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This thesis explores the complex relations between subjective perception and dance movements, mainly exemplified by drawing on two short extracts from Merce Cunningham's choreography BIPED (1999). The central aim of the study is to formulate a performative phenomenological inquiry, which moves beyond an identification of essences, and towards an understanding of the lived experience of a dance performance as being grounded on iterations of the "abstract". The concept of the abstract primarily signifies an alternative mode of understanding Henry Bergson's notion of duration. Considering Gilles Deleuze's reading of Bergson's intuition as a method to divide the experience of a lived present into a temporal difference in kind between the virtual and the actual, this thesis suggests a complementary division of duration into virtual and actual kinds of abstraction. In addition to Bergson's method of intuition, the discussion is phenomenologically rooted in Maurice Merleau-Ponty's concept of the body image and Gaston Bachelards idea of non-causal reverberation. As with the case of intuition, those phenomenological concepts are applied unconventionally. Rather than serving as a pre-objective ontological basis for an analytical and scientific understanding of subjective embodiment, the notion of a reverberating body image is here treated as a form of mimesis, performatively constituted through symbolic and representational practices. Hence, in phenomenological terms, the rationale of the thesis is predominantly sustained by the philosophy of Ernst Cassirer, arguing that reality cannot be approached directly, but only through the concept of the symbol. The viewpoint from where I speak has performative cybernetic characteristics, continuously and dynamically transgressing boundaries and reconstituting itself through iterative and citational practices. Additionally, as I move between the analytical and the intuitive, as well as between the virtual and the actual, the formal structure of the thesis corresponds to a liminal transformation of the speaking subjectivity.
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Setiawati, Yetty G. B. "Environmental and biological control of flowering in hoop pine (Araucaria cunninghamii Ait.ex. D. Don) /." St. Lucia, Qld, 2001. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe16241.pdf.
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Scott, Leon. "Implications of evolutionary history and population structure for the analysis of quantitative trait loci in the ancient conifer Araucaria cunninghamii." Connect to this title online, 2004. http://epubs.scu.edu.au/theses/52/.
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Perrin, Julie. "De l'espace corporel à l'espace public." Paris 8, 2005. http://www.theses.fr/2005PA082609.
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Bohlmann, Markus P. J. "Moving Rhizomatically: Deleuze's Child in 21st Century American Literature and Film." Thèse, Université d'Ottawa / University of Ottawa, 2012. http://hdl.handle.net/10393/23140.
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My dissertation critiques Western culture’s vertical command of “growing up” to adult completion (rational, heterosexual, married, wealthy, professionally successful) as a reductionist itinerary of human movement leading to subjective sedimentations. Rather, my project proposes ways of “moving rhizomatically” by which it advances a notion of a machinic identity that moves continuously, contingently, and waywardly along less vertical, less excruciating and more horizontal, life-affirmative trails. To this end, my thesis proposes a “rhizomatic semiosis” as extrapolated from the philosophy of Gilles Deleuze and Félix Guattari to put forward a notion of language and, by implication, subjectivity, as dynamic and metamorphic. Rather than trying to figure out who the child is or what it experiences consciously, my project wishes to embrace an elusiveness at the heart of subjectivity to argue for continued identity creation beyond the apparently confining parameters of adulthood. This dissertation, then, is about the need to re-examine our ways of growing beyond the lines of teleological progression. By turning to Deleuze’s child, an intangible one that “makes desperate attempts to carry out a performance that the psychoanalyst totally misconstrues” (A Thousand Plateaus 13), I wish to shift focus away from the hierarchical, binary, and ideal model of “growing up” and toward a notion of movement that makes way for plural identities in their becoming. This endeavour reveals itself in particular in the work of John Wray, Todd Field, Peter Cameron, Sara Prichard, Michael Cunningham, and Cormac McCarthy, whose work has received little or no attention at all—a lacuna in research that exists perhaps due to these artists’ innovative approach to a minor literature that promotes the notion of a machinic self and questions the dominant modes of Western culture’s literature for, around, and of children.
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Luz, Petterson Baptista da [UNESP]. "Germinação e aspectos morfológicos de sementes de Archontophoenix cunninghamii H. Wendl. & Drude (Arecaceae)." Universidade Estadual Paulista (UNESP), 2008. http://hdl.handle.net/11449/105106.
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A palmeira real australiana (Archontophoenix cunninghamii H. Wendl. & Drude) é uma das palmeiras exóticas de maior utilização no paisagismo e nos últimos tempos tem despertado grande interesse também no cultivo para a produção de palmito, aumentando a procura por mudas. Embora seja uma palmeira de grande interesse ornamental e comercial, ainda pairam muitas dúvidas relacionadas à produção de mudas. Não há informações científicas sobre os padrões de teste de germinação, como temperatura, substrato, morfologia do diásporo e das plântulas e o comportamento das sementes submetidas ao armazenamento. Desta forma o objetivo deste trabalho foi estudar a germinação de sementes, bem como, a morfologia do diásporo (semente com o endocarpo aderido) e da plântula de A. cunninghamii. Para estudo do efeito da temperatura, foram avaliadas seis regimes de temperaturas (20ºC, 25ºC, 30ºC, 35ºC, 20-30ºC e 25-35ºC), utilizando como substrato vermiculita; o delineamento adotado foi inteiramente casualizado, com 4 repetições de 25 sementes. Para o estudo dos substratos, foram avaliados três substratos (areia, vermiculita e esfagno), na temperatura alternada de 25-35ºC; o delineamento adotado foi o inteiramente casualizado, com 7 repetições de 25 sementes. Para o estudo do efeito da embebição das sementes aproximadamente 1000 sementes foram colocadas para embeber em água destilada, a cada 1 dia uma amostra de 100 sementes era colocada para germinar, onde o período máximo de embebição foi de 7 dias. O experimento contou com 8 tratamentos: semeadura logo após a colheita e de 1 a 7 dias após onde foi utilizado 4 repetições de 25 sementes cada. Para o estudo do armazenamento o delineamento experimental utilizado foi o inteiramente casualizado; com 12 tratamentos (semeadura logo após a colheita e a cada 30 dias durante 11 meses) e 4 repetições de 25 sementes...
The Australian real palm (Archontophoenix cunninghamii H. Wendl. & Drude) has a major use in landscaping. Among producers because of its possibility as an alternative for the production of palm heart, which leads to an increase in the demand for its seedlings. This palm tree is of great ornamental and commercial interest, there are still many unknown aspects related to seedling production. There is no scientific information about the germination tests such as temperature, germination medium, seedling morphology or the seed behavior during storage. For the study of temperature effect, six temperatures regimes (20ºC, 25ºC, 30ºC, 35ºC, 20-30ºC and 25- 35ºC) were evaluated, using vermiculite as the germination medium. A completely randomized design with four replicates of 25 seeds each was adopted. Three germination media were analyzed (sand, vermiculite and sphagnum) at an alternate temperature of 25-35ºC. For the study of the germination medium, the design adopted was the completely randomized design with seven replicates of 25 seeds each. For the study of the effect of soaking of the seeds, a seedlot containing approximately 1000 seeds was kept in distilled water. Each day, a sample containing 100 seeds was set to germinate. The maximum period of soaking was of seven days, which means that the experiment had eight treatments: sowing right after the harvesting and from day 1 to day 7 after the harvesting, where four replicates of 25 seeds were used for each day. For the storage study, the experimental design used was the completely randomized design (12 periods of storage) with four repetitions of 25 seeds. The seeds were placed in impermeable packages (bags of transparent polyethylene) and were stored in a refrigerated chamber. The storage lasted for 11 months and at every 30 days, samples containing 140 seeds were taken out. From these 140 seeds, 100 were taken... (Complete abstract click electronic access below)
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Luz, Petterson Baptista da. "Germinação e aspectos morfológicos de sementes de Archontophoenix cunninghamii H. Wendl. & Drude (Arecaceae) /." Jaboticabal : [s.n.], 2008. http://hdl.handle.net/11449/105106.
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Orientadora: Kathia Fernandes Lopes PivettaBanca: Roberto Jun Takane
Banca: Claudia Fabrino Machado Mattiuz
Banca: Armando Reis Tavares
Banca: Paulo Roberto Corrêa Landgraf
Resumo: A palmeira real australiana (Archontophoenix cunninghamii H. Wendl. & Drude) é uma das palmeiras exóticas de maior utilização no paisagismo e nos últimos tempos tem despertado grande interesse também no cultivo para a produção de palmito, aumentando a procura por mudas. Embora seja uma palmeira de grande interesse ornamental e comercial, ainda pairam muitas dúvidas relacionadas à produção de mudas. Não há informações científicas sobre os padrões de teste de germinação, como temperatura, substrato, morfologia do diásporo e das plântulas e o comportamento das sementes submetidas ao armazenamento. Desta forma o objetivo deste trabalho foi estudar a germinação de sementes, bem como, a morfologia do diásporo (semente com o endocarpo aderido) e da plântula de A. cunninghamii. Para estudo do efeito da temperatura, foram avaliadas seis regimes de temperaturas (20ºC, 25ºC, 30ºC, 35ºC, 20-30ºC e 25-35ºC), utilizando como substrato vermiculita; o delineamento adotado foi inteiramente casualizado, com 4 repetições de 25 sementes. Para o estudo dos substratos, foram avaliados três substratos (areia, vermiculita e esfagno), na temperatura alternada de 25-35ºC; o delineamento adotado foi o inteiramente casualizado, com 7 repetições de 25 sementes. Para o estudo do efeito da embebição das sementes aproximadamente 1000 sementes foram colocadas para embeber em água destilada, a cada 1 dia uma amostra de 100 sementes era colocada para germinar, onde o período máximo de embebição foi de 7 dias. O experimento contou com 8 tratamentos: semeadura logo após a colheita e de 1 a 7 dias após onde foi utilizado 4 repetições de 25 sementes cada. Para o estudo do armazenamento o delineamento experimental utilizado foi o inteiramente casualizado; com 12 tratamentos (semeadura logo após a colheita e a cada 30 dias durante 11 meses) e 4 repetições de 25 sementes... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: The Australian real palm (Archontophoenix cunninghamii H. Wendl. & Drude) has a major use in landscaping. Among producers because of its possibility as an alternative for the production of palm heart, which leads to an increase in the demand for its seedlings. This palm tree is of great ornamental and commercial interest, there are still many unknown aspects related to seedling production. There is no scientific information about the germination tests such as temperature, germination medium, seedling morphology or the seed behavior during storage. For the study of temperature effect, six temperatures regimes (20ºC, 25ºC, 30ºC, 35ºC, 20-30ºC and 25- 35ºC) were evaluated, using vermiculite as the germination medium. A completely randomized design with four replicates of 25 seeds each was adopted. Three germination media were analyzed (sand, vermiculite and sphagnum) at an alternate temperature of 25-35ºC. For the study of the germination medium, the design adopted was the completely randomized design with seven replicates of 25 seeds each. For the study of the effect of soaking of the seeds, a seedlot containing approximately 1000 seeds was kept in distilled water. Each day, a sample containing 100 seeds was set to germinate. The maximum period of soaking was of seven days, which means that the experiment had eight treatments: sowing right after the harvesting and from day 1 to day 7 after the harvesting, where four replicates of 25 seeds were used for each day. For the storage study, the experimental design used was the completely randomized design (12 periods of storage) with four repetitions of 25 seeds. The seeds were placed in impermeable packages (bags of transparent polyethylene) and were stored in a refrigerated chamber. The storage lasted for 11 months and at every 30 days, samples containing 140 seeds were taken out. From these 140 seeds, 100 were taken... (Complete abstract click electronic access below)
Doutor
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Jussila, P. (Pauli). "Transtextuality in Michael Cunningham’s The Hours with relation to Mrs. Dalloway by Virginia Woolf." Master's thesis, University of Oulu, 2013. http://urn.fi/URN:NBN:fi:oulu-201306111597.
Full textAbstract:
This thesis examines the ways in which Michael Cunningham’s novel The Hours (1998) alludes to Virginia Woolf’s novel Mrs. Dalloway (1925) and to two of her essays, the emphasis being on Mrs. Dalloway. Cunningham’s novel consists of three separate stories, one of which is a rendition of Woolf’s novel, another one a story on Virginia Woolf at the time of writing Mrs. Dalloway¸ and the third one a story about an unhappy housewife named Laura Brown, who is reading Mrs. Dalloway. The main body of the theoretical framework for the thesis is based on Gerard Genette’s book Palimpsests and more precisely, on his theories on transtextuality. The first part of the analysis on Cunningham’s novel is based on Genette’s categorization of transtextual phenomena. The latter part of the analysis examines how the reader’s response to Mrs. Dalloway might be affected by the reading of Cunningham’s novel. In the second part the theoretical background consists mainly of Wolfgang Iser’s theories on reader reception and on Julia Kristeva’s book Dialogue, Word and the Novel that discusses the dialogical nature of the novel. The analysis reveals that Cunningham’s novel utilizes all of the categories of transtextuality in various ways to refer back to Woolf’s novel and her essays. Namely, there are similarities in the content as well as the stylistic features between Cunningham’s novel and Woolf’s works. The analysis also shows that Cunningham has made some transformations in referring to the writings of Virginia Woolf. The second part of the analysis shows that difference in context might also affect the way a contemporary reader reacts to Mrs Dalloway having read Cunningham’s novel before Woolf’s. In his novel Cunningham refers also to the writing process of Mrs. Dalloway and to a fictional character’s response to Mrs. Dalloway. These aspects are bound to affect on the way a reader reacts to Mrs. Dalloway as wellPro gradu -työssäni tutkin tapoja, joilla Michael Cunninghamin romaani The Hours (1998) viittaa Virginia Woolfin romaaniin Mrs. Dalloway (1925) ja Woolfin esseisiin. Tarkastelussa keskitytään enimmäkseen viittauksiin, jotka littyvät mainittuun romaaniin. Cunninghamin romaani koostuu kolmesta tarinasta, jotka kuvaavat kolmea eri naista kolmena eri aikana ja kahdessa eri maassa. Yksi näistä tarinoista on käytännössä modernisoitu versio Mrs. Dallowaysta. Toinen tarinoista puolestaan kuvaa Virginia Woolfin elämää Mrs. Dallowayn kirjoittamisen aikaan, ja kolmas onnetonta kotirouvaa Laura Brownia, joka lukee Mrs. Dallowayta. Analyysin teoreettisena lähtökohtana on Gerard Genetten teos Palimpsests, jossa Genette käsittelee luomaansa transtekstuaalisuuden käsitettä. Genette jakaa transtekstuaalisuuden edelleen viiteen alakategoriaan ja analyysini perustuukin tähän jaotteluun. Työssäni tarkastelen lisäksi sitä, miten Cunninghamin romaanin lukeminen voi muuttaa Woolfin romaanin lukukokemusta. Jälkimmäisen tutkimuskohteen teoreettisena lähtökohtana toimivat Wolfgang Iserin reseptioteoria sekä Julia Kristevan teos Word, Dialogue and the Novel, joka käsittelee romaanin dialogista luonnetta. Cunninghamin romaanin analyysi paljastaa että hän käyttää kaikkia Genetten esittelemiä kategorioita Woolfin romaaniin ja esseisiin viitatessaan. Samankaltaisuuksia löytyy niin sisällöstä kuin tyyliseikoistakin. Tämän lisäksi Cunningham viittauksissa Woolfin teksteihin on nähtävissä muutoksia, osittain kontekstista, ja osittain erilaisesta maailmankatsomuksesta johtuen. Nämä seikat saattavat myös vaikuttaa siihen, miten lukijan kokemus Mrs. Dallowaysta muuttuu, jos hän on lukenut Cunninghamin romaanin ennen Woolfin romaaniin tarttumista. Lisäksi se, että Cunninghamin romaanissa käsitellään sekä Mrs. Dallowayn kirjoittamista Virginia Woolfin näkökulmasta, että romaanin lukijassa aiheuttamia reaktioita Laura Brownin kautta, voi vaikuttaa siihen miten lukija suhtautuu Mrs. Dallowayhin
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Williams, Alwyn. "On the Ecology and Restoration of Podocarpus cunninghamii in the Eastern South Island High Country." Thesis, University of Canterbury. Forestry, 2010. http://hdl.handle.net/10092/5141.
Full textAbstract:
Podocarpus cunninghamii is an endemic New Zealand conifer that, in pre-human times, formed extensive forest communities across the eastern South Island high country. Anthropogenic disturbances have reduced the distribution of Podocarpus cunninghamii communities such that they now exist mainly as small and isolated remnants within a highly modified, predominantly pastoral landscape. Very little is known of the ecology of high country Podocarpus cunninghamii communities, and without this information it is not possible to develop an ecological basis for their restoration. This thesis explores the ecology of Podocarpus cunninghamii in the eastern South Island high country, investigating factors that potentially affect the restoration of Podocarpus cunninghamii within this environment, with special attention paid to the role of arbuscular mycorrhizal fungi (AMF).
Field investigations of Podocarpus cunninghamii communities showed that they contain a high degree of floristic and structural variation determined by soil and climatic variables. Analysis of age and size class distributions suggest that Podocarpus cunninghamii has more than one regeneration strategy, and can regenerate within intact forest following the opening of small canopy gaps or can undergo large-scale recruitment following catastrophic disturbance. Field and glasshouse experiments investigating growth and nutrient responses of Podocarpus cunninghamii to different AMF inoculants found that Podocarpus cunninghamii responses are dependent on both AMF type and grass competition. Finally, investigation of Podocarpus cunninghamii carbon stocks showed that they are less than that of other New Zealand forest types, but are greater than that of grazed pastures.
Successful restoration of high country Podocarpus cunninghamii communities will require the incorporation of associated species based on local environmental conditions, and will also need to allow for disturbance processes. AMF may have an important role to play in restoration by reducing seedling production times and by increasing the competitiveness of Podocarpus cunninghamii when in competition with exotic grasses.
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Röthig, Sabine. "Windowlicker." Doctoral thesis, Humboldt-Universität zu Berlin, Kultur-, Sozial- und Bildungswissenschaftliche Fakultät, 2016. http://dx.doi.org/10.18452/17491.
Full textAbstract:
In der Arbeit wird das Zusammentreffen der aus dem Club kommenden Electronic Dance Music (EDM) mit dem massenmedial konsolidierten Musikvideo untersucht. Diskutiert wird die These eines ästhetischen Paradigmenwechsels, der sich dadurch im Musikvideo vollzieht. Dieser beruht vor allem auf der musikalischen Figur des instrumentalen, modularen Tracks, die sich signifikant von der des Songs unterscheidet. Der originäre Zweck des Musikvideos, den Auftritt des Interpreten auf dem Monitor zu visualisieren, steht also mit dem Track zur Disposition oder wird gar obsolet; das erfordert neue Strategien der Bebilderung. Teil I und II der Arbeit verorten Musikvideo und EDM im wissenschaftlichen Diskurs und versammeln die jeweiligen ästhetischen Attribute. In Teil III wird anhand der Club Visuals die Beziehung von Tracks und Bildern erörtert, um darüber die veränderte Klang-Bild-Konstellation im Musikvideo durch EDM herzuleiten. In Teil IV werden die Erkenntnisse anhand der Fallstudie, dem Musikvideo „Windowlicker“ von Aphex Twin (Musik) und Chris Cunningham (Regie) aus dem Jahr 1999 ausgewertet und angewendet. Die Arbeit möchte die Dimension der ästhetischen Studien um das Musikvideo erweitern und verdeutlichen, wie sich das Musikvideo auch unter veränderten klanglichen Bedingungen als unentbehrlicher Bestandteil der Aufführung von Popmusik in der Monitorkultur erweist und als künstlerisches Genre unbedingt ernst zu nehmen ist, da sich in ihm zeitgenössische Avantgarden abbilden können.This thesis explores the relationship between Electronic Dance Music (EDM) which originated in clubs, and the mass media consolidated music video. Focussing on how EDM influences the music video, an aesthetic paradigm shift on the latter is discussed. This change stemmed mainly from the structure of the instrumental, modular EDM track, which is significantly different from the structure of the song. Originally, the music video was intended as way of visualising the performance of the artist on the monitor; however, the advent of instrumental EDM tracks posed critical problems for this approach, and arguably renders it obsolete. New strategies of illustrations are required. Parts I and II of this thesis analyse music video and EDM through scientific discourses in an attempt to define their respective aesthetic attributes. In part III the relationship between tracks and images in club visuals is discussed in order to illustrate the singularity of this dialogue. In part IV, conclusions from the foregoing sections are evaluated and applied to a study of “Windowlicker” by British artist Aphex Twin, the video to which was directed by Chris Cunningham in 1999. The purpose of this thesis is to extend the aesthetic studies of the music video to clarify its status as an essential part of popular music in monitor culture. As an artistic genre it has to be taken seriously because it can display contemporary avant-gardes.