Dissertations / Theses on the topic 'Twentieth century'
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Whiting, Emma. "Twentieth-Century Abject Literature." Thesis, University of East Anglia, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.518349.
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See, Mackenzie. "Twentieth Century Maya Worldview." Master's thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5862.
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Maya Folktales offer insight into how twentieth century Maya worldview is a hybrid of indigenous Maya and European beliefs. Analysis was conducted on twenty-eight Maya folktales from the highlands of Guatemala found in folklore anthologies. Stories like The Spirits of the Dead in folklore anthologies can reveal new perspectives on how the Maya feel about rituals spaces, the fabric that separates the land of the dead from the land of the living, and the importance of showing respect to the dead in one's community. Other stories, show the connection the Maya feel with their heritage and the connection they feel with the area where their ancestors lived. Twentieth century Maya folktales can provide insight into how the Maya view their landscape, including the realm of the dead as a part of the physical landscape and the belief that the landscape itself is a living spiritual entity.M.A.
Masters
Anthropology
Sciences
Anthropology
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Thompson, James Paul Hanlon Heather. "Raku sixteenth century Japan--twentieth century America /." Normal, Ill. Illinois State University, 1987. http://wwwlib.umi.com/cr/ilstu/fullcit?p8806869.
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Thesis (Ed. D.)--Illinois State University, 1987.Title from title page screen, viewed September 1, 2005. Dissertation Committee: Heather Hanlon (chair), Paul J. Baker, Barbara Heyl, Thomas E. Malone, Thomas W. Nelson. Includes bibliographical references (leaves 118-120) and abstract. Also available in print.
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Michell, Paul. "Twentieth century Czechoslovakian flute music /." Title page, abstract and table of contents only, 1994. http://web4.library.adelaide.edu.au/theses/09MUM/09mumm623.pdf.
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Burns, Carolyn Claire Isabelle. "Adaptation and twentieth-century opera." Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/10617.
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Combining critical theory and dramaturgical analysis, this thesis considers twentieth-century English-language opera adaptations from a structural and cultural perspective, with particular focus on the increasing complexity of relationships between different types of literary text and the position of contemporary opera within national literary cultures. Employing the strategies of new musicology, particularly the examination of the ways the experience and interpretation of music is shaped by gender and sexuality, this argument forms a rebuttal of conventional opera analysis which frames theoretical consideration of the genre as primarily a negotiation of the comparative representative power of the libretto and the score. This thesis consists of three parts: the first develops a theoretical framework for the consideration of adaptation, combining analysis of adaptation theory, opera studies and a thematic reading of the prominence of psychological narratives in twentieth-century drama. The second part suggests a framework for narrative analysis of opera, beginning with a discussion of the thematic and structural expression of femininity in opera and the representative function played by the sung voice in narrative music, identifying non-naturalistic dramaturgical analogues to opera, and considering the aesthetic implications of extravagant stage artifice. The final part outlines the changing cultural position of opera in contemporary society through discussion of the position of the genre in relation to broader stage and literary culture in the United States and Australia, with particular focus on the impact of broadcast and recording technology on opera production, closing with a consideration of how the complex relationship between technology and live acoustic performance might come to shape the composition of new work. This thesis concludes with the contention that while the specific conventions and cultural status of opera make it an ideal media for atypical interpretations of canonical texts, the intricacy of the relationship between adapted operas and their source material is a reflection of the expansive creative and critical potential of all textual adaptations, rather than an exception based on the particular stylistic specifications of opera.
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Alexander, Karen. "Minimalism in twentieth-century American writing." Thesis, University College London (University of London), 2007. http://discovery.ucl.ac.uk/1446326/.
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My PhD thesis identifies a "will to reduction" in twentieth-century American literature as a significant trend that I trace from the Modernist era to the contemporary period. I locate the origins of contemporary literary Minimalism in Modernist experimentation. In an early chapter I identify reductive tendencies and the values informing them in Imagism, Objectivism, and the writings of Ernest Hemingway and William Carlos Williams. These form the foundation for a tradition of American Minimalism, which I then document in contemporary literature. Robert Creeley is an inheritor of the Objectivists' Minimalist leanings, which recur, by emulation or partial disagreement, in the poetry of Aram Saroyan and Robert Grenier. Raymond Carver renews the Hemingway tradition in his short stories, and one chapter of my thesis considers Carver along with Mary Robison, who has also written a Minimalist novel. Radical, sustained experiments in Minimalism by Robert Lax, Lydia Davis, and David Markson are the subject of subsequent chapters. Their work represents recent versions of Minimalism in poetry, the short story, and the novel. Recurring themes in my thesis are the ways in which some of these authors have been influenced by visual art, and philosophical issues raised by literary experiments in Minimalism.
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Boni, Stefano. "Hierarchy in twentieth-century Sefwi (Ghana)." Thesis, University of Oxford, 1999. http://ora.ox.ac.uk/objects/uuid:c3238187-7e9d-465d-b9e4-63ea1ad7eda1.
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The dissertation aims to provide an understanding of the relation between political-economic power and the attribution of social value in twentieth-century Sefwi (Ghana). The existing literature on relations of dominance amongst the Akan has flaws: works examine single relations of dominance in isolation; studies focus mostly on discontinuity and change; peripheral areas are neglected. In the dissertation these issues are addressed. Hierarchy is used as an analytical tool which enables one to link diverse expressions of dominance; the persistence of certain hierarchical patterns throughout the twentieth century is analysed alongside transformations; and the focus is on Sefwi, a marginal region of the Akan world. The dissertation is divided into five sections. The introduction presents the methodological and theoretical approach adopted in the work. Part one is concerned with change in hierarchical patterns: twentieth-century dynamics are analysed to determine the extent of change with reference to chiefly power, capitalist.relations and gender issues. Part two shows that unequal relations inform three hierarchical domains -ancestry, gender and seniority. Part three addresses the issue of the coherence and unity of hierarchy by examining modes of organization of experience that cut across the three domains of inequality: reference is made to the use of kinship terms; concepts of ownership, caretakership and help; recourse to the supernatural; food and drink transactions. In the conclusion, Sefwi hierarchy is examined in a wider comparative and theoretical perspective with reference to the notions of 'encompassing of the contrary' (Dumont) and 'fetishization' (Marx).
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Matore, Daniel. "Experimental typography in twentieth-century poetry." Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:34bd524a-74ec-467d-8f70-0b0e825de0e5.
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Experimental Typography in Twentieth-Century Poetry, by Daniel Matore, New College, University of Oxford. A thesis submitted for examination for the degree of Doctor of Philosophy in English Literature in Hilary Term, 2017. This thesis is a study of the typographical experimentation in the verse of twentieth-century poets writing in English. Typography and poetics, it contends, became indissolubly linked in the last century, and this work traces why this is so. It chiefly deals with poetry written roughly in the period 1908 to 1970, rooted in the work of Ezra Pound, E.E. Cummings, and Charles Olson, but with substantial considerations of poets such as Marianne Moore, William Carlos Williams, and David Jones. Typographical experiment in European languages, particularly the work of Stéphane Mallarme, Guillaume Apollinaire, and F.T. Marinetti, is recurrently invoked to comprehend the idiosyncrasies of the graphical innovations of British and American poets. At the heart of this thesis is the question of why so many poets throughout the last century employed typography as a signatory part of their style. It hopes to show how authorships and the span of a poet's career can be read through their typography. Its methodology is eclectic. Archival research into manuscripts, drafts, typescripts, and proofs has provided the empirical groundwork as well as interpretative insights. Essays and periodical articles are drawn upon to trace the intellectual history which informs literary style. Close reading, sometimes within the parameters of established stylistic vocabulary and sometimes at the limits of this, is undertaken to illuminate the expressive possibilities of typographical form. The introduction prefigures the debates and motifs of typographical experiment through the seminal work of Stéphane Mallarmé. It considers whether there was a typographical revolution in poetry in English at the start of the last century and examines how the advents of free verse and experimental mise-en-page intersected. Chapter 1 traces the foundational importance of Ezra Pound in the genealogy of typographical experiment in English. His graphical innovations are read through lenses such as musicology, psychophysics, and ophthalmology. Chapter 2 considers the audacious and celebrated visuality of E.E. Cummings, focussing on his early unpublished experiments, his debut volume Tulips and Chimneys (1923), and his 1935 collection No Thanks. How sexuality and the material text interrelate is examined, and his typography is interpreted through his theories of reading. Chapter 3 is concerned with the post-war experiments of Charles Olson, especially his magnum opus The Maximus Poems. The respective vocations of the poet and the typographer are examined through his relationships with printers and designers, and the influence of philosophies of space on his poetics is explored. The conclusion situates modernist experiment in relation to the aesthetics of graphic design. The categories of printing reformers and reactionaries are employed to cast into relief the idiosyncrasy of typographical experimentation in poetry.
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Lewis, Christopher David. "The harpsichord in twentieth-century Britain." Thesis, University of Southampton, 2017. https://eprints.soton.ac.uk/415998/.
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This dissertation provides an overview of the history of the harpsichord in twentieth century Britain. It takes as its starting point the history of the revival harpsichord in the early part of the century, how the instrument affected both performance of historic music and the composition of modern music and the factors that contributed to its decline. Information regarding British composers, performers, and individual works has been gathered together in a database. Analysis of this database allows the consideration of how the characteristics of the revival harpsichord shaped the use of the instrument throughout the century. More detailed case studies of the harpsichord works of three composers writing at different points in the century: Lennox Berkeley, Stephen Dodgson, and Michael Nyman are then plotted against this narrative. Conclusions will be drawn from analysis of the case studies and will consider how the harpsichord has moved away from its nostalgic associations, and how has it not.
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Dubinina, M. O., Вікторія Едуардівна Проняєва, Виктория Эдуардовна Проняева, and Viktoriia Eduardivna Proniaieva. "The press in Sumy. Twentieth century." Thesis, Сумський державний університет, 2013. http://essuir.sumdu.edu.ua/handle/123456789/33552.
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Before we talk about the future, we should look into the past. After all prerequisites for development, history is essential components of creating something new. Talking about the future prospects of the Sumy media should understand its first principles.
When you are citing the document, use the following link http://essuir.sumdu.edu.ua/handle/123456789/33552
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Zahner, Mary Anne. "Manuel Barkan : twentieth century art educator /." The Ohio State University, 1987. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487330761218048.
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Sharman, Gundula-Maria. "Twentieth-century reworkings of German literature." Thesis, University of Aberdeen, 2000. http://digitool.abdn.ac.uk/R?func=search-advanced-go&find_code1=WSN&request1=AAIU122777.
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No work of art stands in isolation. In one way or another it will have evolved from a form that has been created before, and likewise, it may itself have an influence on future developments and trends in a given genre. The literary reworking distinguishes itself by referring openly and explicitly to a previous fictional model, thus encouraging the reader to draw comparisons and to note contrasts between the model and the reworking. The investigation concentrates on two examples, from each genre, the drama, the novella and the novel. Reworkings of myths and legendary or historical characters have been excluded. Subject of the thesis is (a) an examination of how this link between model and reworking has been established, and (b) the effect the suggested presence of the literary model has on the interpretation of the reworking. With regard to (a) it has been found that each respective writer employs different narrative techniques to establish the link between model and reworking which has been summarized thus: - allusion to classicism: Schiller: Die Jungfrau von Orleans and Brecht: Die heilige Johanna der Schlachthöfe; - ironic reproduction: Hebbel: Maria Magdalena and Franz Xaver Kroetz: Maria Magdalena; - fragmentation: Thomas Mann: Der Tod in Venedig and Wolfgang Koeppen: Der Tod in Rom; - integration: Georg Büchner: Lenz and Peter Schneider: Lenz; - quotation: Goethe: Die Leiden des jungen Werther and Ulrich Plenzdorf: Die neuen Leiden de jungen W.; - character constellation: Goethe: Die Wahlverwandstschaften and John Banville: The Newton Letter With regard to (b) the effect of the reworking when read in conjunction with its literary model is strikingly different in each case, but common to all reworkings is a gain in historical depth, and in each case new themes and issues arise which are not immediately apparent when the reworking is considered on its own.
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Ko, Kyung Nim. "Twentieth century variations on borrowed themes." College Park, Md. : University of Maryland, 2005. http://hdl.handle.net/1903/9767.
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Thesis (D.M.A.) -- University of Maryland, College Park, 2005.Thesis research directed by: Music. Title from t.p. of PDF. Marylandia and Rare Books Dept., University of Maryland, College Park, Md. Audio available on compact disc;
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Singh, V. "Devanagari type in the twentieth century." Thesis, University of Reading, 2017. http://centaur.reading.ac.uk/78269/.
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This thesis examines the twentieth-century history of the design of typefaces for on India's most widely used scripts, Devangari, and addresses the historical framework of Devangari type from the beginnings of mechanical composition to the advent of digital technologies. Focusing on some of the significant initiatives that enabled textual communication of this script, and investigating the dynamics behind these developments, this thesis positions the design process in its entirety - not merely the marketing end-products of design - as a key resource for understanding and explaining technological change in specific geographical contexts. Acknowledging the social and economic imperatives involved in the process, this thesis also extends an analysis of the political dynamics as work in the visual representation of the language. A majority of historical narratives in type and typography have tended to approach technological innovations as autonomous developments, transforming and reinventing cultural practices as they are transmitted beyond their point of origin. The argument of the thesis contest this view by locating both the products and the processes of technology within the realm of cultural agency and contextual adaption. It does so specifically by examining transnational professional networks and by tracing type-making projects across geographies separated by widely differing notions and circumstances of development. This research aims to make a significant contribution to knowledge in the field, for the first time building on documentary evidence from primary sources spread over three continents. It draws on original archival material such as letter-drawings, artwork, process documents, company correspondence, business records, trade literature and industry documentation, as well as private collections across seven countries - including India, UK, US and Japan - to critically examine the history of the design process for Devanagari type.
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Benabid, Zachariah C. "Shakespeare's Puck in the twentieth century." Thesis, Boston University, 2006. https://hdl.handle.net/2144/27590.
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Boston University. University Professors Program Senior theses.PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.
2031-01-02
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Smith, David Frederick. "Nutrition in Britain in the twentieth century." Thesis, University of Edinburgh, 1986. http://hdl.handle.net/1842/27416.
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The study is initially concerned with the origins and development of different approaches to nutrition science in Britain during the first three decades of the twentieth century. The contrasting approaches are shown to embody alternative "styles of thought" in the sense used by Karl Mannheim. An account of the work of the Advisory Committee on Nutrition of the Ministry of Health (founded 1931) is then given. The conflicts which occured during the deliberations of the Committee are interpreted as conflicts between those who advanced the contrasting "styles of thought." The focus of attention then shifts to the foundation and development of the Nutrition Society (1941). The disputes which occured in the Nutrition Society during its early years are shown to be largely concerned with alternative notions of the application of nutritional knowledge. Developments in the Society after the war, it is suggested, must be understood against the background of the post -war reaction against the "social relations of science movement ". The foundation of the first Nutrition Degree in 1953 at the Nutrition Department at Queen Elizabeth College of the University of London, is then considered. A hypothesis is presented which suggests an explanation of certain important features of the professional ideology of nutrition which has been associated with the College.
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Hodge, Diana Victoria, and dhodge@utas edu au. "Victorianisms in twentieth century young adult fiction." Deakin University. School of Communication and Creative Arts, 2006. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20060525.151043.
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This thesis investigates the origins of contemporary fictional constructions of childhood by examining the extent to which current literary representations of children and childhood have departed from their Victorian origins. I set out to test my intuition that many contemporary young adult novels perpetuate Victorian ideals and values in their constructions of childhood, despite the overt circumstantial modernity of the childhoods they represent. The question this thesis hopes to answer therefore is, how Victorian is contemporary young adult fiction?
To gauge the degree of change that has taken place since the Victorian period, differences and points of continuity between representations of nineteenth century childhood and twentieth century childhood will be sought and examined in texts from both eras. The five aspects of fictional representation that I focus on are: notions of innocence; sexuality; the child as saviour; the use of discipline and punishment to create the ideal child; and the depiction of childhood and adulthood as separate worlds.
The primary theoretical framework used derives from Michel Foucaults concepts of the construction of subjectivity through discourse, discipline and punishment, and his treatment of repression and power, drawn mainly from The History of Sexuality vol. 1 (1976) and Discipline and Punish; the Birth of the Prison (1977). I have chosen to use Foucault primarily because of the affinity between his work on the social construction of knowledge and the argument that childhood is a constructed rather than essential category; and because Foucaults work on Victorian sexuality exposes links with current thinking rather than perpetuating assumptions about sexual repression in this period.
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Arthur, Jillian Mary, and n/a. "A lexical cartography of twentieth century Australia." University of Canberra. Resource, Environmental & Heritage Sciences, 1999. http://erl.canberra.edu.au./public/adt-AUC20060602.125646.
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This thesis looks at the relation between the English language and the Australian place. I have
studied the vocabulary used by English speakers in Australia in the twentieth century of this
geographical place and its environment, and how this vocabulary both constructs multiple
and sometimes contesting 'Australias' and positions the settler in particular relations to this
place. Although English has occupied Australia for over a century by the time this study
begins, the analysis exposes the tensions, the gaps and the unease present in the use of a
European language in the Australian place.
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Gubernatis, Catherine. "The epistolary form in twentieth-century fiction." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1184950116.
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Papargyriou, Eleni. "Reading games in twentieth-century Greek fiction." Thesis, University of Oxford, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.433282.
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Dow, Suzanne. "Madness in French women's twentieth-century writing." Thesis, University of Oxford, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.425729.
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Sampath, Ursula. "Kaspar Hauser in twentieth-century German literature." Thesis, University of Oxford, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.293681.
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Palaska, Maria. "Female liminality in twentieth-century Mediterranean literature." Thesis, University of Essex, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.577559.
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Hunter, E. L. "Languages of politics in twentieth century Kilimanjaro." Thesis, University of Cambridge, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.604810.
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This dissertation is a study of Kilimanjaro in Northern Tanzania and its vernacular political thought from c.1916 to c.1970. Methodologically, it combines three intellectual strands. It seeks to interrogate categories of ethnicity and nation, to employ the lessons of the history of political thought and to take seriously the need to interrogate language and materiality within the same analytical framework. Within this methodological and intellectual framework, it uses new sources to return to core political questions about power and citizenship, and considers how these were debated in one locality over the course of the twentieth century. Kilimanjaro provides a particularly interesting case study because of its unusually rich source base. Social change over the period and in particular increasing land shortage and inequality of wealth encouraged an intensity of political activism and political thinking preserved in correspondence, political pamphlets and newspapers. These sources enable the analysis of changing thought about land and property, as well as the legitimate location of power and authority. The result is a more textured understanding of the discursive landscape than has been offered by previous historians of Kilimanjaro. More broadly, by focussing on a region conventionally seen as peripheral by a historiographical tradition which has usually been focussed on Dar es Salaam, the thesis offers important new contributions to our understanding of Tanzania’s political history. Finally, with its attention to the transmission of ideas, nationally and trans-nationally, the thesis contributes to the new and developing tradition of drawing on the tools of the intellectual historian in approaching the political history of Africa.
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Honeywell, Carissa. "Anglo-American anarchism in the twentieth century." Thesis, University of Sheffield, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.434466.
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Cox, Fiona Mairi. "Virgil's presence in twentieth century French literature." Thesis, University of Bristol, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.296691.
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Johnstone, I. H. "The acted life : twentieth-century biographical drama." Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.605673.
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This dissertation identifies patterns in biographical drama during the long twentieth century, investigating the persistent popularity of the dramatic re-enactment of historical lives on both stage and screen. It demonstrates the diversity, depth and continuing relevance of a genre which has frequently been dismissed as conservative and unchallenging. The reaction against Victorian hagiography in early twentieth century life writing, coupled with the surge of interest in the potential of psychoanalysis to unlock the mysteries of the ‘inner’ self, led to heightened awareness of the discrepancy between the private (or unperformed) life and public self-presentation. This study contends that, as a direct consequence, biography came to be increasingly imbued with the language of theatre and role-play. It argues that a defining characteristic of twentieth century biography is its attraction to individuals who were, in some sense, actors during their lifetimes, constructing and performing fictionalised versions of themselves. This thesis argues that drama is both a logical and representative form for the expression of biography in the twentieth century, and that stage and screen biography actively engages with distinctively modern concerns about the relationship (or discrepancy) between social performance and the private self. The protagonists of modern biographical plays and films, contrary to the nineteenth-century ideal of extraordinary men and women as the shapers of historical events, are frequently presented as trapped within an inflexible or repetitions narrative structure, or imprisoned by an artificial public image, struggling – often unsuccessfully – for the freedom of self-authorship. Chapter One situates the discussion of dramatised biography within the framework of developments in the theory and practice of life writing from the 1920s to the present day. The four remaining chapters compromise detailed analysis of a selection of representative texts. Chapters Two and Three discuss versions of the lives of ‘Jeanne d’Arc’ and ‘Lawrence of Arabia’, contrasting Jeanne’s unwavering commitment to a single role with depictions of Lawrence’s descent into self-fragmentation and role-play. Chapter Four turns to recent dramatisations of royal lives, a significant subgenre of nominal authority of the monarch and the demands of his or her ‘audience’ for particular modes of public performance. Lastly, Chapter Five examines ‘metabiographical’ plays from the 1990s and early 2000s that self consciously dramatise the challenges of reconstructing and reinterpreting the past. The plays and films discussed illuminate the tension between the provision of a definitive account of a life and the presentation of identity as an ever-changing performance, subject to multiple interpretations.
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Baldwin, Kerry Jane. "The twentieth century trombone : expansion of technique." Thesis, Manchester Metropolitan University, 2013. http://e-space.mmu.ac.uk/313184/.
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This work is a study of trombone techniques and how they have developed over the course of the twentieth century. The focal point of the study is the extension and expansion of the available performance vocabulary for trombone, using a series of case studies, scores and existing research. The expansion of techniques can be particularly identified by studying some of the most prominent performers and composers as well as the changing role of the trombone in the context of ensemble performance and some of the most prominent works that changed the role of the trombone for its future use through to the twenty first century. Included in this study is an overview of the change of the trombone due to the improvement of manufacture and addition of the larger bore and thumb valve and how these developments affected technique. The work of performers and composers Arthur Pryor, Tommy Dorsey, Luciano Berio, Christian Lindberg and Jan Sandstrom is looked at in more detail to establish their role in the development of trombone techniques. Important developments in technique in this study include the use of voice, mutes, theatricals, electronics, microtones and early twentieth century developments such as technical virtuosity and the singing style legato.
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Parker, Michael G. "Queer Orientation in Twentieth-Century American Literature." Case Western Reserve University School of Graduate Studies / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=case1466182474.
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Krueger, Tonia. "Jessica Tandy : a twentieth century acting career /." The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu1486463321625118.
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Thumpston, Rebecca Mary. "Agency in twentieth-century British cello music." Thesis, Keele University, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.699672.
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Music's narrative qualities have received extended analytical scrutiny in recent years. Less attention has been focused on the characters that inhabit those narratives - the agents or personae within the stories music tells. This thesis synthesises and extends existing literature on musical agency in order to forge a new, analytically productive approach to the critical analysis of instances of agency in twentieth-century British cello music. Through analysis of Edward Elgar's Cello Concerto (1919), Benjamin Britten's Symphony for Cello and Orchestra (1963), John Tavener's The Protecting Veil (1987), Jonathan Harvey's Advaya (1994), Richard Ayres's No, 30 (NONcerto for Orchestra, Cello and High Soprano) (2001, rev. 2003), and Harrison Birtwistle's Tragoedia (1965), this thesis proposes a framework for sustained analysis of musical agency. Theorising the manner in which listeners construct virtual subjectivities in musical works, this thesis proposes a new approach to musical agency in which the subjective and embodied agential responses of listeners are privileged. Focus is directed towards exploring the manner in which musical representations of voice, gesture and volition engage the embodied agency of listeners through mandatory, virtually-mandatory and elective means. It is argued that listeners' subjective and embodied agential responses enable the attribution of virtual agents to musical works. These virtual agents can then partake in agential narratives for suitably inclined listeners. The thesis thereby hypothesises the existence of intra-agency: a conceptual space that blends the various agencies - composer, performer, persona, listener and context - at play in a musical work.
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Knapik, Stefan. "Early twentieth-century discourses of violin playing." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:9144cfab-0e11-4ea9-80cb-842d07845ce8.
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The thesis is a critical reading of pedagogical and biographical texts by and on violinists, written in the early twentieth century. It contributes to historical and discursive studies by providing a limited engagement with a largely neglected group of historical sources relating to musical performance, and further advances the historical research on subjectivity, the body, pathology, and erotics, in relation to discourses of music. The thesis also contributes to studies of performance practice, and empirical and psychological studies of musical performance, in that it engages with discursive notions of theoretical and performance categories, such as tempo, melody, vibrato and portamento. By taking a hermeneutic approach to detailed discussions of performative practices, primarily found in pedagogical texts, the project aims to provide a more nuanced assessment of many of the topics that have played a central role in the ongoing research on early twentieth-century performance (which principally consists of recordings analysis). The project does this by demonstrating the extent to which these practices are culturally and historically mediated. Following an introduction, chapter 2 demonstrates that notions of consciousness inform writers’ notions of musical virtuosity, and shows that Nietzschean and Wagnerian notions of self underpin the idea of the violinist as a superior producer of art. Chapter 3 argues that these ideas combine with metaphysical notions of melody to make the concept of ‘tone’/Ton the cornerstone of string playing during this period, which in turn has important implications for how writers conceive of tempo, rhythm, vibrato, portamento and dynamics. Chapter 4 demonstrates that writers perceive their ideal of tone to be threatened by moral and physiological disease, manifested in individual/social bodies, which leads to a very different articulation of these same practices. Chapter 5 explores traces of notions of intersubjectivity, arising from metaphors of erotic desire, which challenge the hegemonic ideal of universal mind. The conclusion frames the discourse as a problematic attempt to posit an authoritarian model of string playing. It also includes a preliminary study of early twentieth-century discourses of cello playing, and engages with the research to date on national styles of violin playing in the same period.
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Wright, Laurence. "South African Shakespeare in the twentieth century." Ashgate, 2009. http://hdl.handle.net/10962/d1007425.
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This special section of the Shakespearean International Yearbook asks a series of questions about South African Shakespeare, chapter by chapter, focusing on the twentieth century. The temporal emphasis is deliberate, because it was particularly in the last century that Shakespeare became an issue, albeit a minor one, in relation to the titanic political and ideological struggles that convulsed the country throughout the period. The articles set out to examine and re-assess, in historical sequence, some of the acknowledged highlights of Shakespeare in South Africa in the last century. These are the moments when, for a range of different reasons, Shakespeare troubles the public sphere to claim attention in excess of that normally accorded ‘routine Shakespeare,’ that haphazard succession of productions, tours, educational debates, academic publications, reviews and commentary that comprises the internal history of the subject.
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Wang, Chien-Wei. "Examples of Extended Techniques in Twentieth-Century Piano Etudes by Selected Pianist-Composers." Scholarly Repository, 2010. http://scholarlyrepository.miami.edu/oa_dissertations/378.
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This essay illustrates the principal technical and compositional innovations in the piano literature of the twentieth century, through an examination of the piano etudes written by the period's most accomplished pianist-composers. The etude is generally regarded as one of the most common musical forms designed to provide pianists with practice material for perfecting a particular technical skill. The most influential composer who established the norm for the composition of piano etudes and raised their suitability as concert works was Frederic Chopin. Piano etudes, however, gradually shifted as compositional vehicles in the twentieth century. Composers began to discard the harmonic language of traditional theory by employing more irregular and atonal materials, which gradually replaced the standard figurations of nineteenth-century composition. The author addresses works based on traditional technical idioms such as intervals (double thirds, fourths, fifths, and octaves), scales, arpeggios, chords, repeated notes and finger independence in Chapter Four. In Chapter Five, works containing modern types of notation and unusual technical requirements are examined. The format for these chapters is as follows: general comments on the complete work, compositional description of each individual piece and finally, performance remarks. This essay is limited to piano etudes written by composers who are also generally regarded as accomplished pianists. The composers discussed in this essay are Claude Debussy, Alexander Scriabin, Bela Bartók, Olivier Messiaen, Geörgy Ligeti, Louise Talma, and William Bolcom. In addittion, this essay collects and examines piano etudes that are considered suitable for both study and concert programming, a criterion that narrows the etude selection examined in this essay to works that have been recorded and performed in public.
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Crossen-Richardson, Phyllis Jane. "Neglected cello repertoire of twentieth century English composers." College Park, Md. : University of Maryland, 2006. http://hdl.handle.net/1903/1382.
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Fast, Adrienne J. "Printmaking and professionalism in early twentieth century Bengal." Thesis, University of British Columbia, 2015. http://hdl.handle.net/2429/53716.
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The early twentieth century in Bengal was a time of great social transformation, when many new ways of being and making a living in the world became suddenly possible and negotiable. Amongst the new livelihoods finding expression in that time and place was that of the modern, urban, professional Bengali printmaking artist, one who combined professional artistic training and certification with a determination to carve out spaces of economic and social opportunity for himself, often very difficult circumstances. Most artists struggled to forge successful careers at this time, but those who were engaged with print and printmaking media were able to take advantage of unique opportunities and were faced with particular challenges. Each chapter of this thesis deals with particular images and objects, certain institutions and texts, in order to trace the modern, professional Bengali printmaking artist through the contested spaces of a rapidly professionalizing art world that was itself emerging and transforming in Bengal, particularly in the urban centre of Calcutta from roughly the 1920s to the 1940s. By looking closely at how the
relationships between individualism and collectivity, and between village India and
modern urban agglomerations, were represented and negotiated in and through print and printmaking media during this period, this thesis also complicates our understanding of how these twinned issues were connected to the experience of modernity and modern art in South Asia. Finally, this thesis addresses the Bengal Famine of 1943, its representation in the art of the period, and how its cataclysmic circumstances were a context in which the issues and themes discussed throughout this project manifested in particularly urgent ways.Arts, Faculty of
Art History, Visual Art and Theory, Department of
Graduate
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Rowe, Michael. "The racialisation of disorder in twentieth century Britain." Thesis, University of Leicester, 1997. http://hdl.handle.net/2381/30115.
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Two dominant themes can be identified in political and media debates which followed various incidents of urban unrest in Britain during the 1980s. Events in St. Pauls, Bristol, in April 1980, in Toxteth, Liverpool in July 1981, and in the Handsworth district of Birmingham in October 1985, were amongst those which were frequently held to represent a new and troubling development in British cities. In the report which followed his Inquiry into the disturbances in Brixton in April 1981, Lord Scarman recorded the 'horror and incredulity' with which the British public watched violent scenes unfold on television news reports (Scarman, 1981; 1.2). Accompanying the view that urban unrest was anathema in British society was the frequent suggestion that the events in many cities in the early and mid-1980s were essentially 'race riots', clashes between black people and the police. Many of the arguments which explained the disturbances in terms of the 'race' of those involved are critically discussed in this study. The thesis develops a theoretical framework based upon the concept of racialisation. It is argued that a full understanding of racialised discourse must pay attention to both the particular local circumstances in which they appear, and well-established themes which have unfolded over time. An important aspect of the study is the examination of other discourses with which racialised ideas have co-joined, reflecting the way in which notions of 'race' are socially constructed. The final part of the thesis returns to debates of the 1980s and argues that the racialisation of unrest in that decade was closely inter-twined with conservative perspectives which sought to deny socio-economic causes in favour of explanations based upon the supposed cultural or personal proclivities of those involved.
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Holbrook, Susan L. "A poetics of translation in twentieth-century writing." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq24540.pdf.
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Booze, Leanna. "The overlooked repertory twentieth-century French oboe etudes /." Connect to The overlooked repertory (Online), 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=1054061628.
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Collins, James Michael. "Exorcism and Christian enthusiasm in the twentieth century." Thesis, Middlesex University, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.436212.
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Calderwood, Paul. "Freemasonry and the press in twentieth century Britain." Thesis, Goldsmiths College (University of London), 2010. http://research.gold.ac.uk/6394/.
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The following pages contain a study of the British media coverage of freemasonry in the twentieth century. They consider how and why the public image of freemasonry changed from that of a highly-respected elite organisation, at the centre of public life in 1900, to a position on the fringes, regarded by many with suspicion and disapproval in the 1990s. They focus on national newspapers only. This thesis describes how the press projected a positive message of the organisation for almost 40 years, based on a mass of news, which I believe - and show - emanated from the organisation itself (making it an unexpected pioneer in modern public relations practice). It concludes that the change of image and public regards which occurred during the twentieth century was due, mainly, to Masonic withdrawal from the public sphere. It considers - and finds wanting - the suggestion that this withdrawal was a response to Fascist persecution and it offers a number of additional explanations. Freemasonry's reluctance to engage with the media after 1939 powerfully assisted its critics, who grew in strength as a result of developments within the media and the churches. Within the media, greater competition spawned a more challenging form of journalism and accelerated the decline of deference. The rise of secularism and religious pluralism in Britain provided Christianity with increases competition and led some adherents to re-define freemasonry and treat it as a rival. "Conspiracy culture" remained strong throughout the period, rendering the secrecy of freemasonry a major handicap to public understanding. The history of freemasonry in twentieth century Britain is largely an unexplored field and, in examining the fraternity's media profile, this study also illuminates the organisation's collisions with nationalism, communism, and state welfare provision.
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Stock, Adam. "Mid twentieth-century dystopian fiction and political thought." Thesis, Durham University, 2011. http://etheses.dur.ac.uk/3465/.
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This thesis examines political and social thought in dystopian fiction of the mid-twentieth century. It focuses on works by four authors: Yevgeny Zamyatin’s We (1924), Aldous Huxley’s Brave New World (1932), George Orwell’s Nineteen Eighty-Four (1949), and John Wyndham’s postwar novels (especially The Day of the Triffids (1951), The Kraken Wakes (1953) and The Chrysalids (1955)). The central concern of this thesis is how political and social ideas are developed within a literary mode which evolved as response to both literary concerns and political ideas, including on the one hand literary utopias, science fiction, satire, and literary modernism; and on the other hand modernity, social Darwinism, apocalypse, war, and changes in gender roles in the broader culture. It is argued that the narrative structures of these novels are crucial in enabling them to perform such critical tasks. These texts use fictionality to enact self-reflexive critiques of the disasters of their age that both acknowledge their own emergence from the post-Enlightenment tradition in the history of political ideas, and criticise the failings of this very tradition of which they are part. The work of a variety of critical theorists, including Theodor Adorno and Max Horkheimer, Hannah Arendt and Raymond Williams inform this analysis. This thesis aims to demonstrate how comparative readings of critical theory and literature can reveal their mutually interactive significance as cultural reactions to historical events. Dystopian fictions of the mid-twentieth century are both important documents in cultural history, and valuable literary examples of the development and diffusion of a plurality of modernisms within popular fiction.
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Bidelman, Bernard M. "Social services and twentieth century social welfare policy." Virtual Press, 1988. http://liblink.bsu.edu/uhtbin/catkey/536301.
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In 1962 Congress enacted legislation which made social services an important instrument of public welfare reform. The law represented the culmination of a half-century effort on the part of public welfare officials to secure recognition for public social services as a distinctive yet integral feature of progressive social welfare policy in the United States. This dissertation traces the evolution of this effort from its origins in the Progressive period to the passage of the Public Welfare Amendments of 1962.The Progressive ideal of social welfare focused on building an institution of public welfare which would satisfy the economic, social, and psychological needs of all citizens. Public welfare officials viewed social services as playing a key role in the realization of this goal. The paper examines how social services became a means of protecting and expanding the functions of public welfare.The history of public social services has been marked by controversy. Throughout most of the twentieth century, the institution of public welfare has been subjected to periodic assaults by the taxpaying public. The stigma associated with welfare has caused many professional social workers to oppose the idea of incorporating social services into public welfare. The response of public welfare officials to these sources of conflict is a major topic which the paper explores.The context for and the ramifications of the dispute between professional social workers and public welfare officials over the propriety of public social services are discussed in the first three chapters of the paper. The last three chapters recount the political strategies used by public welfare officials to gain acceptance of their plan for integrating social services with public welfare policy.Department of Sociology
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Javadi, Motlagh Parvindokht. "Women in political discourses of twentieth century Iran." Thesis, Birkbeck (University of London), 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.396768.
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McMillan, Neil Livingstone. "Tracing masculinities in twentieth-century Scottish men's fiction." Thesis, University of Glasgow, 2000. http://theses.gla.ac.uk/5190/.
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Tracing Masculinities in Twentieth-Century Scottish Men's Fiction takes account of the representation of masculinities in a selected group of novels by twentieth-century Scottish male authors. Rather than attempt a chronological survey of fictions during this period, the argument proceeds by analysing groups of texts which are axiomatic in specific ways: the Glasgow realist novels of the 1930s and post-1970s, from the works of James Barke and George Blake to those of William McIlvanney and James Kelman, which offer particular perspectives on relationships between men of different class identifications; fictions reliant upon existentialism, which intersect with the masculinist values of the Glasgow tradition in the figure of Kelman, but are also produced by Alexander Trocchi and Irvine Welsh; and novels which employ the technique of 'cross-writing', or literary transvestism, from the Renaissance fictions of Lewis Grassic Gibbon to the postmodern works of Alan Warner and Christopher Whyte. In a critical field which has always been concerned with a tradition of largely male-produced texts privileging the actions of male characters, but has neglected fully to consider the production and reception of those texts in terms of their specific articulations of gender positions, this thesis employs theories of masculinities developed in the study of American and English literatures since the 1980s in order to provide new perspectives on Scottish novels. It also draws upon the materialist theory of Louis Althusser for a model of ideological identification, as well as utilising several psychoanalytic and deconstructive approaches to gender formation in Western culture, epitomised by the work of Judith Butler and Kaja Silverman. The various perspectives on masculine gender and sexual identities thus assembled are primarily directed towards considering the novels under discussion as 'men's texts' - texts not only by or about men, but often directed towards men as readers too.
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Aydin, Kamil. "Western images of Turkey in the twentieth century." Thesis, University of Warwick, 1994. http://wrap.warwick.ac.uk/36185/.
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While the general idea is to demonstrate how non-Western culture has been represented by a Western one, the particular aim of the thesis is to offer an analysis of twentieth century images of Turkey in the West mainly through the texts of thrillers and travel accounts. Since Turkey has generally been treated as a Middle Eastern country in terms of geography, culture and religion in those texts I have randomly selected, the negative images of Turkey and the Turks have been examined from a non-European point of view taking into account Michel Foucault's analysis interpreted by Edward Said. In order to provide a better understanding of the texts studied in the thesis, there is a brief presentation of the history and development of travel writing and popular fiction as distinct literary genres in the Introduction. Moreover, as the thesis demonstrates that there are a great number of direct or indirect references to historical representations of the Turks identified with the Ottomans, a chronological account of early images is made in the first chapter. These images can be summed up under such general headings as 'Lustful' and 'Terrible' Turks or a combination of both. The analysis of contemporary images of Turkey has been undertaken separately in ensuing chapters. While the images of violence are discussed in the second chapter, the images of the exotic which appear in the third, and the fourth chapter deals with first impressions of Turkey and the Turks. The thesis, which concludes with a discussion of the evolving process of Turkish stereotypes from verbal to visual towards the end of the twentieth century, suggesting that there are also other discourses in the media, particularly in the cinema worth examining as they also construct and perpetuate the negative image discerned in the selection of the texts.
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Houlbrooke, Margaret. "The churching of women in the twentieth century." Thesis, University of Reading, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.435659.
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Montgomery, Barry. "Esoteric trends in twentieth century literature and theory." Thesis, University of Ulster, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.444516.
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Hargreaves, Tracy. "Virginia Woolf and twentieth century narratives of androgyny." Thesis, Queen Mary, University of London, 1994. http://qmro.qmul.ac.uk/xmlui/handle/123456789/1444.
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This historically contextualised work investigates Virginia Woolf's often contested theory of the androgynous writing mind. The work draws on early twentieth century discourses prevalent within sexology and psychoanalysis as a means of investigating Woolf's work. This is offset against readings of recent theorizations of sex and gender which accentuate the limitations of the conceptual schema used by early twentieth century theorists. Since her writing life was framed by two world wars (between publication of The Voyage Out in 1915 and the posthumous publication of her last novel, Between the Acts in 1941) much of this work analyses modernist literature, particularly women's writing, in relation to ideologies that sought both to privilege and to denigrate war-time constructions of masculinity and male sexuality. I argue that androgyny was introduced as a metaphor for writing in A Room of One's Own as a way of controlling militant feminism and male sexuality. At the same time that it sought conservatively to suppress sexual politics in writing, it was itself an autoerotic figure, based upon mythological and psycho-sexual discourses that either transcended the political dynamics of the time, or relied upon rhetorical constructions then associated with the unconscious. As Woolf constantly negotiates between embracing and wishing to escape from the various implications of sexual difference, this work traces the relationship that Woolf establishes between patriarchal society, women's sexuality and pre-war and post-war constructions of gender. These constructions are always, for Woolf, intrinsically bound up in her writing praxis, which I trace through her unpublished, extant manuscripts. I argue that because Woolf never abandoned the trope that she had invented for symbolising writing and the subjectivity of the writer, her writing, as it engaged with the encroaching political dynamics of the 1930s became increasingly more arcane. Although she believed that art could somehow transcend the political debates during the 1930s, her reluctance to abandon the once auto-erotic figure that she had developed in the 1920s figured what she began to call "mental chastity. " Woolf's retort to politics was, finally, to eclipse history and go back to the beginning, to the primeval and pre-history. This dissertation engages with the mythical, psychoanalytic, cultural and sexual dynamics of Woolf's work and her context.
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Williams, James. "Polyglot passages : multilingualism and the twentieth-century novel." Thesis, Queen Mary, University of London, 2017. http://qmro.qmul.ac.uk/xmlui/handle/123456789/25985.
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This thesis reads the twentieth-century novel in light of its engagement with multilingualism. It treats the multilingual as a recurring formal preoccupation for writers working predominantly in English, but also as an emergent historical problematic through which they confront the linguistic and political inheritances of empire. The project thus understands European modernism as emerging from empire, and reads its formal innovations as engagements with the histories and quotidian realities of language use in the empire and in the metropolis. In addition to arguing for a rooting of modernism in the language histories of empire, I also argue for the multilingual as a potential linkage between European modernist writing and the writing of decolonisation, treating the Caribbean as a particularly productive region for this kind of enquiry. Ultimately, I argue that these periodical groupings - the modernist and the postcolonial - can be understood as part of a longer chronology of the linguistic legacy of empire. The thesis thus takes its case studies from across the twentieth century, moving between Europe and the Caribbean. The first chapter considers Joseph Conrad as the paradigmatic multilingual writer of late colonialism and early modernism, and the second treats Jean Rhys as a problematic late modernist of Caribbean extraction. The second half of the thesis reads texts more explicitly preoccupied with the Caribbean: the third chapter thus considers linguistic histories of Guyana and the Americas in the works of the experimental novelist Wilson Harris, and the fourth is concerned with the inventive and polemical contemporary Dominican-American novelist, Junot Díaz.