Dissertations / Theses: 'Rock History'

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Harris, William B. "The geologic history of Rock Canyon, Utah : a virtual trip /." CLICK HERE for online access, 2002. http://www.geology.byu.edu/faculty/rah/slides/Rock%20Canyon/Home.htm.

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Thesis (M.S.)--Brigham Young University. Dept. of Geology, 2002.
Web site works as of 02/10/03. Consult BYU Dept of Geology for URL changes in future. Includes bibliographical references (leaves 8-9). Also available via Internet.

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Hall, Tammy Barnett IV. ""Rocky Top, Rocky Road, Solid Rock: Thirty Years of Intellectual History at the Federal Executive Institute"." Diss., Virginia Tech, 1998. http://hdl.handle.net/10919/30766.

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The Federal Executive Institute (FEI) was created in 1968 by Executive Order from President Johnson, stating the need for establishing "a center for advanced study for executives in the upper echelons of the Civil Service." It was common in the early years for FEI to provide life changing, "rocky top" experiences. Since that time, the FEI has traveled down a rocky road, through efforts to disband, attempts to privatize, and flurries of criticism. It has emerged with a "back to basics curriculum" and a mission founded on what is seen as the solid rock of the Constitution and an emphasis of each executive's role within that Constitutional system. The intellectual history of FEI, including its creation, curriculum, and leadership and how they have developed and changed over time, suggests this key question: how does FEI decide to teach what (and how) it teaches? This answer has varied; at times, the institution was shaped by strong directors; at other times, key political actors and faculty members. There were times of great environmental turbulence and threat, when the very existence of the FEI was in jeopardy. Although the intellectual streams may have diverged, the FEI community rallied to ensure survival. They have indeed survived, and while not the same institution founded in 1968, still maintain their niche for educating "the best of the best."
Ph. D.

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Ethen, Michael. "A spatial history of Arena Rock, 1964-79." Thesis, McGill University, 2012. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=106299.

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This dissertation traces a history of popular music and explores problems in social space theory from the perspective of the genre called Arena Rock. Many of the popular music practices between 1964 and 1979 have been the work of performers who attracted enormous live audiences, and the 1970s has been called "the age of the arena." Yet problems of live performance are neither confronted by the prevailing theories of social space nor adequately foregrounded in popular music historiography. The case of Arena Rock presents a unique opportunity to address these urgent historical and theoretical issues, because it marks the moment at which chroniclers of popular music recognized the importance of performance venues to the definition of a genre. An indispensable but neglected area in popular music history, Arena Rock constitutes a fundamentally nodal genre that encompassed performers of diverse aesthetic priorities, from the reputed British originators the Beatles and Led Zeppelin to the American bands Styx, Kiss, and Boston, and spanned a range of geographic locations and venue types, from rural farmland to urban and suburban stadiums and arenas. Through close interpretations of the developmental contexts of Arena Rock, this study demonstrates how the genre came to represent a contentious field of popular culture riven by divergent views on the construction of social space. In doing so, this study charts a history of musicians, critics, and fan communities that grappled with questions of commercial music and live performance, with chapters that focus on the relationship between rock concerts and characteristic uses of urban space; Led Zeppelin's practice of designing compositions suitable for and redolent of reverberant stadiums; the politics of improvisation and routine in the music of Grateful Dead; the complex interconnectedness in the early 1970s of the faltering rock festival industry and the burgeoning urban field of arena rock; and the hoary question of authenticity around 1977, when rock critics began using, in a fairly consistent manner, the genre term Arena Rock.
Cette thèse retrace l'histoire de la musique populaire et examine les problèmes de théorie en terme d'espace social — dans la perspective du genre musical appelé «Rock d'aréna». Plusieurs formules de musique populaire se retrouvent dans les œuvres de performeurs sur scène qui, entre 1964 et 1979 attiraient des publics énormes. Les années 1970 sont ainsi devenues «l'âge de l'aréna». Mais les problèmes de performance en direct ne sont pas confrontés aux théories qui prévalent dans l'espace social, ou encore mis en valeur dans l'historiographie de la musique populaire. Le cas du Rock d'aréna présente une opportunité urgente et unique de confronter ces problèmes historiques et théoriques, parce que cette époque marque le moment auquel les chroniqueurs de musique populaire ont reconnu l'importance des lieux de performances dans la définition d'un genre musical. Un genre incontournable mais négligée par l'histoire de la musique populaire, le Rock d'aréna constitue un catégorie fondamentalement nodale qui comprenait des performeurs aux priorités esthétiques diverses, en commençant par les Beatles et Led Zeppelin – présumés créateurs anglais du Rock d'aréna – en passant par les groupes américains comme Styx, Kiss, et Boston et tout cela dans une variété d'endroits géographiques et de types de scène – à partir des fermes rurales jusqu'aux stades et aux arènes des villes et de leurs banlieues. À travers l'interprétation méticuleuse des contextes développementaux du Rock d'aréna, cette étude démontre comment le genre a évolué pour représenter un domaine controversé d'une culture populaire tourmentée par des points de vue divergents dans la construction de l'espace social. Pour ce faire, cette étude trace l'histoire des musiciens, des critiques, et des communautés d'amateurs confrontés à des questions de musique commerciale et de performance en direct, dans des chapitres qui font le point : sur les relations entre les concerts rock et les usages caractéristiques d'espace urbain; sur la pratique du groupe Led Zeppelin de développer des compositions qui évoquent les stades réverbérant; sur les pratiques routinières d'improvisation dans la musique des Grateful Dead; sur l'inter-connectivité complexe au début des années 70s d'une industrie des festivals rock en déclin malgré la demande urbaine croissante du Rock d'aréna; et sur la question déformée de l'authenticité quand les critiques de rock ont commencé à utiliser, autour de 1977, le terme générique «Rock d'aréna» de manière plus ou moins consistante.

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Stephens, Vincent Lamar. "Queering the textures of rock and roll history." College Park, Md. : University of Maryland, 2005. http://hdl.handle.net/1903/2444.

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Labadie, Julia E. Schermer Elizabeth. "The structural and tectonic history of the Mt. Formidable region, North Cascades, Washington /." Online version, 2010. http://content.wwu.edu/cdm4/item_viewer.php?CISOROOT=/theses&CISOPTR=333&CISOBOX=1&REC=14.

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Lewis, Neil. "The climbing body : choreographing a history of modernity." Thesis, Lancaster University, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.288878.

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Pietschmann, Franziska. "A Blacker and Browner Shade of Pale: Reconstructing Punk Rock History." Master's thesis, Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2010. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-62981.

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Embedded in the transatlantic history of rock ‘n’ roll, punk rock has not only been regarded as a watershed moment in terms of music, aesthetics and music-related cultural practices, it has also been perceived as a subversive white cultural phenomenon. A Blacker and Browner Shade of Pale challenges this widespread and shortsighted assumption. People of color, particularly black Americans and Britons, and Latina/os have pro-actively contributed to punk’s evolution and shaped punk music culture in the United States and England. Examining why people of color are not linked to the punk rock genre and culture in normative discourse, this paper first scrutinizes the continuously unaddressed racialization of Anglo-American popular music itself and explores how the historical development and discursive construction of racial boundaries impacted the historiography of Anglo-American popular music. Building on these premises, the second central field of inquiry probes how the music press, aided and abetted by academic texts, constructs punk as a white music mono-culture that such discourse historicizes, analyzes, and maintains. Both popular (journalistic) and academic publications have largely ignored or underrepresented the presence of people of color, especially black (American) as well as Latina/o participants, in punk rock culture. The thesis’ third major focus imagines punk as a fluid social and musical convergence culture that continuously crosses unstable boundaries of genres, races, and genders. A Blacker and Browner Shade of Pale thus indicates an emerging awareness of how popular and academic discourse can become more sensitive to punk's multiracial, inclusive, and participatory mores.

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Schlunke, Katrina, of Western Sydney Hawkesbury University, Faculty of Social Inquiry, and School of Humanities. "An Autobiography of the Bluff Rock Massacre." THESIS_FSI_HUM_Schlunke_K.xml, 1998. http://handle.uws.edu.au:8081/1959.7/783.

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This thesis is a multi-faceted engagement with the many events and people that came to be known as 'The Bluff Rock Massacre'. Employing a number of textual techniques it seeks to articulate the ways in which 'historical' events and particular places come to be lived out in subjects who are both past and present and in a constant state of becoming. The work employs official historical records, family histories, tourist leaflets, gossip, field notes and other texts to show the multiple ways in which an event both becomes and exceeds its invention. The thesis is concerned with the ways in which the non-Aboriginal can write Australian history after the many Aboriginal interventions into hegemonic history and the ongoing re-appraisal of 'What happened?' Simultaneously the writing is written on the terrain of post-identity politics and is both queered and performative. The work attempts a textual exposition of the questions - How does one write the past when it is also the present?; What is a postcolonial autobiography?; what is a postcolonial sexuality/textuality? - rather than answer them
Doctor of Philosophy (PhD)

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Piepho, Scott R. Piepho. "And the Law Won: A History of Rock 'n' Roll in Lawsuits." University of Akron / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=akron1523176340522117.

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Hamilton, John C. "Rubber Souls: Rock and Roll and the Racial Imagination." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:10873.

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This dissertation explores the interplay of popular music and racial thought in the 1960s, and asks how, when, and why rock and roll music "became white." By Jimi Hendrix's death in 1970 the idea of a black man playing electric lead guitar was considered literally remarkable in ways it had not been for Chuck Berry only ten years earlier: employing an interdisciplinary combination of archival research, musical analysis, and critical race theory, this project explains how this happened, and in doing so tells two stories simultaneously. The first is of audience and discourse, and the processes through which a music born of interracialism came to understand whiteness as its most basic stakes of authenticity. This is a story of the deeply ideological underpinnings of genre formation, and the ways that the visual imagination of race is strangely and powerfully elided with the audible imagination of sound. The second story is of music's own resistance to such elisions, and examines a transatlantic community of artists including Bob Dylan, Sam Cooke, the Beatles, Aretha Franklin, Dusty Springfield, the Rolling Stones, Jimi Hendrix and others to fashion an interracial counter-history of Sixties music, one that rejects hermetic ideals of racial authenticity while revealing the pernicious effects of these ideologies on musical discourse. Ultimately, this dissertation provides a new way into the topic of race and popular music--long dominated by essentialist claims of cultural ownership on one hand, and a romantic "colorblindness" on the other--by demonstrating that racial thought is both a producer and product of expressive culture. Rarely has this been truer than in the 1960s, when both popular music and racial ideology underwent explosive transformations that were never entirely separate from each other. Rock and roll music, I argue, did not become white as a result of the music that people made, but rather as a result of discursive forces that surrounded, celebrated, and too often drowned out the music that people heard.

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Suleiman, Feda. "Dome Of The Rock: A Rich Historic and Artistic Account." Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1461152510.

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Trott, Brian. "Faouda Wa Ruina| A History of Moroccan Punk Rock and Heavy Metal." Thesis, The University of Wisconsin - Milwaukee, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10815577.

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Under the Supervision of Professor Gregory Carter While the punk rock and heavy metal subcultures have spread through much of the world since the 1980s, a heavy metal scene did not take shape in Morocco until the mid-1990s. There had yet to be a punk rock band there until the mid-2000s. In the following paper, I detail the rise of heavy metal in Morocco. Beginning with the early metal scene, I trace through critical moments in its growth, building up to the origins of the Moroccan punk scene and the state of those subcultures in recent years. I also discuss in depth the organization of concerts and music festivals in Morocco. I argue that Moroccan youth creatively engage with globalized media, to create original, subjective interpretations of said media. This paper is split into sections of analysis and sections of narrative based on interviews I conducted with members of the Moroccan punk and metal scenes.

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Koger, Jace. "Spatio-temporal History of Fluid-rock Interaction in the Hurricane Fault Zone." DigitalCommons@USU, 2017. https://digitalcommons.usu.edu/etd/5911.

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The Hurricane Fault is a 250-km long, west dipping, Basin and Range-bounding normal fault in SW Utah and NW Arizona that initiated in the mid-Miocene to Pliocene. It has been primarily active in the Quaternary, with slip rates of 0.2 – 0.6 mm/yr. There are multiple hot springs along its 250-km length and multiple late Tertiary-Quaternary basaltic centers broadly parallel the fault. Possible sources of hot spring fluids include deeply-circulated meteoric water that experienced water-rock exchange at high temperatures (>100 °C) and deep-seated crustal fluids. Aside from the source of modern hot spring fluids and heat, questions about the spatio-temporal history of fluid flow along the Hurricane Fault remain unaddressed. Abundant damage zone veins, cements, and host rock alteration are present, indicative of past fluid flow. Carbonate veining and cementation is a key feature of the Hurricane Fault zone, and is the primary feature exploited to characterize the thermochemical history of fault-related paleofluids. A combination of macroscopic and microscopic carbonate observations, chemical composition, and precipitation temperature of calcite veins was used to determine past water-rock diagenetic interaction and vein evolution in the Hurricane Fault zone. Calcite iv in concretions and veins from the damage zone of the fault shows a wide range of carbon and oxygen stable isotope ratios, with δ13CPDB from -4.5 to 3.8 ‰ and δ18OPDB from -17.7 to -1.1‰. Fluid inclusion microthermometry homogenization temperatures range from 45 to 160 °C, with fluid salinities of 0 to 15 wt% NaCl calculated from melting temperatures. Combining the two datasets, two main fluids that interacted with the fault zone are inferred: (1) basin brines with a δ 18OSMOW of 9.2 ‰ and (2) altered meteoric fluids with a δ 18OSMOW of -11.9 to -8.3 ‰. Calculated dissolved CO2 δ 13CPDB (-8.5 to -1.3 ‰) indicates mixed marine carbonate and organic or magmatic sources. Fault zone diagenesis was caused by meteoric water infiltration and interaction with carbonate-rich rocks, mixed with upwelling basin brines. Fluid-rock interaction is concentrated in the damage zone, where fracture-related permeability was utilized for fluid flow. A distinct mineralization event punctuated this history, associated with basin brines that were chemically influenced by nearby basaltic magmatism. This implies a hydrologic connection between the fault and regional magmatism.

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Kaplan, Jonathan Michael. "45000 years of hunter-gatherer history as seen from Umhlatuzana Rock Shelter." Master's thesis, University of Cape Town, 1989. http://hdl.handle.net/11427/22299.

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Bibliography: pages 124-137.
Umhlatuzana Rock Shelter in Natal was excavated in 1985. A long and detailed sequence of stone artefacts was recovered. These artefacts covered the time range from the Middle Stone Age (MSA) to the Later Stone Age (LSA). The excavations generated important information on the MSA, MSA/LSA transition, the Late Pleistocene early microlithic bladelet assemblages, and the relationship between hunter-gatherers and farmers between AD 400-AD 800. The primary aim of this thesis is to describe the excavation and the results, showing how Umhlatuzana Rock Shelter contributes to a broader understanding of the southern African MSA and LSA technological evolution. The stone artefact sequence, animal and plant remains, worked bone tools, beads, pottery and ochre finds are described. Evidence is presented which shows that the change from the MSA to the beginning of the LSA .took place between 35 000 BP and 20 000 BP, while a true LSA industry occurred closer to 20 000 BP. No technological boundary exists between the MSA and the LSA: rather change was a gradual process beginning· in the MSA. The bladelet-rich assemblages recovered from Umhlatuzana Rock Shelter are the first of their kind to be positively identified in Natal. Pre-dating 18 000 BP and post-dating 12 000 BP, they show that assemblages of this nature were systematically produced earlier and later in Natal, than elsewhere in southern Africa. The metrical results for bladelet cores and bladelets show that there is a progressive decrease in the mean length sizes of. these artefacts from the MSA to the LSA, as well as within the LSA sequence. statistics show that the model for gradual change is corroborated. These results have significant implications for our understanding of the culture-history sequence in southern Africa. The results also raise questions regarding the nature of MSA and MSA/LSA assemblages, and the origins of the early microlithic assemblages of the southern African LSA.

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Schmitt, Jason M. "Like the Last 30 Years Never Happened: Understanding Detroit Rock Music Through Oral History." Bowling Green State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1214237279.

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Walden, Geoffrey Alan. "It's Only Rock 'n' Roll But I Like It : A history of the early days of rock 'n' roll in Brisbane... as told by some of the people who were there." Queensland University of Technology, 2003. http://eprints.qut.edu.au/15791/.

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The music history that is generally presented to students in Queensland secondary schools as the history of music is underpinned by traditions associated with the social and cultural elite of colonialist Europe. On the other hand, contemporary popular music is the style with which most in this community identify and its mass consumption by teenagers in Brisbane was heralded with the arrival of rock 'n' roll in the mid-1950s. This project proposes that the involvement of the music education system in, and the application of digital technology to, the collection and storage of musical memories and memorabilia with historical potential is an important first step on the journey to a music history that is built on the democratic principles of twenty-first century, culturally and socially diverse Australia rather than on the autocratic principles of colonialist Europe. In taking a first step, this project focused on collecting memories and memorabilia from people who were involved in an aspect of the coming of rock 'n' roll to Brisbane. Memories were collected in the form of recorded conversations and these recordings, along with other audio and visual material were transferred to digital format for distribution. As an oral history focusing its attention on those who were involved with the coming of rock 'n' roll to Brisbane in the mid to late 1950s and the early 1960s, this project is intended as a starting point for that journey. Even as a starting point however, some interesting findings emerged. For example: * Early Brisbane rock 'n' roll was a suburban affair. * Dancers were just as important in bringing rock 'n' roll to Brisbane as were the musicians. * Musicians not only had to learn new music on new instruments, they had to, in many cases, make their own instruments. * The rock 'n' roll story as promoted by the newspapers of the day was very different to how it is remembered by the participants. * Community institutions such as family, school and church played a vital support role in the lives of young rock 'n' roll musicians. * Brisbane's rock 'n' roll musicians generally reflected the conservative nature of their community. * Brisbane's very early rock 'n' roll musicians were strongly influenced by country and western music. * Once the commercial viability of rock 'n' roll became evident, it became more accepted as an entertainment format. Of the many thousands of people who lived in Brisbane during the 1950s and who had an interest in or were affected by the coming of rock 'n' roll, only a very small percentage were involved in this project. This would indicate that there is a significant body of untold memories and stories waiting to respond to the interest of Queensland music students.

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Schmitt, Jason. "Like the last 30 years never happened understanding Detroit rock music through oral history /." Bowling Green, Ohio : Bowling Green State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1214237279.

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Warner, Simon. "Rock and the written word : essays on popular music, literature, language, and cultural history." Thesis, University of Leeds, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.550346.

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This thesis gathers work on a number of popular music-related areas but with connecting themes and threads. The relationship of the Beat Generation writers of the 1950s to the popular music culture that followed is explored and the connections that were forged between that gathering of anti-establishment novelist and poets and the counterculture that would take shape in the 1960s are investigated. Chapters reflecting on Beat activity and its association with the rise of rock'n'roll, the emergence of the Beatles and its continuing impression on performers from . the post-Sixties period are included. The impact on the rock underground, in part a legacy of the Beat influence, are further addressed in sections on the Summer of Love of 1967 and the Wood stock Festival. But there is also an over-riding theme that makes links between the power of language and the expressions of popular music's artists and groups. Whether we are reflecting on the influence of literature on music-makers, the power of the lyric, or the very words that are utilised to describe or critique popular music, the role of language is often central. This thesis explores that inter-section from a range of angles.

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Guy, Stephen. "The nature of community in the Newfoundland rock underground /." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=81493.

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Twenty-five years of independent, underground, or punk rock music-making in St. John's, Newfoundland, have been defined by geographic isolation. In tracing a historical record of the small city's punk/indie scene, this project seeks to evaluate recent academic discussion surrounding the role of collectivity in artistic 'independence' and examine the impact of prevailing international aesthetics and changing communication technologies on local practice. The self-containment and self-sufficiency of the St. John's music community, largely the product of the city's isolated position on the extreme eastern tip of a large island off the east coast of North America, provide a unique backdrop against which to foreground a discussion of the distance between indie/punk rhetoric and reality. I contend that 'scene' in popular and academic use refers to the casual aggregation occasioned by similar interest and shared location, while 'community' hints at effort, co-operation and productive support.

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Blower, Nicholas. "Outsiders in Red Rock Country : the Kaiparowits Project and the reputation of American environmentalism." Thesis, University of Kent, 2018. https://kar.kent.ac.uk/67662/.

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This dissertation interrogates the ways in which a series of critical newspapers, federal agencies, and private industries sought to re-shape and negatively frame the public image of post-war conservation and environmental groups in Utah and the Intermountain West. It traces, through a series of environmental-energy conflicts located around southern Utah's Kaiparowits Plateau, how commentators employed attacks on public image to de-legitimise and contain what was seen as the escalating spread of a political and cultural force: environmentalism. Beginning in the early 1950s and proceeding through much of the United States' 'environmental decade,' I detail the mutating nature and variable efficacy of these attacks as environmentalists were alternately associated with Communism, Middle Eastern oil cartels, and the counterculture. Recognising environmental groups as co-producers in this shifting public image, I also account for their counter-attempts at defending their reputations using advertising, photography, and promotional materials. This project offers a revisionist approach to standard narratives of the ascendancy of environmental organisations. Historical accounts have typically focused on the increasing competency, professionalism, and popularity of these advocacy groups. However, few explorations have focused on the way public understandings of the movement were shaped by a range of hostile critics that constructed environmentalists in a series of decidedly pejorative frames. I argue that even as several environmental organisations achieved increased political access and potency in the years 1950-1980, their reputations in the same period experienced a comparable decline. This resultant divisive reputation in the Intermountain states would come to play a central factor in the movement's subsequent loss of political and cultural agency in the region in the 1980s.

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Churton, Wade Ronald. "Alternative music in New Zealand,1981-2001 definitions, comparisons and history." Thesis, University of Canterbury. History, 2003. http://hdl.handle.net/10092/1030.

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Alternative music was a cultural practice, which became a significant feature of New Zealand's local and national history over the last two decades of the twentieth century. Features of technology, economics and music culture influenced the creation and course of local independent music scenes, along with factors such as cultural remoteness. This thesis isolates and collates key factors and time periods of international music industry history, and refracts the information through alternative music in general, providing a coherent definition of the term. The history and definitions of New Zealand's alternative music history are then assessed for the period 1981-2001, with especial reference to the Flying Nun label and 'Dunedin Sound'.

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Sanchez, Luis Adan. "To catch a wave : The Beach Boys and rock historiography." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/7954.

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From the release of their first single “Surfin’” in 1961 to the release of the album Pet Sounds in 1966, rock history traces the arc of the American rock group the Beach Boys in broad terms of the early-sixties Southern California surf music trend and the revolutionary effects of the Beatles’ stateside arrival in 1964. Typical claims for progress, autonomy, the significance of the album, and myths of authenticity in the study of the emergence of the rock concept, however, tend to promote an essentialist understanding of what rock music is about and what it is for. This study proposes an alternative narrative in which the regulating dichotomies of rock—art versus commerce, seriousness versus schlock, the authentic versus the inauthentic— are historicized, in the case of the Beach Boys’ transition from surf band to a complex studio recording project, as matters of creative practice and conflicting sensibilities. Questioning the conventional wisdom of rock history, this project suggests a counter-story about the significance of creative achievement, failure, and advancement

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Coward, David. "Perceiving history in Robert Kroetsch’s The Studhorse Man and Rock Carrier’s La guerre, yes sir!" Mémoire, Université de Sherbrooke, 1992. http://hdl.handle.net/11143/10357.

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Le but principal de ce mémoire est l'interprétation de la perception de l'histoire dépeinte dans La guerre, yes sir! de Roch Carrier et dans The Studhorse Man de Robert Kroetsch. Cette interprétation repose sur l'hypothèse que les deux auteurs sont insatisfaits de la perception de l'histoire dans leur culture respective. Les deux romans présentent ces perceptions culturelles comme la source du mécontentement de ces auteurs qui amènent, chacun dans leur oeuvre, une réponse à ce sentiment d'insatisfaction. [...]

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Smith, Mandy J. "“Primitive” Bodies, Virtuosic Bodies: Narrative, Affect, and Meaning in Rock Drumming." Case Western Reserve University School of Graduate Studies / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=case1589971850375113.

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Coode, Stephen L. "The American Expeditionary Forces in World War I: The Rock of the Marne." Digital Commons @ East Tennessee State University, 2008. https://dc.etsu.edu/etd/1908.

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American participation in the First World War developed slowly throughout 1917 to a mighty torrent during the last six months of the war. United States participation undoubtedly helped not only repel but to stop all German assaults on the Western Front: it had substantially aided in defeating Imperial Germany. Through primary and secondary sources a timeline, as well as a few of the more significant events, has been established following the United States' involvement in the war. Special attention has been focused on the United States Third Infantry Division and its part in the July 15- 17, 1918 Second Battle of the Marne. The Third Infantry Division would see the war throughout its remaining battles and aid in the occupation of Germany. However, it is most famous for the Marne battle.

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Kristiansen, Heidi. "Å bruke fortiden : Helleristninger i Sverige som eksempel på kulturarv og dens bruk." Thesis, Uppsala universitet, Institutionen för arkeologi och antik historia, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-353049.

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The aim of the essay is to investigate rock art in Sweden as a cultural heritage. The material in the essay is rock art. The method is a literature study that compiles and analyzes other researchers’ views of the material (rock art). I limit the essay to rock art in Sweden. The essay has 3 questions: 1 How can cultural heritage be used? 2 Which laws protect rock art? 2 Are there archaeological traces of the fact that the rock art continued to have significance after no new rock art were created? The theoretical point of departure of the essay is historical perspective. The physical traces of the past are seen as different functions and have different meanings for different periods of time. The result of the essay is that rock art are seen as memories preserved in physical form (in books) and the actual ritual to punch the pictures or that performing rituals are seen as bodily preserved memory for example memorial ceremonies. The Heritage Board of Sweden works with the protection of culture, with knowledge dissemination and knowledge building, conservation and care authority work and archaeological assignments. County Administrative Board is responsible for protecting, informing and protecting the regional cultural environment as building and settlements, ancient objects and churches, cultural landscapes and industrial history sites. The Heritage Law determines the protection of valuable buildings such as ancient monuments, ancient finds, church cultural monuments and some cultural objects. The rock art form Stone Age may have affected where new rock art were placed under the Bronze Age, which affected the location of Rockies during the younger Bronze Age. Recent visits created a movement pattern in the landscape that may have lived and structured peoples activities also after the tradition of making new pictures had ceased. Rock art premises may have affected where new rock art were placed during the early Bronze Age, which affected the location of Rockies during the younger Bronze Age.

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Kent, David Martin, and n/a. "The Place of Go-Set in Rock & Pop Music Culture in Australia, 1966 to 1974." University of Canberra. Professional Communication, 2002. http://erl.canberra.edu.au./public/adt-AUC20050509.095456.

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This is the first academic examination of the place and history of works produced by Go-Set Publications in studies of contemporary Australian teenage culture. Go-Set (Go-Set Publications, Melbourne) is perhaps the single most significant musicbased newspaper in the history of Australian teenage popular culture. Go-Set reflected the teenage culture of the period 1966 to 1974, helping create a dynamic independently thriving Australian rock music scene from 1969. It was independently owned and operated, set its own agendas and defined its own place in Australian teenage society. Go-Set's history is given as a biography (following van Zuilen (1977) in distinct stages from birth till death, highlighting the important landmarks of its life. In particular Go-Set led culturally by developing the first National Top-40 song chart. It provided musicians and non-musicians with weekly updates on the nature of the Australia's teenage music-based societal culture. It led in the development of a teenage counter-culture by keeping readers informed about alternative thinking and ideologies through the views of pop/rock stars, and later, more editorially directly, through its radical sister publication Revolution. Go-Set survived because readers continued to support it. It both entertained and informed. It gave young Australians the necessary knowledge, instruction, and advice to keep them up-to-date in a changing social scene To explain why Go-Set was so important to its readers, this thesis postulates a series of six speculative models describing how readers might have used the newspaper. These models suggest a process of usage relevant to teenage socialisation, by defining the criteria for acceptance of Go-Set's content as sets of instructions, or codes, of particular social relevance, namely the codes of personal life, music, fashion, and alternative lifestyle. The models postulate some sociological and psychological reasons for reading Go-Set, and suggest why the magazine was so successful during a period when other, similar, magazines failed.

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Burns, Robert, and n/a. "Transforming folk : innovation and tradition in English folk-rock music." University of Otago. Department of Music, 2008. http://adt.otago.ac.nz./public/adt-NZDU20080701.132922.

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From a mixed methodology perspective that includes ethnology, musicology and cultural anthropology, I argue that, despite initial detachment from folk revivalism, English folk-rock has moved closer to aspects of tradition and historical status and has embraced a revivalist stance similar to that of the folk revivals that occurred earlier in the twentieth century. Whereas revivalism often rejects manifestations of mass culture and modernity, I also argue that the early combinations of folk music and rock music demonstrated that aspects of preservation and commercialisation have always co-existed within this hybrid musical style. English folk-rock, a former progressive rock music style, has emerged in the post-punk era as a world music style that appeals to a broad spectrum of music fans and this audience does not regard issues such as maintenance of authenticity and tradition as key factors in the preservation process. Rock music has remained a stimulus for further change in folk music and has enabled English folk-rock to become regarded as popular music by a new audience with diverse musical tastes. When folk music was adapted into rock settings, the result represented a particular identity for folk music at that time. In a similar way, as folk music continues to be amalgamated with rock and other popular music styles, or is performed in musical settings representing new cultures and ethnicities now present in the United Kingdom, it becomes updated and relevant to new audiences. From this perspective, I propose that growth in the popularity of British folk music since the early 1970s can be linked to its performance as English folk-rock, to its connections with culture and music industry marketing and promotion techniques, and to its inclusion as a 1990s festival component presented to audiences as part of what is promoted as world music. Popularity of folk music presented at world music festivals has stimulated significant growth in folk music audiences since the mid-1990s and consequently the UK is experiencing a new phase of revivalism - the third folk revival.

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MacLeod, Alexander. "Between a rock and a soft place : postmodern-regionalism in Canadian and American fiction." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=19527.

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This study calls for a re-evaluation of contemporary regionalist literary theory. It argues that traditional models of the discourse have been too heavily influenced by nineteenth century realist aesthetics and political ideologies. Because most scholars continue to interpret regionalist texts according to a resolutely empirical reading of geography, literary regionalism has fallen out of touch with the new kinds of "unrealistic," generic landscapes that now dominate North American culture in the postindustrial era. Drawing heavily on recent work by postmodern geographers such as Edward Soja, David Harvey, Michael Dear and Derek Gregory, this project updates regionalist theory by "re-placing" the artificially stabilized reading of geography that dominated the nineteenth century with a more self-consciously spatialized reading of what Soja calls our contemporary "real-and-imagined" places. By grafting together traditional regionalism and postmodern spatial theory we improve on both contributing discourses. In a "postmodern-regionalist" literary criticism, traditional regionalism sheds its reputation for theoretical naivete, while the elusive abstractions of postmodern theory gain a real-world referent, and a specific geographical index. When we "read postmodernism regionally" - - when we aggressively interrogate where this kind of fiction comes from and the places it represents - - we realize that the canons of postmodern fiction in Canada and the United States have been influenced by two very different spatial epistemologies. Rather than being "determined" by their real geographies, Canadian and American postmodernism have been more directly influenced by two different readings of geography. Works by Thomas Pynchon, Toni Morrison, and Don DeLillo demonstrate that American postmodernism often interprets social space according to what Henri Lefebvre calls the idealistic "the illusion of transparency," while texts by Canadian postmodernists such as Robert Kroetsch, Wayne Johnston and Guy Vanderhaeghe tend to fall under Lefebvre's more materialistic "illusion of opacity." The ambiguous figure of Douglas Coupland - - a Canadian writer most critics treat as an American - - puts the spatial conventions of postmodernism in both countries in sharp relief. In an American postmodernism, dominated by generic suburban settings, regions will almost always be seen as imaginary projections, while in a Canadian postmodernism, dominated by the Prairies, regions will almost always retain some sense of their material reality.

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Hinojosa-Prieto, Hector R. "Tectonothermal history of the La Noria-Las Calaveras region, Acatlán Complex, southern Mexico implications for Paleozoic tectonic models /." Ohio : Ohio University, 2006. http://www.ohiolink.edu/etd/view.cgi?ohiou1151434573.

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Aritonovich, Dana. "The Only Common Thread: Race, Youth, and the Everyday Rebellion of Rock and Roll, Cleveland, Ohio, 1952-1966." Cleveland State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=csu1276093554.

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Dowe, David S. "Deformational History of the Granjeno Schist Near Ciudad Victoria, Mexico." Ohio University / OhioLINK, 2004. http://www.ohiolink.edu/etd/view.cgi?ohiou1089910191.

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Willett, Toby T. "California as Music to American Ears: Migration, Technology, and Rock and Roll in the Golden State, 1946-2000." DigitalCommons@CalPoly, 2010. https://digitalcommons.calpoly.edu/theses/264.

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Migrations and technological advances in California following World War II, spurred radical changes in the production and development of popular music, most notably rock and roll. California largely lacked the entrenched traditions of the American Northeast, and in many ways its exploding population translated into the growth of a culture built around embracing newer methodologies, whether technological innovations or radical artistic departures. In large part owing to its increasing ethnic diversity during the economic expansion, California was uniquely poised to become a center of incredible postwar dynamism, especially when seen in the production, consumption, and stylistic development of music. Nevertheless, many of the radical departures in American music were contingent upon the contributions of a small group of inter-connected musical equipment manufacturers and musicians in California from the 1940s through the 1960s. As the United States experienced dramatic changes during the awesome postwar boom, Californian artists, merchants, and equipment makers exploited opportunities, making the Golden State the national trendsetter in musical developments both technological and stylistic. In particular, the invention, development, and further refinement of solid bodied electric guitars and basses in Southern California permanently changed how music would be made. The transformation of West Coast music would produce differing reactions nationally, while foreign developments would impact California, challenging its hegemony.

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Brennan, Matthew. "Down beats and rolling stones : an historical comparison of American jazz and rock journalism." Thesis, University of Stirling, 2007. http://hdl.handle.net/1893/222.

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Jazz and rock have been historically treated as separate musical traditions, despite having many similar musical and cultural characteristics, as well as sharing significant periods of interaction and overlap throughout popular music history. The rift between jazz and rock, and jazz and rock scholarship, is based on a set of received assumptions as to why jazz and rock are different. However, these assumptions are not naturally inherent to the two genres, but are instead the result of a discursive construction that defines them in contrast to one another. Furthermore, the roots of this discursive divide are to be found in the history of popular music journalism. In this thesis I challenge the traditional divide between jazz and rock by examining five historical case studies in American jazz and rock journalism. My underlying argument is that we cannot take for granted the fact that jazz and rock would ultimately become separate discourses: what are now represented as inevitable musical and cultural divergences between the two genres were actually constructed under very particular institutional and historical forces. There are other ways popular music history could have been written (and has been written) that call the oppositional representation of jazz and rock into question. The case studies focus on the two oldest surviving and most influential jazz and rock periodicals: Down Beat and Rolling Stone. I examine the role of critics in developing a distinction between the two genres that would eventually be reproduced in the academic scholarship of jazz and rock. I also demonstrate how the formation of jazz and rock as genres has been influenced by non-musicological factors, not least of all by music magazines as commercial institutions trying to survive and compete in the American press industry.

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Schwaiger, Hans Frederick. "An implementation of smoothed particle hydrodynamics for large deformation, history dependent geomaterials with applications to tectonic deformation /." Thesis, Connect to this title online; UW restricted, 2007. http://hdl.handle.net/1773/6807.

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Morris, David Roger Neacalbann Mcintyre. "Driekopseiland and the 'rain's magic power': history and landscape in a new interpretation of a Northern Cape rock engraving." Thesis, University of the Western Cape, 2002. http://hdl.handle.net/11394/1597.

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The rock engraving site of Driekopseiland, west of Kimberley in the Northern Cape is distinctively situated on glaciated basement rock in the bed of the Riet River, and has a wealth of over 3500 engravings, preponderantly geometric images. Most other sites in the region have greater proportions of, or are dominated by, animal imagery. In early interpretations, it was often considered that ethnicity was the principal factor in this variabilty. From the 1960s the focus shifted more to establishing a quantative definition of the site, and an emperical understanding of it within the emerging cultural and environmental history of the region.
Magister Artium - MA (Anthropology/Sociology)

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Morris, David Roger Neacalbánn McIntyre. "Driekopseiland and the 'rain's magic power': history and landscape in a new interpretation of a Northern Cape rock engraving." Thesis, University of Westen Cape, 2002. http://hdl.handle.net/11394/151.

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The rock engraving site of Driekopseiland, west of Kimberley in the Northern Cape is distinctively situated on glaciated basement rock in the bed of the Riet River, and has a wealth of over 3500 engravings, preponderantly geometric images. Most other sites in the region have greater proportions of, or are dominated by, animal imagery. In early interpretations, it was often considered that ethnicity was the principal factor in this variabilty. From the 1960s the focus shifted more to establishing a quantative definition of the site, and an emperical understanding of it within the emerging cultural and environmental history of the region.

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Lindsay, Audrey K. "Perspectives on pictographs| Differences in rock art recording frameworks of the Rattlesnake Canyon pictograph panel." Thesis, Northern Arizona University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1595010.

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Rock art documentation often draws from a range of recording perspectives, in which each framework facilitates different recording goals, preconceptions, and methods. As a result, each recording project collects different types of information from a rock art panel. The intricate and visually striking rock art murals painted on rockshelter walls in the Lower Pecos Canyonlands of southwestern Texas demand and benefit from the application of artistic, avocational archaeological, and professional archaeological documentation frameworks.

This research provided a case study that analyzed different recording projects of the Rattlesnake Canyon mural (41VV180), a Pecos River style pictograph panel located in the Lower Pecos Canyonlands. I applied a critical theoretical framework and the concept of “capta” to review and analyze the rock art documentation perspectives, methods, and materials collected from three major recording projects of the Rattlesnake Canyon mural. I focused on projects completed by artist Forrest Kirkland, the Texas Archeological Society (TAS) avocational archaeological Rock Art Task Force (RATF), and an illustration of the Shumla Archaeological Research and Education Center’s (Shumla) recording process, to examine differences between artistic, avocational archaeological, and professional archaeological recording frameworks and methods.

This case study demonstrated the ways in which the specific framework or perspective of a recorder influenced the methods selected for documentation and the types of information collected during rock art recording. The results of this critical analysis showed that the different recording projects shared a similar goal: to preserve the Rattlesnake Canyon mural for future generations and continued archaeological study. The three different projects, however, drew from distinct recording frameworks that influenced the overall conception of the panel, the methods selected for recording, and the types of information collected.

In this case study, I suggested that rock art researchers, specifically those from a professional archaeological framework, value the incorporation of different perspectives and methods into rock art documentation. The inclusion of varied perspectives and methods brings different skillsets and expertise to rock art recording. In addition, each recording project gathers different kinds of information from rock art murals that can be used in different ways by subsequent recorders, researchers, and land managers. This critical analysis of previous rock art recording projects also demonstrated that existing rock art documentation legacy materials continue to serve as productive resources for further research, management, and public education purposes.

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Elledge, Zachary Lynn. "Defeat and memory at the Arkansas state capitol| The Little Rock Monument to the Women of the Confederacy, 1896-1914." Thesis, Arkansas State University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1593794.

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Resting in the southeast corner of the Arkansas state capitol is the Little Rock monument honoring the women of the Confederacy. Known as the Southern Mother, the Arkansas division of the United Confederate Veterans (UCV) erected this monument to commemorate the sacrifices of Arkansas women during the Civil War. Sculpted by J. Otto Schweizer, a Swiss-American from Philadelphia, Pennsylvania, this monument represents two versions of Arkansas’ Civil War history: that of the sculptor, and that of its patrons. Arkansas broke away from the national UCV in 1906 and proceeded on its own to memorialize Confederate women’s war time sacrifices. Paid for by a state appropriation of $10,000, the Arkansas UCV were able to commemorate in stone a specific memory of Arkansas history during the Civil War. The monument effort began on a national scale in 1896, but did not come to fruition in Arkansas until May 1913. Several conflicts occurred with members of the United Daughters of the Confederacy, who opposed the monument idea and preferred that donations were routed into more social programs like retirement homes and scholarship programs. This monument occurred during a time of vast memorialization during the height of the Lost Cause, but the history behind it shows a more individual nature of healing traumatic wounds.

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Riley, Keith. ""I Have My Mind!:" U.S.-Sandinista Solidarities, Revolutionary Romanticism, and the Imagined Nicaragua, 1979-1990." Master's thesis, Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/386879.

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History
M.A.
This paper examines activists in the United States that supported the socialist Nicaraguan government of the Sandinista National Liberation Front and opposed efforts by the Reagan Administration to militarily undermine Nicaragua’s new government during the 1980s. Such scholarship examines the rise of a leftist political coalition organized around supporting Nicaragua’s government and this solidarity movement’s eventual demise after the Sandinistas lost their country’s 1990 Presidential election. The work ultimately asks how did U.S. leftists and progressives of the late 1970s and 1980s perceive Nicaragua’s new government and how did these perceptions affect the ways in which these activists rallied to support the Sandinistas in the face of the Contra War? In answering this question, this paper consults a variety of primary sources including articles from socialist newspapers, the meeting minutes and notes of solidarity organizations, and oral histories with former activists. “I Have My Mind!” also consults cultural sources such as the protest and art benefit flyers and the lyrics to punk rock songs of the period to make its claims. This Masters Thesis argues that U.S. Americans’ solidarity with the Sandinistas relied upon a romanticization of Nicaraguan revolutionary reforms representative of movement participants’ own political aspirations.
Temple University--Theses

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McGowan, Christopher John. "Harmony and discord within the English 'counter-culture', 1965-1975, with particular reference to the 'rock operas' Hair, Godspell, Tommy and Jesus Christ Superstar." Thesis, Queen Mary, University of London, 2012. http://qmro.qmul.ac.uk/xmlui/handle/123456789/2525.

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This thesis considers the discrete, historically-specific theatrical and musical sub-genre of ‘Rock Opera’ as a lens through which to examine the cultural, political and social changes that are widely assumed to have characterised ‘The Sixties’ in Britain. The musical and dramatic texts, creation and production of Hair (1967), Tommy (1969), Godspell (1971), Jesus Christ Superstar (1970) and other neglected ‘Rock Operas’ of the period are analysed. Their great popularity with ‘mainstream’ audiences is considered and contrasted with the overwhelmingly negative and often internally contradictory reaction towards them from the English ‘counter-culture’. This examination offers new insights into both the ‘counter-culture’ and the ‘mainstream’ against which it claimed to define and differentiate itself. The four ‘Rock Operas’, two of which are based upon Christian scriptures, are considered as narratives of spiritual quest. The relationship between the often controversial quests for re-defined forms of faith and the apparently precipitous ‘secularization’ and ‘de-Christianization’ of British society during the 1960s and 1970s is considered. The thesis therefore analyses the ‘Rock Operas’ as significant, enlightening prisms through which to view many of the profound societal debates – over ‘faith’ and ‘belief’ in the widest senses, sexuality, the Vietnam war, generational conflict, drugs and ‘spiritual enlightenment’, and race – which were, to some considerable extent, elevated onto the national, political agenda by the activities of the broadly-defined ‘counter-culture’. It considers subsequent representations of the ‘counter-culture’ as the root of a contested but enduring popular legacy of ‘The Sixties' as a period of profound cultural change.

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Thompson, Pamela J. "Rock and roll and the counterculture : the search for alternative values and a new spirituality." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59237.

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Both the counterculture and its music will be examined using the concepts of heteronomy, autonomy, and theonomy and their dialectical relationship according to Paul Tillich's theory of religion and culture. The main themes beneath the emergence of the counterculture will be outlined, and the ways in which the dominant culture of the time may be considered what Tillich describes as a heteronomous phenomenon will be presented. The historical significance of the counterculture will then be demonstrated in terms of Tillich's concept of kairos. Through examination of the lyrics of some of the most popular songs between 1965 and 1970, the years during which the movement was at its height, the ways in which the counterculture may be seen as autonomous protest will be discussed. This will be followed by an examination of theonomous elements apparent in the song lyrics and an evaluation of the movement in terms of the Tillichian dialectic.

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Keene, David G. "An analysis of fracture systems, lithologic character and kinematic history of Paleozoic rock formations in a portion of southeastern Indiana." Virtual Press, 1989. http://liblink.bsu.edu/uhtbin/catkey/722793.

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This is an analysis of fractures occurring within the Paloezoic sedimentary rocks in a portion of southeastern Indiana. Fifteen hundred seventy-two fractures were used in analysis of distribution, orientation, pervasiveness, persistence, and intensity. The data collected is representative of eight counties and seventeen different collection sites.All fracture data were given an associated numerical value identifying each variable used for analysis and recorded into computer data files. A computer program was used for statistical analysis and construction of equal area nets which graphically displayed the distribution of variables. The compilation of the fracture data allowed for close interpretative analyses of variables and correlation of the orientation and distribution of the fractures within the study area.This study revealed that two orthogonal fracture systems exist in southeastern Indiana. The fracture set containing the largest percentage of those measured is oriented N11W with its compliment oriented N73W. The orientation of the second largest fracture set is N8E with its compliment oriented N82°W.The effects of the tectonic history as well as contemporary stress on the area are discussed relative to their effects on the overall distribution of fracture sets.Evidence is presented to substantiate a reactivation of the Cincinnati Arch as indicated in the Devonian-Mississippian lithologic units from data collected in the southeastern portion of the study area. Fracture data correlating to these units displays a rotation of the major fracture set maxima 90w. This data is supported by radiometric dates from the Belfast member of the Brassfield Limestone in which Laskouski, et.al., correlated a reactivation of the arch.Also within this study are lithologic descriptions of all the Paleozoic formations used for data collection. These descriptions were developed over a three year period from extensive field observation.A map of the study area is presented displaying the distribution and orientation of the fractures recorded at each data collection site.
Department of Geology

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Ramphaka, Lerato Priscilla. "Integrating 3D basin modelling concept to determine source rock maturation in the F-O Gas Field, Bredasdorp Basin (offshore South Africa)." Thesis, University of the Western Cape, 2015. http://hdl.handle.net/11394/5340.

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>Magister Scientiae - MSc
The burial history, thermal maturity and petroleum generation history of the F-O Gas Field, Bredasdorp Basin have been studied using 3D basin and petroleum systems modelling approach. The investigated sedimentary basin for this study evolved around mid-late Jurassic to early Cretaceous times when Southern Africa rifted from South America. The F-O field is located 40 km SE of the F-A platform which supplies gas and condensate to the PetroSA ‘Gas to Liquid’ plant located in Mossel Bay. As data integration is an integral part of the applied modelling concept, 2D seismic profile and well data (i.e. logs and reports from four drilled wells) were integrated into a 3D structural model of the basin. Four source rock intervals (three from the Early Cretaceous stages namely; Hauterivian, Barremian, Aptian and one from the Late Cretaceous Turonian stage) were incorporated into the 3D model for evaluating source rock maturation and petroleum generation potential of the F-O Gas Field. Additionally, measured present-day temperature, vitrinite reflectance, source potential data, basin burial and thermal history and timing of source rock maturation, petroleum generation and expulsion were forwardly simulated using a 3D basin modelling technique. At present-day, Turonian source rock is mainly in early oil (0.55-0.7% VRo) window, while the Aptian and Barremian source rocks are in the main oil (0.7-1.0% VRo) window, and the Hauterivian source rock is mainly in the main oil (0.7-1.0% VRo) to late oil (1.0-1.3% VRo) window. In the entire four source rock intervals the northern domain of the modelled area show low transformation, indicated by low maturity values that are attributable to less overburden thickness. Petroleum generation begins in later part of Early Cretaceous, corresponding to high heat flow and rapid subsidence/ sedimentation rates. The Barremian and Aptian source rocks are the main petroleum generators, and both shows very high expulsion efficiencies. The modelling results however indicate that the younger Aptian source rock could be regarded as the best source rock out of the four modelled source rocks in the F-O field due to its quantity (i.e. highest TOC of 3%), quality (Type II with HI values of 400) and highest remaining potential. At present-day, ~1209 Mtons of hydrocarbons were cumulatively generated and peak generation occurred at ~43 Ma with over 581 Mtons generated. Finally, the results of this study can directly be applied for play to prospect risk analysis of the F-O gas field.

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Silberstein, Edward. "And Moses Smote the Rock: The Reemergence of Water in Landscape Painting In Late Medieval and Renaissance Western Europe." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1288378722.

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Bozelka, Kevin John. ""Getting beyond" : SPIN magazine in the late 1980s." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82688.

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The Eighties were a time in Western popular music that seemed to exist only by virtue of it coming after something else---namely, the 1960s counterculture and the punk rock of the 1970s. Inheriting both the failure of permanent cultural revolution and the intense cynicism that is punk's strongest legacy, youth cultures in the 1980s found it increasingly difficult to live in the present. This thesis labels this historical dilemma postmodern. It will show how SPIN magazine attempted to move past this dilemma in order to assert a unique identity for 1980s popular music and youth cultures. In particular, John Leland, a columnist for SPIN, appropriated a pop aesthetic as an identity marker and, in the process, questioned the supposed ineffectiveness of pop music for a political postmodernism. An analysis of Leland's writing uncovers what accounts of this era tend to ignore: the social function of postmodernism.

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Maxson, Brian. "Tester: A Story of Class, Academia, Punk Rock, and Generation X." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/6185.

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Written under the name "Malcolm Franklin", this article offers an account of my journey from first-generation college graduate from the rural midwest to college professor. I wrote it as a pedagogical text to give my undergraduates and graduate history students at ETSU a better sense of the challenges that face them if they choose to pursue an academic career path.

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Sberni, Junior Cleber. "Imprensa e música no Brasil : rock, mpb e contracultura no período Rolling Stone - 1972 /." Franca, 2015. http://hdl.handle.net/11449/140234.

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Orientador: Tania da Costa Garcia
Banca: José Adriano Fenerick
Banca: Fabiana Lopes da Cunha
Banca: Marcia Regina Tosta Dias
Banca: Frederico Oliveira Coelho
Resumo: O presente texto teve por intuito estudar a revista Rolling Stone, editada no Brasil entre dezembro de 1971 e janeiro de 1973. Especificamente, procurou-se, ao longo do trabalho, analisar a forma como a revista integrou a cena rock carioca do início da década de setenta, ao promover e registrar a atividade de artistas, colaborando para a difusão do rock produzido por aqui. Esse período registra uma marcante movimentação jovem transnacional influenciada pela contracultura, cujo ideário difundido circulava via música, livros e publicações. Também podemos identificar neste momento histórico, o desenvolvimento do mercado de bens simbólicos no Brasil, impulsionando tanto a indústria fonográfica, que atravessava um período de expansão e afirmação, como o mercado editorial de publicações periódicas, também em crescimento. É, neste contexto, que Rolling Stone chegou às bancas, destinada ao público jovem e com perfil de revista especializada, que tratava em seu conteúdo de informações e notícias da movimentação em torno do rock, MPB e contracultura. De fato, os gêneros predominantes em suas páginas são o rock internacional, o rock produzido no Brasil e a MPB de influência tropicalista. Em sua breve existência, 36 edições foram comercializadas em bancas de jornal, e como veículo, a revista possuiu um alcance de circulação nacional, prestando-se a fornecer informações sobre o panorama geral da cena musical, através de artigos, entrevistas e resenhas de discos. Os textos publicados na revista apontam para aproximações entre o rock e a MPB. Fica evidente como a publicação, ao longo de suas edições, procurou dar visibilidade a uma movimentação de grupos de rock iniciantes e artistas que compartilhavam da valorização da contracultura e do diálogo com o rock. Podemos também afirmar que a revista faz parte da cena musical que ela mesma ajudava a fomentar, evocando mome...
Resumen: Este trabajo tuvo como objetivo estudiar la revista Rolling Stone, editada en Brasil entre diciembre de 1971 y enero de 1973. Específicamente se buscó analizar, a lo largo del trabajo, el modo como la revista formó parte de la escena rock de Río de Janeiro de principios de los setenta, al promover y registrar la actividad de los artistas, contribuyendo a la difusión del rock producido aquí. Ese período registró un importante movimiento juvenil transnacional con influencia de la contracultura, cuyo ideario difundido transitaba a través de la música, libros y publicaciones. Asimismo identificamos en ese momento histórico el desarrollo del mercado de bienes simbólicos en Brasil, que impulsó tanto la industria fonográfica, la que pasaba por un período de expansión y afirmación, como el mercado editorial de publicaciones periódicas, también en crecimiento. Fue en este contexto que la revista Rolling Stone llegó a los quioscos de periódicos, dirigida a un público joven y con perfil de revista especializada, que trataba en su contenido de informaciones y noticias del movimiento alrededor del rock, MPB (Música Popular Brasileña) y contracultura. De hecho, los géneros predominantes en sus páginas eran el rock internacional, el rock producido en Brasil y la MPB de influencia tropicalista. En su breve existencia, se comercializaron 36 ediciones en los quioscos, y como medio de comunicación, la revista poseyó un alcance de circulación nacional, al prestarse a ofrecer informaciones sobre el panorama general de la escena musical, a través de artículos, entrevistas y reseñas de discos. Los textos publicados en la revista señalaron similitudes entre el rock y la MPB. Es evidente que la publicación, a lo largo de sus ediciones, buscó dar visibilidad a un movimiento de grupos principiantes de rock y artistas que compartían la valorización de la contracultura y el diálogo con el rock...
Abstract: The aim of the present study was to assess the issues of Rolling Stone edited in Brazil between December 1971 and January 1973. More specifically, the goal was to evaluate how the magazine integrates the Rio de Janeiro's rock scene in the early 1970s, promoting and doing record of artistic activities, thus contributing to the dissemination of rock made in Brazil. The analyzed period is characterized by a striking cross-country youthful movement influenced by counterculture, whose ideology was conveyed via music, books, and publications. This historical period also witnessed the development of the market of symbolic goods in Brazil, boosting the recording industry, which was going through a cycle of expansion and selfassurance, and of the market of periodical publications, which was also on the rise. It was in that context that Rolling Stone, aimed at a young readership and incorporating the distinctive features of a specialized magazine, hit the newsstands, covering information and news on rock, MPB (Brazilian popular music), and counterculture. Actually, the predominant genres were international rock, rock made in Brazil, and MPB influenced by tropicalism. During its short-lived existence, 36 issues were sold at newsstands, having a nationwide circulation and providing an overview of the musical scene by means of articles, interviews, and album reviews. The texts published in the magazine demonstrated a close relationship between rock and MPB. There was an all-out effort channeled into giving visibility to the activity of new rock bands and artists who attached a high value to counterculture and to its interaction with rock. It is also possible to claim that the magazine was an integral part of the musical scene it helped establish, evoking moments, placing a high value on experiences and on musical events, and making room for rock bands and rock itself. In short, Rolling Stone eventually strengthened...
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Fernandes, Victor Guilherme Pereira. "Um passo à frente: história social de um rock brasileiro." Universidade Federal de Juiz de Fora (UFJF), 2016. https://repositorio.ufjf.br/jspui/handle/ufjf/3644.

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O trabalho que se segue busca elucidar a história social do gênero musical rock and roll no Brasil. Tal gênero tem sido tratado com certa indiferença por críticos e historiadores da música popular, reduzindo sua história social a ondas de popularidade aparentemente desconexas, marcadas pela jovem guarda e pelo surgimento do BRock na década de 1980. O tratamento dispensado ao rock and roll produzido no Brasil na década de 1970 é residual, inclusive na academia, contribuindo para a formação de uma imagem subdimensionada da produção musical daquele período. A pesquisa tem início com uma reconstituição do campo de produção da música popular brasileira da década de 1960, na qual se insere o nascente rock brasileiro, a fim de compreender como este gênero estrangeiro é recebido e interage com os demais gêneros populares com os quais concorria. Em seguida, procede-se a uma análise de trajetória com base na história da banda de rock A Bolha, conjunto que atravessa a década de 1970 enfrentando a falta de espaço para o gênero e a falta de interesse da mídia e da indústria fonográfica. Com isto, pretende-se descortinar as estruturas sociais vigentes constritoras do desenvolvimento do gênero naquele período. Trata-se de uma época marcada pelas restrições das liberdades civis em função do regime militar que vigorou de 1964 a 1985, o que foi, sem dúvida, fator fundamental para a conformação do campo de produção musical daqueles anos. A década de 1970 assistiu à consolidação da MPB como gênero musical dominante devido, entre outras coisas, ao prestígio acumulado na época dos festivais de música popular televisionados, à posição de enfrentamento ao regime, adotada pelos artistas que a ela se filiavam, e ainda, à aceitação da crítica e público consumidores por sua maior afinidade com as tradições musicais brasileiras pregressas. Por meio de uma análise estrutural do campo de produção musical à maneira bourdieusiana, pretende-se localizar os agentes tributários da constituição da representação social erigida em torno do gênero rock and roll no Brasil, de modo que se possa compreender como este segmento, que chegou a ameaçar o domínio da MPB em meados da década de 1960, passou a ocupar praticamente apenas os canais e espaços independentes da produção cultural que compõem a chamada “cena underground.”
The work that follows seeks to elucidate the social history of rock and roll musical genre in Brazil. This genre has been treated with indifference by critics and historians of popular music, reducing its social history the seemingly random waves of popularity, marked by the “Jovem Guarda” and the emergence of “BRock” in the 1980s. The treatment of the rock and roll produced in Brazil in the 1970s is residual, including the academy, contributing to the building of an undersized image of the musical production from that period. The research begins with a reconstruction of the Brazilian popular music production course of the 1960s, in which is included the incipient Brazilian rock in order to understand how this foreign genre is received and interacts with other popular genres which it contended with. A track analysis based on the rock band “A Bolha” (The Bubble), that had to face the lack of space for the genre as well as the lack of interest of the media and the music industry throughout the 70’s follows hereupon. It is intended to uncover the existing social structures constricting the development of the genre in that period. That was a time marked by restrictions on civil rights due to the military regime that ruled the country from 1964 to 1985, which was undoubtedly a key factor for shaping the musical production field of those years. The 1970s saw the consolidation of Brazilian popular music as the dominant musical genre owing to, among other factors, the prestigie accumulated by the Brasilian Pop Music Festivals shown on TV at that time, the facing off agaisnt the political regime adopted by the artists that joined it in, and yet, the acceptance of review critics and public consumers for their greater affinity with former Brazilian musical traditions. Through a structural analysis of the music production field to the Bourdieusian way, I intend to place the tax agents of the constitution of social representation built around the rock and roll genre in Brazil, so that you can understand how this segment, which threatened the MPB area in the mid-1960s, was to occupy only the channels and independent spaces of cultural production that make up the so-called "underground scene."

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ROGERS, ASHLEY D. "THE INFLUENCE OF GUY DEBORD AND THE SITUATIONIST INTERNATIONAL ON PUNK ROCK ART OF THE 1970s." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1163784738.

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Dissertations / Theses on the topic 'Rock History'

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