Dissertations / Theses: 'Paganini'

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Mikami, Wataru. "Problematika osobnosti a díla Nicola Paganini." Master's thesis, Akademie múzických umění v Praze. Hudební fakulta AMU. Knihovna, 2009. http://www.nusl.cz/ntk/nusl-79077.

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This thesis discuss about N.Paganini, his life, works and mainly about opus 1,24 Caprices for violin solo. I compared some publication, especially studied Henle Urtext Edition of Caprices, which is the most right and newest. Thesis next discuss about a way of performance of this work. I compared some recording of great violinists, which become the inspiration of my study. I read also listed literatures.

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Yang, Hokyung. "12 variations on Paganini's 24th caprice : an analysis /." Thesis, Connect to this title online; UW restricted, 1994. http://hdl.handle.net/1773/11263.

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Shen, Keh-Shu. "An analytical study of Paganini's Twenty-four caprices for solo violin /." Thesis, Connect to this title online; UW restricted, 1997. http://hdl.handle.net/1773/11338.

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Wilczkowski, Tobias. "Heinrich Wilhelm Ernst : En stor violinist i skuggan av Paganini." Thesis, Uppsala universitet, Institutionen för musikvetenskap, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-153805.

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Abstract Tobias Wilczkowski: Heinrich Wilhelm Ernst – A great violinist in the shadow of Paganini. Uppsala universitet: Institutionen för musikvetenskap, uppsats för 60p., 2005. As a boy, Heinrich Wilhelm Ernst adopted Paganini's virtuosic style. He became a popular violinist who later developed his own style. He used the potential of the violin to its extreme and explored new possibilities on the instrument. Later, however, Ernst was more or less forgotten as a violinist and today his contributions are neglected. This essay attempts to show that this is unfair to Ernst and that he today does not have the position he deserves: as Paganini's greatest successor and as an innovative composer who contributed valuable works to the art of violin. When I discuss Ernst's position as a performer among his contemporaries during his career, I use contemporary reviews, reports and articles. In the next section where I deal with Ernst's contribution to violin techniques, I analyse examples from compositions by Ernst and compare some of these with example from compositions by Nicolo Paganini. My conclusions are that Ernst was widely seen as the superior violinist of his time and Paganini's greatest successor and that he not only developed the polyphonic playing, but also discovered new idiomatic ways to compose polyphonically conceived violin music to a degree that is unprecedented to this day.

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Rybicki, Marie-Hélène. "Le mythe de Paganini dans la presse et la littérature." Paris 4, 2004. https://acces.bibliotheque-diderot.fr/login?url=https://doi.org/10.15122/isbn.978-2-8124-2932-3.

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Notre étude est consacrée à la présence de Paganini dans la presse et la littérature de son temps. Nous examinons comment, en Italie, en France en Allemagne et en Angleterre, ce musicien exceptionnel devient personnage de fiction et quelle influence cette "entrée en littérature" exerce sur la représentation des musiciens dans les romans et nouvelles du XIXe siècle. Après avoir retracé le parcours du violoniste, nous nous penchons sur la manière dont ses faits et gestes sont relatés dans la presse et exposons les polémiques que la technique paganinienne entraîne. Nous analysons ensuite les images et les moyens stylistiques mis en oeuvre par les chroniqueurs pour appréhender le "phénomène Paganini". La seconde partie traite de la manière dont Paganini apparaît dans les textes littéraires qui lui sont consacrés. Derrière les personnages auxquels Paganini prête ses traits et son caractère se dégage un portrait-robot du "virtuose romantique" tel que l'époque le plébiscite, artiste que se distingue subrepticement des musiciens hoffmanniens qui lui servent de modèle. L'étude des nouvelles révèle en outre que le virtuose génois s'efface progressivement du premier plan du récit pour céder la place à un musicien déchu. Cette dimension tragique et ironique, qui prend le pas sur la vision magnifiée de l'artiste, amorce une tendance qui s'affirmera dans la seconde moitié du XIXe siècle. La présence de Paganini dans la littérature de son temps contribue également à mettre en évidence la perméabilité existant, à cette époque, entre la presse et la littérature. L'impossibilité d'établir une distinction franche entre le traitement journalistique et le traitement littéraire du virtuose constitue un facteur décisif pour l'élaboration du "mythe de Paganini"
This study is devoted to the presence of Paganini in the press and literature of his time. It explores how this exceptional musician became a character in fictional works in Italy, Germany, France and England, and what influence this "literary career" had on the representation of musicians in novels and short stories during the nineteenth century. The first part of this study begins with a review of the main events in Paganini's life then focuses on the way in which his actions are recounted in the press, revealing the controversies provoked by the violinist's technique. There follows an analysis of the images and stylistic methods adopted by the chroniclers and columnists to convey their impressions of the "Paganini phenomenon". The second part of this study looks at the image of Paganini as it appears in the various literary texts devoted to him. By attributing Paganini's features and his personality to fictional characters, the authors drew the profile of a "romantic virtuoso", which corresponded to the taste of the public of that time - the figure of an artist who surreptitiously distinguished himself from the musician encountered in the works of E. T. A. Hoffmann who served as his model. Moreover, the short stories reveal how the Genoese virtuoso gradually withdrew from the foreground of the narrative to be replaced by the figure of a failed musician. This tragic and ironic dimension, which overrides the idealised vision of the artist, marks the beginning of a trend that established itself in the second half of the nineteenth century. The presence of Paganini in the literature of his time also reveals the permeability of the press and literature at that time. The fact that it is impossible to distinguish clearly between the journalistic and literary treatment of the virtuoso had a major impact on the constitution of the "myth of Paganini"

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Bernier, Kiyono Monique. "Disparate measures: Two 20th century treatments of the Paganini theme." Diss., The University of Arizona, 2000. http://hdl.handle.net/10150/284086.

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This study investigates the significance of the Paganini theme and variation sets composed by two living composers, Neils Viggo Bentzon and Robert Muczynski. The popularity of the theme and variation form gradually spread to the keyboard repertoire first as entertainment for both courtly and bourgeois audiences, and later as a means of technical display for performing piano virtuosi. Paganini's twenty-fourth Caprice from Op.1 for solo violin is the basis for sets of variations for solo piano by three major pianist-composers: Liszt, Brahms, and Busoni. Bentzon and Muczynski follow in this tradition, constructing their variations on the Paganini theme as a showcase of their individual compositional language and skill. The body of the document will be a discussion of their contrasting treatments of the immortal theme as demonstrated through their choices of melody, sonority, texture, rhythm, register, and form. Bentzon's and Muczynski's theme and variation sets constitute compositional achievements in piano literature that deserve a place alongside previous outstanding models that are an important part of the standard repertory.

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Carrau, Mellado Javier. "Aspectos pedagógicos e interpretativos del repertorio para violín solo hasta Paganini." Doctoral thesis, Universitat Jaume I, 2014. http://hdl.handle.net/10803/145316.

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El presente trabajo está dedicado a estudiar el repertorio existente para violín solo hasta Paganini, y analizar sus diferencias de estilo, intenciones y funciones. Las dos obras cumbre de este género son las Sonatas y Partitas de Johann Sebastián Bach, y los Caprichos Opus 1 de Paganini. Al observar la trayectoria de la cronología artística, apreciamos cómo existe un repertorio que nace en el primer Barroco, que ha conducido a que estas creaciones no sean piezas aisladas sino obras insertas en una tradición compositiva hoy día bastante desconocida.

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Clavere, Javier. "A Study Guide to Franz Liszt's Grandes etudes de Paganini S.141." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1296847312.

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Kang, Heejung. "Rachmaninoff's Rhapsody on a Theme by Paganini, Op.43; Analysis and Discourse." Thesis, connect to online resource, 2004. http://www.unt.edu/theses/open/20041/kang%5Fheejung/index.htm.

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Kim, Younshin. "An analytical study of Liszt's "Grandes études de Paganini", nos. 3 and 6 /." Thesis, Connect to this title online; UW restricted, 1999. http://hdl.handle.net/1773/11363.

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Paganini, Claudio F. [Verfasser], and Lars [Akademischer Betreuer] Andersson. "The role of trapping in black hole spacetimes / Claudio Francesco Paganini ; Betreuer: Lars Andersson." Potsdam : Universität Potsdam, 2018. http://d-nb.info/1218403918/34.

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Paganini, Claudio Francesco [Verfasser], and Lars [Akademischer Betreuer] Andersson. "The role of trapping in black hole spacetimes / Claudio Francesco Paganini ; Betreuer: Lars Andersson." Potsdam : Universität Potsdam, 2018. http://d-nb.info/1218403918/34.

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Ahn, Kwang Sun. "An Analytical Study of the Variations on the Theme of Paganini's Twenty-Fourth Caprice, Op. 1 by Busoni, Friedman, and Muczynski." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2548/.

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The purpose of this study is to analyze sets of variations on Paganini's theme by three twentieth-century composers: Ferruccio Busoni, Ignaz Friedman, and Robert Muczynski, in order to examine, identify, and trace different variation techniques and their applications. Chapter 1 presents the purpose and scope of this study. Chapter 2 provides background information on the musical form "theme and variations" and the theme of Paganini's Twenty-fourth Caprice, Op. 1. Chapter 2 also deals with the question of which elements have made this theme so popular. Chapters 3,4, and 5 examine each of the three sets of variations in detail using the following format: theme, structure of each variation, harmony and key, rhythm and meter, tempo and dynamics, motivic development, grouping of variations, and technical problems. Chapter 6 summarizes the findings from this study and attempts to compare those elements among the three variations. Special attention is given to the application of the motivic cells, which are drawn from the original Paganini theme, in the development of succeeding variations. This study shows how these motivic cells contribute to the construction of new motives and melodies in each variation. Additionally, this study attempts to examine each composer's efforts in expanding variation procedure to the areas of structures and tempo markings in succeeding variations.

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Lee, Ji Young. "A Style Study of Sergei Rachmaninoff's and Lowell Liebermann's Rhapsodies on a Theme of Paganini." University of Cincinnati / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1428047656.

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Ko, Cha-Hui. "Solutions to technical difficulties in the rhapsody on a theme by Paganini, Opus 43 of Rachmaninoff." The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1384532673.

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Robertson, Gillian. "Variations on a Theme by Paganini| Narrative archetypes in nineteenth- and twentieth-century theme-and-variation sets." Thesis, The Florida State University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3705915.

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This dissertation explores the applicability of musical narrative models to the genre of theme and variations focusing on large-scale structural transformations in nineteenth- and twentieth-century theme-and-variation sets. Narrative archetypes proposed by Byron Almén (2008) are useful frameworks for understanding and interpreting the types of transformations that are typical in this genre, despite the paratactic and repetitive nature of the variations. My analysis focuses on three variation sets all based on the same theme (Paganini's Twenty-Four Caprices, Op. 1, No. 24): Brahms's Variations on a Theme by Paganini, Op. 35 Book I; Rachmaninoff's Rhapsody on a Theme of Paganini, Op. 43, and Rochberg's Caprice Variations . This invariant theme enables me to demonstrate not only the possibility of diverse narrative readings of these works, but also how each composer treated the theme in his own setting.

Chapter one provides a review of literature on the genre of variations and the sub-discipline of musical narrative. I discuss my eclectic methodological approach, one that includes Almén's theory of musical narrative in conjunction with musical agency, Schenkerian analysis, musical borrowing, topic theory, and integration models. A short analysis of Paganini's Caprice no. 24 from Op. 1 provides context for the remaining works and demonstrates a simple narrative interpretation as a preview of the analysis in the remaining chapters. Chapters two through four offer detailed analyses of the variations by Brahms and Rachmaninoff. The second chapter explores the application of a single narrative archetype to the first book of Brahms's variations, while chapters three and four expand the narrative model to include interpretations of multiple narrative archetypes within Rachmaninoff's Rhapsody. These two chapters focus on intra- and extra-musical narratives and present the notion of embedded narrative models, which provide nuance to an analytical interpretation. Chapter five summarizes my findings from chapters two to four and includes a sample analysis of Rochberg's Caprice Variations in order to demonstrate analytical questions pertinent to a post-modernist theme-and-variation set as well as the narrative or "anti-narrative" possibilities in twentieth-century Western art music.

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Filipec, Goran. "Paganini au piano : Franz Liszt, Ferruccio Busoni, Michael Zadora, Mark Hambourg, Ignaz Friedman et la « grande manière »." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL137.

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Dans l’art de la musique instrumentale, il y a certainement eu des moments de développement extraordinaires. La plus grande révolution dans le domaine du violon aura probablement été Paganini, avec ses innovations dans le cadre de la technique, de la texture et des effets timbriques du violon. Dans le domaine du piano, Liszt, suite à sa rencontre avec le violon assimilateur et imitateur du Génois, reforma son jeu et reconçut le pianisme de l’époque. Dans cette mission, il fut accompagné par des améliorations techniques à l’instrument. L’art du jeu du piano, qui hérita de Paganini le côté assimilateur et imitateur, qui abandonna le salon et s’installa dans les grandes salles, fut reconnu comme la « grande manière » ou le « grand style ». Ces termes, provenant principalement de l’art de Liszt, qui fut apparemment son premier représentant, se réfèrent à un style pianistique particulier, basé sur de grands effets acoustiques et de nouvelles techniques d’exécution. Le corpus de l’étude est constitué des œuvres de Liszt d’après Paganini, telles que les Études d’exécution transcendante d’après Paganini, les Grandes Études de Paganini, La Grande Fantaisie de bravoure sur La Clochette et les œuvres en relation avec Paganini des générations suivantes de pianistes de la « grande manière ». Celles-ci incluent les versions des études de Liszt réalisées par Ferruccio Busoni, son Introduzione e Capriccio (Paganinesco), les arrangements des Caprices de Paganini par Michael Zadora, les Variations sur un thème de Paganini de Mark Hambourg et les Études d’après un thème de Paganini op. 47b d’Ignaz Friedman. L’étude tente de tracer la « grande manière » dans les formes pianistiques appliquées dans les œuvres citées ainsi que d’identifier les particularités du « pianisme » des auteurs concernés
In the art of instrumental music there were moments of extraordinary evolution. The greatest revolution in the domain of the violin was probably the appearance of Paganini and his innovations in the technique, the texture of violin writings and the exploitation of the timbrical effects of the instrument. In the domain of the piano, Liszt, after having heard the assimilating and imitating violin of the Genovese, reformed his playing and transformed the pianism of his époque. In that mission, he was accompanied by technical improvements of the instrument. The art of piano playing, which inherited from Paganini the assimilating and imitating tendencies and left the salon in favor of big halls, was recognized as the “grand manner” or the “grand style” grand style’, first represented by Liszt. These terms, mainly originating from the conceptual grandeur of his art, refer to a particular pianistic style, based on big acoustic effects and new techniques of execution. The corpus of the present study is constituted by the works after Paganini by Liszt, including the Études d’exécution transcendante d’après Paganini, the Grandes études de Paganini, La Grande fantaisie de bravoure sur La Clochette, and the works related to Paganini of the following generations of pianists of the « grand manner”. These include the arrangements of Liszt’s studies of Busoni, the Introduzione e Capriccio paganinesco, the Variations sur un thème de Paganini of Mark Hambourg and the Paganini-Studies op. 47b of Ignaz Friedman. The study tempts to trace the “grand manner” in the pianistic forms applied in the cited works, and to identify the specificities of the pianism of the concerned authors

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Stocker, Melinda Suat-Lee. "The evolution of the caprice for solo violin with reference to the caprices by Locatelli, Paganini and Reitz /." [St. Lucia, Qld.], 2005. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe18759.pdf.

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Kim, Warren. "Marc-André Hamelin's "Variations on a Theme of Paganini": The Effect of Polystylism through Pastiche and Musical Borrowing in Variations." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609093/.

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Paganini's 24th caprice still remains to this day one of the most celebrated themes in classical music history. Many composers have used this theme to create variations and each composer attempted to produce stylistically unique variations on this piece. Hamelin's Variations on a Theme of Paganini stands out because his piece incorporates musical borrowing and many different composers' styles. His variations integrate music from different centuries, using pastiche and musical borrowing from figures such as Beethoven, Liszt, Brahms, Chopin, and Rachmaninoff. More provocatively, Hamelin's variations reach outside of Classical music, even adopting elements from salsa and friska. The spectrum of composers and styles included in this set are so radical and shocking that it creates a parody of not only Paganini's theme, but also the tradition of theme and variation pieces it has inspired. Due to its multiple variations juxtaposing extremely different styles, Hamelin's Variations on a Theme of Paganini presents the listener with a musical puzzle that is designed to invoke surprise. The juxtapositions of extremely different styles in these variations create disjointed variations with polystylism. The polystylism in this work diversifies his variations, while unifying these seemingly unbalanced movements through broad musical references. As such, both performers and listeners stand to benefit from a detailed, critical examination of the piece. I consider not just the musical sources themselves, but also the ways in which they interact, paying close attention to Hamelin's use of parody and humor.

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Wilczkowski, Tobias. "Heinrich Wilhelm Ernst and his Contributions to the Development of Left-hand pizzicato and Harmonics." Thesis, Stockholms universitet, Institutionen för musik- och teatervetenskap, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-83237.

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From the middle of the eighteenth century, the use of left-hand pizzicato and harmonics began to become more common in violin playing. Over time, these techniques underwent substantial developments thanks to several different violinists, among others Heinrich Wilhelm Ernst. These developments, however, have not been adequately investigated or documented, and in general, ignorance and misconceptions prevail regarding who contributed what, as well as to the significance of these individual contributions.This thesis attempts to present Ernst's contributions in this area, and also advance that his lack of adequate recognition is unfair. In order to do this, a more complete and chronologically accurate review of the development of left-hand pizzicato and harmonics from the beginning of their development has been drawn up. This has been done through critical reviews and comparisons of different contemporary sources such as musical journals, violin methods and musical scores.The conclusion has been drawn that Ernst contributed to the development of left-hand pizzicato and harmonics to a greater extent than has been adequately recognised. The importance of his role in this development is partially due to the number of his individual contributions, but primarily because he enabled the violin to play the role of several independent instruments played simultaneously in a more advanced fashion, which has arguably changed the outlook of the instrument.

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Park, Jeeyoung. "Comparing Musical Expression in Teresa Millanollo’s “Grand Fantaisie Elegiaque” Opus 1 with Niccolo Paganini’s Compositions." University of Cincinnati / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1613745055878857.

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Paganini, Nicole Maria [Verfasser], and Alfonso [Akademischer Betreuer] Sousa-Poza. "It is not about spinach : a food justice perspective on urban agriculture in Cape Town and Maputo / Nicole Maria Paganini ; Betreuer: Alfonso Sousa-Poza." Hohenheim : Kommunikations-, Informations- und Medienzentrum der Universität Hohenheim, 2021. http://d-nb.info/123972943X/34.

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Paganini, Ulrich [Verfasser]. "Bedürfnisorientierte Strukturentwicklung in Organisationen : Modellierung eines systemischen Strukturmodells zur Förderung von Selbstorganisation sowie der Handhabung dynamischer Komplexität System-Umwelt - Eine Fallstudie im industriellen Kontext der chemischen Industrie / Ulrich Paganini." Aachen : Shaker, 2014. http://d-nb.info/1049381874/34.

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McLean, Florence Anne. "Rakhmaninov's "Corelli" variations : new directions." Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/31115.

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Only a few of RakJimaninov's compositions were popular with audiences during the lifetime of this Titan of the piano. Such youthful works as the Prelude in c# minor, op. 3, no. 2 and the Piano Concerto no. 2, op. 18 demonstrated only one facet of a creative process that evolved throughout his life. The purpose of this thesis, therefore, is to consider the extent of Rakhmaninov's stylistic evolution, especially the changes embodied in the large scale piano solo, Variations on a Theme of Corelli, written in the last decade of the composer's life. In the discussion of Rakhmaninov's lifelong stylistic development the author considers three distinct stages in his life as important landmarks. The first stage shows certain early influences upon the composer's creative powers, whether conscious, such as his acknowledged sensitivity to melody, or unconscious, such as medieval chant (Dies Irae), the sound of church bells, poetry and painting. The second addresses the question of the mixed legacy of Rakhmaninov's break with the past, when he left Russia in 1917 to re-settle in the United States the next year. On the one hand he never entirely broke his links with "Mother Russia," his fascination with the sounds of bells and chants, in his last decade of musical composition. For example, a comparison of the ancient Dies Irae theme with the La Folia tune that Corelli had used reveals striking similarities that Rakhmaninov undoubtedly found attractive, albeit unconsciously. On the other hand, he was inspired to seek a new conciseness of style and form in composition. The third stage relates to trends nurtured perhaps by his friendship with eminent string players and performers in America such as Fritz Kreisler. It is not surprising that Rakhmaninov's last two important works owe their themes to famous violin pieces: the Folia tune used by Arcangelo Corelli in the Corelli Variations and Paganini's well known 24th Caprice in the Paganini Rhapsody. These new directions in Rakhmaninov's music are most clearly present in the Corelli Variations, which are examined in terms of: (a) a new keyboard style; (b) string influenced variations; (c) elements of American jazz; and (d) a new clarity of structure. Finally, the writer examines similarities between the Corelli Variations and the Paganini Rhapsody that writers have sometimes touched upon.
Arts, Faculty of
Music, School of
Graduate

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Harris, Adrian Paul. "Embodied knowing in eco-paganism." Thesis, University of Winchester, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.502243.

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Although embodied knowing is fundamental to our experience, no previous study has detailed its role in a specific spiritual group. This thesis offers a new model of embodied situated cognition, and develops an embodied hermeneutics which uses Focusing in phenomenological research. I apply these tools to the first detailed ethnography of Eco-Paganism to reveal powerful processes of connection which have considerable significance for religious studies and ecopsychology. Chapters 2 and 3 survey the literature on Eco-Paganism and embodied cognition. Chapter 4 uses the latter to synthesise a model of embodied situated cognition which I call the 'enactive process model', because it draws primarily on enactivism (inter alia, Varela et al., 1991), and Gendhn's process philosophy (Gendlin, 1997). Current research shows that key aspects of cognition are situated and embodied (inter alia, Varela et al, 1991), such that we often think with place (inter alia, Preston, 2003). This raises epistemological questions which I address in a discussion of embodied philosophy in Chapter 5. I then explain my embodied hermeneutics methodology, and the practical application of the Focusing Interview technique, in Chapter 6. My fieldwork autoethnography, Chapter 7, provides an intuitive, felt understanding of life on a road protest site, and is followed by ethnographies of urban and protest site Eco-Paganism in Chapters 8 and 9. Chapter 10 discusses six processes which create a sense of connection to the organic environment, which include the felt sense (Gendlin, 1981) and the wilderness effect (Greenway, 1995).

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Jamison, Ian. "Embodied ethics and contemporary paganism." Thesis, Open University, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.543849.

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Contemporary understandings of ethics consistently situate them as the result of a focussed rational and intellectual process within a narrow range of academic and religious areas. I challenge this approach, and theorise an embodied approach to ethics as both possible and desirable. I argue that such an approach may be most easily located in the contemporary Pagan approach to environmental ethics, given that the rhetoric of Paganism valorises the body and privileges the natural environment. While I agree that Paganism is indeed a nature religion, I theorise that there are two simultaneous yet contradictory discourses of nature informing Paganism: the animist (privileging nature qua nature) and the esoteric (privileging a symbolic understanding of nature). I assert that my qualitative fieldwork demonstrates that some Pagans have developed an embodied ethic through close relationship with nature. I acknowledge that the development of such a profound relationship requires considerable effort and a great deal of time. I then compare this against quantitative data from an online survey of self-identifying Pagans in order to establish the extent to which such an approach might be representative. The Initial analysis of the online data supports the assertion that my respondents are likely to express positive attitudes to the environment, but are unlikely to participate in activism in relation to a number of specified areas. Deeper analysis compares the data between different groups identified along the animist/esoteric scale, and suggests that those Pagans who are more influenced by the animist discourse are indeed more likely to express environmentally friendly attitudes and to take part in activism. I conclude that such an embodied environmental ethic is possible, although this may be substantially contingent upon lifestyle. I posit that by understanding the diversity of discourses informing Pagan approaches to nature, academics may be able to more accurately interpret the diversity of Pagan approaches, and Pagans themselves may be able to move forward in discussions between their various traditions.

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Hallett, Jennifer Rachel. "Paganism in England, 1885-1914." Thesis, University of Bristol, 2006. http://hdl.handle.net/1983/84df7e45-7965-486b-b1c8-059bc148a95b.

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This thesis examines paganism in England from the late Victorian period to the outbreak of the First World War. It explores paganism as an aspect of cultural history and defines paganism as the use of images and ideas from the ancient, pre-Christian, Mediterranean world. It identifies the existence of a radical desire for paganism to be restored in the modem era and it asserts that although this desire cannot be separated into discrete groups or movements, it did manifest itself in different varieties. This thesis reveals that there were three different varieties of paganism in operation during our period; these are labelled 'responsible' paganism, 'decadent' paganism, and 'magical' paganism. The form and nature of these varieties of paganism are discussed, analysed, and placed in the context of the wider cultural situation. This thesis concludes that paganism was used in an attempt to satisfy both spiritual and human aspirations .

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Kofsky, Arieh. "Eusebius of Caesarea against paganism /." Leiden : Brill, 2000. http://catalogue.bnf.fr/ark:/12148/cb391827105.

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Swim, Jeffrey. "Idle Worship: Kenneth Grahame's Literary Paganism." Thesis, Université d'Ottawa / University of Ottawa, 2016. http://hdl.handle.net/10393/35158.

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In this thesis, I explore the works of Kenneth Grahame in light of what some critics have deemed “literary paganism”. I argue that Grahame employs certain “pagan” tropes in order to launch a critique of modern culture. Grahame upholds a classical vision of leisure that rejects the ideology inherent to urbanization. His critique of modernity relies on a literary persona indicative of an alternative attitude to that of the middle class fin de siècle urban culture. His short stories add to this critique in their presentation of childhood as a pre-converted pagan existence which en-kindles a sense of disappointment with routinized adult life in the modern city. The Wind in the Willows embodies Grahame's vision of true leisure which is depicted in both the River Bank animals and their wetland ecosystem itself. By paying close attention to the pagan themes in Grahame’s writing, we gain a comprehensive view of his often misunderstood body of work.

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Simes, Amy Caroline. "Contemporary paganism in the East Midlands." Thesis, University of Nottingham, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.282514.

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Jones, Ieuan Thomas. "Modern paganism in the United Kingdom." Thesis, University of York, 2003. http://etheses.whiterose.ac.uk/10965/.

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Moore, Richard. "Christianity and paganism in Victorian fiction." Thesis, University of Wales Trinity Saint David, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683121.

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Carpenter, Clare. "Medievalism and paganism : interpretations of the Carmina Burana." Thesis, University of York, 2001. http://etheses.whiterose.ac.uk/10816/.

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Spajic, Ana-Marija. "Women's empowerment in Neo-Paganism : A study of power and gender and what we can learn about women’s empowerment in Neo- Paganism." Thesis, Uppsala universitet, Teologiska institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-412858.

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Too often women have a secondary place in religious institutions, with no possibility to influence or come into leading positions. This thesis aims to understand women’s empowerment by searching for such examples in Neo-Paganism, a growing New Religious Movement (NRM) in the west. Grace Jantzen’s development of Foucault’s power theory is utilized to analyze and understand the results. A mixed method is used; four interviews are conducted with Wiccan and Druid women, a survey of 332 women is analyzed, and literature and studies on Neo-Paganism are analyzed. I draw the conclusion that Neo-Paganism can empower women in different ways, however, this can be influenced by socio-cultural factors, as empowerment can look very different in different countries. The result is meant to provide us with an understanding of women’s needs in a religious and spiritual context, so that women may become empowered within their religious communities.

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Bumblauskas, Mangirdas. "Samogitia's Christianisation and the paganism factor (15-16th c.)." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2014. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2014~D_20140411_151000-25977.

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The work is devoted to elucidating the process of Christianisation of the last pagan region in Europe – Samogitia as a process of overcoming paganism or depaganisation in the 15th – 16th centuries. The main problem is a chronological difference in the conceptions that has existed in historiography for 500 years between what is considered to be the end of Samogitia’s Christianisation. This problem is solved, first of all, at a theoretical level taking over the conception of “conversion” from Western historiography applied to both political changes during the Christianisation period (the “official conversion”) and to the epoch of the society’s transformation from a pagan society into a Christian one (“conversion” in a broad sense). Attempts are made in the thesis to show the main phases of Samogitia’s early Christianisation beginning with the stage of mission Christianisation whose main historical fact is Jeronimas Prahiškis’ mission in 1401–1404 that ended in the last victory of paganism. During the period of the “official conversion”, which encompasses baptising campaigns and the establishment of a diocese, the factor of paganism manifested itself in the pagan reaction – in the 1418 revolt, which failed to terminate the processes supervised by the international forum of that time – the Council of Constance. The end of the conversion in a broad sense is assessed according to the following indicators: the density of the network of parishes, the facts of the last baptisms of... [to full text]
Darbas skirtas paskutinio Europoje pagoniško regiono – Žemaitijos christianizacijos kaip pagonybės įveikos arba depagonizacijos proceso XV–XVI a. išsiaiškinimui. Pagrindinė problema – istoriografijoje egzistuojantis 500 metų chronologinis sampratų skirtumas tarp to, kas laikoma Žemaitijos christianizacijos pabaiga. Ši problema sprendžiama pirmiausia teoriniame lygmenyje, perimant iš Vakarų istoriografijos „konversijos“ sąvoką, taikomą tiek christianizacijos politinių permainų laikotarpiui („oficialioji konversija“), tiek visuomenės virsmo iš pagoniškos į krikščionišką epochai („konversija“ plačiąja prasme). Disertacijoje siekiama parodyti pagrindinius Žemaitijos ankstyvosios christianizacijos tarpsnius, pradedant misijiniu christianizacijos etapu, kurios pagrindinis istorinis faktas yra Jeronimo Prahiškio misija 1401–1404 m., pasibaigusi paskutine pagonybės pergale. „Oficialiosios konversijos“ lūžyje, kuris apima krikštijimo akcijas ir vyskupijos įkūrimą, pagoniškasis veiksnys pasireiškė pagoniška reakcija – 1418 m. maištu, kuris vis dėlto nebenutraukė to meto tarptautinio forumo – Konstanco bažnytinio susirinkimo kuruojamo proceso. Konversijos plačiąja prasme pabaiga yra įvertinama pagal tokius rodiklius: parapijų tinklo tankis, paskutinių suaugusiųjų krikštijimų faktai, bažnyčių lankymo socialinės kontrolės sistemos faktai, dievų sąrašų bei pagoniškų praktikų liudijimai. Visi šie rodikliai leidžia teigti, kad XVII a. pradžią galima laikyti Žemaitijos konversijos pabaiga.

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Edwards, Leila Dudley. "Modern expressions of a traditional festival : contemporary Paganism and Halloween." Thesis, University of Sheffield, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.481527.

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Harris, Adrian Paul. "The wisdom of the body : embodied knowledge in eco-paganism." Thesis, University of Winchester, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.550230.

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Although embodied knowing is fundamental to our experience, no previous study has detailed its role in a specific spiritual group. This thesis offers a new model of embodied situated cognition, and develops an embodied hermeneutics which uses Focusing in phenomenological research. I apply these tools to the first detailed ethnography of Eco-Paganism to reveal powerful processes of connection which have considerable significance for religious studies and ecopsychology. Chapters 2 and 3 survey the literature on Eco-Paganism and embodied cognition. Chapter 4 uses the latter to synthesise a model of embodied situated cognition which I call the 'enactive process model', because it draws primarily on enactivism (inter alia, Varela et al., 1991), and Gendlin's process philosophy (Gendlin, 1997). Current research shows that key aspects of cognition are situated and embodied (inter alia, Varela et al., 1991), such that we often think with place (inter alia, Preston, 2003). This raises epistemological questions which I address in a discussion of embodied philosophy in Chapter 5. I then explain my embodied hermeneutics methodology, and the practical application ofthe Focusing Interview technique, in Chapter 6. My fieldwork auto ethnography, Chapter 7, provides an intuitive, felt understanding of life on a road protest site, and is followed by ethnographies of urban and protest site Eco-Paganism in Chapters 8 and 9. Chapter 10 discusses six processes which create a sense of connection to the organic environment, which include the felt sense (Gendlin, 1981) and the wilderness effect (Greenway, 1995). I conclude that a type of wilderness effect can catalyze the emergence of a complex 'nature based' spirituality amongst site Eco-Pagans, while a less intense form affects urban Eco-Pagans. Eco-Pagans sometimes use these processes of connection to think with a place. The processes of connection and thinking with place are fundamental to embodied situated knowing in Eco-Paganism, and help explain many of its distinctive aspects. By demonstrating the importance of embodied situated knowing in Eco-Paganism, I highlight the potential for further research into processes of connection and the impact of different physical spaces on religious practice in general.

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Collins, Loleta B. "A Coming Home: Neo-Paganism and the Search for Community." Oxford, Ohio : Miami University, 2002. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1020253276.

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Thesis (M.A.)--Miami University, Dept. of Comparative Religion, 2002.
Title from first page of PDF document. Document formatted into pages; contains 74 p. Includes bibliographical references (p. 64-74).

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Loughlin, Felicity Perpetua. "Religion, erudition, and enlightenment : histories of paganism in eighteenth-century Scotland." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/31488.

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The history of paganism captivated many scholars in eighteenth-century Europe, and was brought into some of the greatest philosophical and religious debates of the age. 'Paganism' was a term that encapsulated a variety of religious beliefs and practices in the ancient and modern worlds, categorically defined through their shared distinction from the Abrahamic traditions of Christianity, Judaism, and Islam. Although research has been carried out into the historical study of paganism in eighteenth-century England and in many areas of continental Europe, histories of paganism produced in contemporary Scotland have largely been overlooked. This thesis aims to recover this forgotten dimension of Scottish historical scholarship by examining histories of paganism written by eighteenth-century Scots. It demonstrates that these writings provide valuable insights into Scottish intellectuals' attitudes towards religion and its history in the age of Enlightenment, and illuminate the ideas and scholarly practices that underpinned them. Part One examines the first half of the eighteenth century, exploring the writings of Robert Millar (1672-1752), Andrew Ramsay (1686-1743), Archibald Campbell (1691-1756), and Thomas Blackwell (1701-1757). It is shown that their approach to pagan religious history was founded in humanist scholarship and erudition; their findings were derived from the study of ancient texts, modern works of scholarship, and reports of modern pagans. It is demonstrated that this shared methodology did not translate into uniformity of interpretation. Pagan beliefs were variously regarded as manifestations of idolatry, as reflections of revealed religious truth, or as allegories of ancient philosophical wisdom; for some, paganism was soul-destroying, for others it was a crucial support for popular morality. It is argued, however, that each author provided a conjectural account of the origins of paganism, based on their perception of the earliest ages of human history, and their conception of the fabric of human nature. It is emphasised that, contrary to prevailing historiographical interpretations of the European study of paganism, the Scottish engagement with pagan religious history did not undermine contemporaries' attitudes towards the authority of the Christian Revelation or their perception of the superiority of Christianity. Part Two addresses the second half of the century, the age of the 'High Enlightenment'. It focuses on the natural histories of religion produced by the celebrated historians of the age, David Hume (1711-1776) and William Robertson (1721-1793). These works are generally regarded as the product of a new approach to historiography, which applied the science of human nature and society to the study of the origins and development of religious belief. It is argued here that these works in fact display remarkable continuity with the objectives, concepts, and scholarly practices that informed earlier histories of paganism. In framing their accounts of the natural development of religious belief, Hume and Robertson appealed to the evidence of the pagan past. A new emphasis on the stages of social and cognitive development supplemented, rather than replaced, the use of humanist scholarship, erudition, and conjecture in the study of pagan religious history. Nor did natural histories of religion necessarily threaten the privileged status of revealed Christianity. The thesis thus problematises the sharp division often drawn between the 'early' and 'high' phases of the Scottish Enlightenment, and questions the extent to which Scottish conceptions of religion and its history were radically transformed during the eighteenth century.

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de, Millo Cole. "Gaze not upon the * : Paganism and history use within digital games." Thesis, Linnéuniversitetet, Institutionen för kulturvetenskaper (KV), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-100115.

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This bachelor thesis goal is to explore how paganism has expressed itself within the world of digitalgames through three different examples. It builds onto already existing research around videogames and history use as well as my own term paper that touched upon this subject. This thesis willbe done using academic literature concerning digital games, history use and paganism from Russiaas well as Japan.

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Gradel, Ittai. "Heavenly honours : emperor worship in Italy from Augustus to the Severans." Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.307227.

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Berry, Damon. "White blood, white Gods an assessment of racialist paganism in the United States /." Connect to resource, 2006. http://hdl.handle.net/1811/6559.

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Thesis (Honors)--Ohio State University, 2006.
Title from first page of PDF file. Document formatted into pages: contains 61 p.; also includes graphics. Includes bibliographical references (p. 59-61). Available online via Ohio State University's Knowledge Bank.

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Pavlova, Maria. "'Il fior de Pagania' : Saracens and their world in Boiardo and Ariosto." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:ef19b552-3215-436c-8744-e91f6fe5f2cf.

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This study investigates the representation of Saracens in Boiardo's Inamoramento de Orlando and Ariosto's Orlando furioso, a subject that has attracted growing scholarly interest in recent years. Chapter I assesses the degree of realism in Boiardo's and Ariosto's portrayal of Islam and Islamic culture and locates the two poems in their historical context. Bringing to light unpublished archival material and other little-known historical sources, I argue that Boiardo and Ariosto drew inspiration from contemporary courtly culture which was characterised by openness towards the figure of the foreign prince. Chapter II explores Boiardo's engagement with earlier chivalric literature. It examines Boiardo's use of names and characters from earlier texts and evaluates the Saracens' contribution to the ideology that underpins the poem. It is shown that Saracens play an important role in promoting the ‘Arthurian’ chivalric ideals. Chapters III and IV analyse Ariosto's indebtedness to and departures from his predecessor, suggesting that there is a much greater continuity between the two Orlandos than is allowed by Cavallo and other scholars who are anxious to stress Ariosto's 'conservatism'. While chapter III is devoted to a wide-ranging analysis of the Saracen world in Ariosto, chapter IV deals with a topic that has recently generated much heated debate, namely the climactic confrontation between Rodomonte and Ruggiero and the ending of the Orlando furioso and how it should be understood, and I propose a new interpretation of the final canto by highlighting the concept of honour, a fundamental value for both Boiardo and Ariosto as well as for their early readers and for many chivalric authors alike. In my view, Rodomonte is the true winner of the duel. The significance of his 'moral' victory is examined in the study's final conclusion, where it is argued that it undermines Ariosto’s encomiastic project.

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Pagani, Alain [Verfasser]. "Reality models for efficient registration in Augmented Reality / Alain Pagani." München : Verlag Dr. Hut, 2015. http://d-nb.info/1069019852/34.

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Stanciu, Radu Razvan. "Attitudes towards Paganism in Medieval Irish and Old Norse Texts of the Trojan War." Thesis, University of Cambridge, 2016. https://www.repository.cam.ac.uk/handle/1810/290141.

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The thesis compares the depictions of paganism found in the Middle Irish Togail Troí ('The Destruction of Troy'; first half of the twelfth century) and the Old Norse Trójumanna saga ('The Story of the Trojans'; first half of the thirteenth century), which are both based on Dares Phrygius's Late Antique De excidio Troiae historia. The two vernacular adaptations are presented in the wider context of the medieval popularity of Dares's text. The in-depth analysis of the pagan references (most of which relate to mythology and ritual), reveals Togail Troí's and Trójumanna saga's general source-based approach and their shared reliance on Latin mythographic scholarship, but also a different approach concerning the literary presentation of paganism. The Irish text's 'Christian' approach to the issue (as seen through authorial comments and historical contextualisation) is shown to be in contrast to the Norse text's 'classicising' approach (i.e. paganism presented as in the classical sources themselves). The findings of this analysis are then compared with the literary attitudes towards paganism encountered in medieval Irish and Norse texts more widely (especially in those set in Ireland or Nordic countries). This comparison reveals a general sympathy for many pagan characters that finds some parallels in the Trojan texts as well, but also a different representation of pagan deities in the two traditions. Indeed, the Irish tendency to avoid depicting the gods as such and the opposite Norse tendency, to portray them in an explicit way (often from a pagan point of view), mirror the evidence furnished by Togail Troí and Trójumanna saga. The literary attitudes to paganism and particularly towards mythology, which are encountered in the two texts, are further explored from the point of view of authorship. It is shown that the Irish author is writing in a historiographical mould, while the Norse author is writing in what could be described as a mythographical mould. Two complementary lines of interpretation are sketched for this phenomenon. The first one emphasises the existence of two different cultures of dealing with paganism in Irish and Norse literature respectively. The second line of interpretation draws to the fore two different approaches to the author-text relationship, examined through the framework of medieval literary theory. The final chapters highlight the importance of the research both for our understanding of the unique and complex literary cultures of medieval Ireland and Iceland and for the light that can be shed on the multifaceted relationship between authors and texts in medieval literature through the prism of paganism.

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Grossman, Deborah. "Survivals of Paganism in Christian Medieval Iceland as Evidenced by the Icelandic Family Sagas." Oberlin College Honors Theses / OhioLINK, 1988. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1363964743.

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Pearson, Joannne Elizabeth. "Religion and the return of magic : Wicca as esoteric spirituality." Thesis, Lancaster University, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.322133.

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Rock, Stella Kathleen. "Russian 'double-belief' : text, context, concept." Thesis, University of Sussex, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.323055.

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Charbonneau, Marisol. "A distinct Paganism: The Contemporary Pagan revival in Montreal at the turn of the millennium." Thesis, University of Ottawa (Canada), 2008. http://hdl.handle.net/10393/27669.

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Contemporary Paganism, including Wicca, is a new religious movement that has taken root in the worldwide Anglophone diaspora, including Canada. Due to the fact that the majority of the population within Quebec is Francophone, several researchers of Paganism have cast doubts as to whether the Pagan movement could ever take root in the province. This research is an ethnographic study of Paganism in Montreal, Quebec's largest city and sole metropolis, using participant-observation, survey questionnaires, and one-on-one interviews in both English and French. This research aims to determine whether there are any significant differences between Anglophone and Francophone Pagans in Montreal, the degree to which Quebec culture has influenced the development of the religion within the province, and how the unique and distinct forms of Paganism in Quebec challenge the hegemony of the American model of Paganism. This research also explores the ways the development of a Pagan identity can be likened to the process of ethnogenesis.

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Moretti, Debora. "The witch and the shaman : elements of paganism and regional differences in Italian witches' trials." Thesis, University of Bristol, 2017. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.761223.

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Dissertations / Theses on the topic 'Paganini'

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