Thèses : « Song in literature »

1

Nedvin, Brian. « Holocaust Song Literature : Expressing the Human Experiences and Emotions of the Holocaust through Song Literature, Focusing on Song Literature of Hirsh Glick, Mordechai Gebirtig, and Simon Sargon ». Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc4850/.

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During the years of the Holocaust, song literature was needed to fulfill the unique needs of people caught in an unimaginable nightmare. The twelve years between 1933 and 1945 were filled with a brutal display of man's inhumanity to man. Despite the horrific conditions or perhaps because of them, the Jewish people made music, and in particular, they sang. Whether built on a new or an old melody, the Holocaust song literature continues to speak to those of us who are willing to listen. This body of work tells the world that these people lived, suffered, longed for vengeance, loved, dreamed, prayed, and tragically, died. This repertoire of songs is part of the legacy, the very soul of the Jewish people. This study contains a brief look at the historical circumstances, and through the song literature of Hirsh Glick, Mordechai Gebirtig and Simon Sargon, life within the ghetto, the concentration camp, the decisions families had to make, the choices to fight back against incredible odds, the place of faith within this nightmare, and a look at the lives and works of the composers themselves.

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Badnall, Toni Patricia. « The wedding song in Greek literature and culture ». Thesis, University of Nottingham, 2009. http://eprints.nottingham.ac.uk/12089/.

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This thesis examines the Greek wedding song and its function in literature and culture. The genre, hymenaios or epithalamium, has received little scholarly attention, particularly in English (cf. Muth, WS 1954; Tufte, Los Angeles 1970; Contiades-Tsitsoni, Stuttgart 1990, ZPE 1994; Swift, JHS 2006 & DPhil diss.). Yet an examination of the poetry of marriage, a crucial aspect in the study of the ancient world, contributes to our understanding of gender and social relations, as well as literature. Using elements of genre theory, gender studies, anthropology and cultural history, I argue that the epithalamium was part of a ritual of transition; for both the bride and for the community. The archaic epithalamium enacts this transition in lyric; tragic adaptations of the genre explore the consequences when this tradition is unsuccessfully performed. In contrast, the wedding songs of Attic comedy represent a 'happy ever after' ending for the communities of the protagonists, and portray these unions as a Sacred Marriage of man and goddess. The Helenistic epithalamium takes elements of these literary predecessors, and uses them to articulate a transition in marital relations, and literary politics, in the oeuvre of Theocritus. Philia relations in this era evolve to depict a more prominent mutuality between husband and wife, which also underpins the erotic writings of Plutarch. But more importantly, this author develops epithalamial topoi to present marriage as an 'initiation' for the bridal couple, which brings the thesis full-circle to the concept of transition while laying the foundation for one of the central concepts of Menander Rhetor's prescripts.

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3

Mirapuri, Dawn. « Discordant tunes : Christina Rossetti's sing-song / ». [St. Lucia, Qld.], 2000. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe16358.pdf.

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4

Henry, N. « The Song of Songs and virginity : the study of a paradox in early Christian literature ». Thesis, University of Cambridge, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.603966.

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The dissertation is a study of the Christian quest for doctrinal and moral purity during the fifty years preceding the fall of Rome (410 AD). As the barbarians were approaching the frontiers of the empire, Roman citizens had to come to terms with the prospect that Rome might no longer be the 'Eternal City'. Success and wealth became meaningless. Many started to turn away from the material world. They put all their hopes into the Church which they wanted to be pure and untouchable. The dissertation shows that the rise of Christian asceticism and monasticism in the fourth century should be associated with the rigorist conception of the Church which developed at the same time. Moral preachers and rigorist theologians used the Song of Songs to redraw the boundaries of Christian society and the social order of the Church. Their interpretation of the poem betrays their will to strengthen the Church in face of political insecurity and to impose on Christian women a return to a more traditional and secluded lifestyle. My research is based on original Greek and Latin texts of the fourth and fifth century, mainly the works of St. Augustine, St. Jerome, St. Gregory of Elvira, and Ambrose of Milan. I make use of unedited manuscripts which I have discovered in the Vatican library and the Bibliothèque Nationale of Paris. As well as contributing to the general history of the Early Church, my dissertation reveals important new information on the consecration of virgins in the fourth century and the liturgy which accompanied the ceremony. This new information includes evidence that the ceremony. This new information includes evidence that the ceremony of consecration of virgins appeared at the time of Ambrose and that it was deeply inspired by the Song of Songs. Chapter 6 contains a new and original reconstitution of this ceremony.

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Griffiths, David. « Song writing : poetry, Webern, and musical modernism ». Thesis, King's College London (University of London), 1993. https://kclpure.kcl.ac.uk/portal/en/theses/song-writing--poetry-webern-and-musical-modernism(eda44e12-79d4-423f-887f-4d0543a03bc9).html.

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6

Gill, Valerie Philbrick. « "Song of Myself" and the Divided Subject ». W&M ScholarWorks, 1990. https://scholarworks.wm.edu/etd/1539625607.

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7

Boston, Kris A. « Stephen Sondheim : Crossover Songs for the Classical Voice Studio ». University of Cincinnati / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ucin985625314.

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Nedvin, Brian. « Holocaust song literature : expressing human experience and emotions of the Holocaust through the song literature of Hirsh Glick, Mordecai Gebertig, and Simon A. Sargon / ». connect to online resource, 2005. http://www.unt.edu/etd/all/Aug2005/nedvin%5Fbrian/index.htm.

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9

Deedman, Cheryl. « 'The song of the pen' : popular Romantic literature 1839-1889 ». Thesis, Goldsmiths College (University of London), 2014. http://research.gold.ac.uk/10546/.

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Nineteenth-century entrepreneurial publishers exploited the opportunity presented by lower print production costs and higher rates of literacy to produce a proliferation of cheap romantic fiction in the form of penny-a-part novels, fiction-carrying penny periodicals and penny novelettes. Some of these had vast circulations, and it is possible that as many as half of all working-class women regularly read romance stories. The content of penny romance stories published between 1839 and 1889 has been little studied. Cultural historians have successfully used ‘quality’ literature to understand the social, moral and intellectual attitudes of a given period or group, recognising that it can both reflect, as well as reinforce, a culture. This thesis takes the same approach with this popular literature. Nineteenth-century penny romantic stories are formulaic. They have common themes and plotlines: in a usual story the heroine becomes separated from her family or is orphaned and is without the ‘protection’ of a parent or older relative. She meets a hero, but she faces many trials and dilemmas before they can be united. Her most important role is to protect her virtue and reputation. Those who behave appropriately are rewarded with marriage and a ‘happy ever after,’ those who don’t are punished, usually dying unpleasantly. This thesis examines how the penny publishing industry developed, who the key producers were and what influenced them. It examines the clear messages penny romantic fiction contained and the role they played in the construction of gender roles. Women are told to be passive, to remain in the domestic sphere and to aim to become wives. I argue that these stories played a strong role in perpetuating patriarchal structures and the subordination of women.

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10

Feng, Zhihong. « Bei Song gu wen yun dong de xing cheng = The formation of the Northern Song classical prose movement / ». click here to view the fulltext click here to view the abstract and table of contents, 2006. http://net3.hkbu.edu.hk/~libres/cgi-bin/thesisft.pl?pdf=b20208145f.pdf.

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11

Jang, Yeonok. « Development and change in Korean narrative song, p'ansori ». Thesis, SOAS, University of London, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.313421.

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12

Snydacker, Sarah Elizabeth. « The new American song : a catalog of published songs by 25 living American composers ». Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/1265.

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The purpose of this dissertation is to create a catalog of the published, solo vocal songs of 25 living American composers. Through this project, visibility will be given to a significant amount of contemporary literature that is currently unknown and / or underused by many singers and voice teachers today. Exposure to the literature in this project will encourage singers and teachers to give deserving attention to a wealth of contemporary American song literature, and will help to stimulate the study, practice and performance of other contemporary songs and composers. I have selected 25 living American composers. The composers represent a variety of compositional styles, and the songs vary in level of difficulty. The songs chosen are examined based upon criterion for vocal study at the collegiate level, and the entire repertoire is appropriate for traditional classical vocal training. Many of these composers' songs are readily available in public and collegiate libraries across the country. There are some composers, however, whose songs are currently not available in libraries, but are deserving of attention. The unpublished songs of the selected composers are not included because the purpose of this project is to increase accessibility. The composers for this dissertation include: Dominick Argento, Daniel Asia, Robert Baksa, Seymour Barab, Jack Beeson, William Bolcom, John Bucchino, Tom Cipullo, John Corigliano, John Frantzen, Zina Goldrich and Marcy Heisler, Ricky Ian Gordon, Daron Hagen, John Harbison, Jack Heggie, Lee Hoiby, Richard Hundley, Anne Kilstofte, Lori Laitman, Libby Larsen, John Musto, Thomas Pasatieri, Andre Previn, Gene Scheer, and Richard Pearson Thomas. The body of the dissertation consists of a brief biography of the individual composers followed by analyses of the composers' music. Each published song is analyzed according to a set of criterion for vocal study at the collegiate level. The annotations include: title, poet, publisher and date, dedication, vocal range, tessitura, recommended voice type, level of difficulty of the vocal and piano accompaniment, possible uses, brief musical and textual description, and other pertinent information for the study and performance of the music. This dissertation will encourage the study, practice and performance of contemporary American music. The annotated catalog will include vital information for the quick selection of songs, and the information I compile will be invaluable to singers and voice teachers searching for contemporary American literature. The composers included in this project will also benefit from the exposure of their work. There are, of course, many more composers whose songs are deserving of inclusion in this project. Annotated catalogs of larger scope or of differing perspectives should be created as further study.

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13

Dunn, Leslie C. « The poetics of song : Thomas Campion and Renaissance Melopoeia ». Thesis, University of Cambridge, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.293754.

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14

Furey, Simon. « Harmony in discord : an analysis of Catalan folk song ». Thesis, University of Sheffield, 2002. http://etheses.whiterose.ac.uk/962/.

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Traditional folk song is a reflection of the society that creates it. In the Catalan case it reflects not only Catalan society but also those of Valencia and the Balearic Islands, for whom forms of the Catalan language are native. This present thesis investigates the corpus of folk song in Catalan and puts it into the context of the nation states that encompass it, i.e. France and Spain. The great era of European folk-song collection was between the mid-19th century and the First World War. The early part of this period coincides with the Catalan Renaixença: the revival of interest in Catalan language and culture. However, in the Catalan case, extensive song collection continued through the cultural periods of Modernisme and Noucentisme and up until the outbreak of the Spanish Civil War. Much was documented in the publications of the Obra del cançoner popular de Catalunya, but even that great unfinished work has had no critical appraisal to date. A second theme of this thesis is therefore to begin such an appraisal, and put the work into the context of all of the major Catalan folk-song collections, which contain thousands of songs collected in both France and Spain. All the songs considered here are to be found in books, journals and recordings published between 1852 and 2001. The subject matter and song types are described and categorised, ranging from ballads and love songs to drinking songs and Christmas carols. The songs of the Països Catalans are compared with the music and songs of other traditions to identify influences and possible sources of specific material. With reference to work currently (c. 2001) taking place in Catalonia, the focus of this thesis ranges from the descriptive to the interpretative and analytical. The analyses consider words and music taken together, with performance too where possible. Because the song corpus is large but not well known, this thesis may be used as a high-level reference source to find the material. A computer-based indexing system (a database) has been developed as part of this project with the ambition of eventually providing a single, unified and more detailed reference source for all of the songs, centred on the field work of the still incomplete Obra del cançoner popular de Catalunya. The thesis is accompanied by a CD-ROM (PC only) containing the database as it currently stands. An additional database is also provided on the CD-ROM: a much-needed index of the contents of the Romancerillo Catalán of Manuel Milà i Fontanals. The databases are tools for continuing research and indicators of significant directions that future work might follow.

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15

Prosch, Tina Marie. « Incorporating environmental education into the curriculum through the use of children's literature ». CSUSB ScholarWorks, 1996. https://scholarworks.lib.csusb.edu/etd-project/1263.

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16

Ingram, Catherine. « Word and Song : The Paradox of Romanticism ». TopSCHOLAR®, 1996. http://digitalcommons.wku.edu/theses/805.

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Among the various outcomes of the Romantic period, an interest in the relationship of the arts remains a widely recognized yet rarely examined field of study. Music and literature seemed to develop a particular kinship, yet to identify the exact relationship is as difficult as defining Romanticism itself. In this study, I attempt to do both. In exploring the concept of Romanticism, its paradoxical development from Classicism is examined through the comparison of six great composers and poets of the period. By tracing the similarities and differences in style of Beethoven/Wordsworth, Schumann/Keats, and Brahms/Tennyson, hopefully a clearer understanding of the evolution of Romanticism is achieved. These artists, although creating through different mediums, address the apparent rejection of Neoclassicism, the apex of Romanticism, and the realization of its limitations. The result is the revelation of the paradox of Romanticism. For each artist, the realization of the Romantic spirit presents contrasts. Ultimately, the rejection of Neoclassic thought becomes as important to Romanticism as its dependence on Neoclassic form. These six artists achieved success not only because of their talents but also because of their acknowledgement of this fact. In this study, I trace their development through the rise and fall of Romanticism as more than instances of shared techniques or borrowed texts; the similarities in thought, poetic vision, and style shared by these artists are explored as well. The paradox of Romanticism is revealed through the interrelationship of poetry and music.

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17

Hintz, Patricia Louise. « "Song of the Husbandman" : A Critical Edition ». W&M ScholarWorks, 1989. https://scholarworks.wm.edu/etd/1539625525.

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18

Rowan, Sarah. « The efficacy of song itself : Seamus Heaney's defence of poetry ». Doctoral thesis, University of Cape Town, 2009. http://hdl.handle.net/11427/8235.

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Includes abstract.
Includes bibliographical references (p. 204-224).
The defence of poetry dates back, in English literature, to Sidney's 'An Apology for Poetry' (1595), and the twentieth and twenty-first centuries have seen an increasing number of writers advancing arguments in support of an art form that seems, more than ever, to be under threat. In this thesis, Seamus Heaney's essays on the purpose of poetry are considered as they constitute a defence of the art form. While Heaney's poetry and prose have, as a result of his popularity and standing as a poet, generated an almost unprecedented body of critical work, his defence of poetry has not been recognised as such, nor has it come under sufficient critical scrutiny. Essentially a defence of a defence, this thesis redresses that omission by examining Heaney's apology as it takes shape in his essays, and in its application to a selection of his own poems.

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19

Chambers, Carol. « Song and metaphoric imagery in forensic music therapy ». Thesis, University of Nottingham, 2008. http://eprints.nottingham.ac.uk/10833/.

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The present research study grew out of my professional practice as a music therapist, and seeks to put forward a new approach to the relationship between theory, research and clinical practice - while still relating in meaningful ways to a broad range of existing work. Music therapy in the UK is a broad and expanding profession, encompassing a notably diverse range of theoretical approaches and practical applications. Such approaches and applications may use, for example, free improvisation, songwriting, or listening- and response-based techniques. And there is a range of specialised literature dealing with each of these areas, as well as a number of broader, overarching studies dealing with the overall field. Within the tradition of a model based largely on musical improvisation, which has been my own practice, the use of pre-composed songs might be regarded as unusual, perhaps even as anomalous. But I hope to show that it is in fact a useful and profoundly revealing process which is firmly rooted in an ethos of active musical participation. This thesis examines the use of songs in forensic pyschiatric music therapy for women, and offers this use of song as an alternative model of musical creativity within such a context. My research project as a whole is approached from the philosophical framework of behaviourism; and the thesis is written from a 'social constructionist' perspective of the creation and enactment of self-identity, grounded in a belief that life and music become inextricably associated during the constructive process. As its major source of evidence, the study presents a longitudinal case study of one woman over the entire three-year course of her therapy. Her song choices are examined according to an adaptation of therapeutic narrative analysis, framed within a chronological view of events. Music remains a central focus and presence within the study, both as a vehicle for song texts and as a therapeutic medium in its own right; and the archetype of sonata form is invoked as a structural framework for analysis and the production of meaning. Images and bi-polar constructs are abstracted from the songs and their metaphoric content interpreted in the context of known life experiences and the progress of the therapy sessions themselves. Results reveal a strong use of generative metaphoric imagery which is humanized yet also, crucially, emotionally decentred or depersonalized. This then leads to assertions of a process of 'Music Therapy by Proxy'. There are also clear indications of the relevance of the passing of time as a dimension of the therapeutic process, resulting in a pattern which I term 'Reverse Chronology'. The songs which were used during the course of therapy provide words, imagery and, in addition, a musical substrate or continuum which 'carries' the textual-and-visual components but also has its own expressive and therapeutic importance. All these elements have their place and function within the therapy as described. Song as a concept is further defined as a transformative or metamorphic process enabling the expression of deeply personal, often unheard or 'suppressed' voices. Emerging from this process, seven core themes are indentified. These then provide the focus for a wider discussion concerning the significance of song and imagery for women in forensic therapy, and the issues which arise from them. Finally, suggestions are made for music therapy practice and for possible new directions in future research.

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Choi, Sung-hei, et 蔡崇禧. « Scholar-officials' penchant for flower appreciation in Song Dynasty ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2011. http://hub.hku.hk/bib/B46425743.

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Bray, Carys. « 'A Song for Issy Bradley' : a novel and poetics ». Thesis, Edge Hill University, 2014. http://repository.edgehill.ac.uk/6502/.

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This practice-led research with poetics examines, though creative practice, themes of doubt, faith and miracles in a Mormon context. A Song for Issy Bradley (Hutchinson, 2014) is a product of practice-based research and research for form and content. The novel describes the effects of a sudden bereavement on the Bradleys, a Mormon family. The third person narrative moves between the perspectives of each family member as they grieve and re-examine long-held beliefs, amid the comfort and confinement of their religious community. The poetics investigates some of the themes that surfaced during the practice-led research, including the absence of parenthood and domesticity from traditional happily-ever-after endings, the use of autobiography as a feminist resource and the presence of domestic dramas in non-fiction writing as a matter of intersection rather than one of invasion. The poetics discusses the derogatory use of the word ‘domestic’ when referencing fiction written by women and the ‘problem’ of motherhood for female writers. These issues are explored with reference to fiction by Helen Simpson, Carol Shields, Tillie Olsen, Tessa Hadley, Lionel Shriver and Margaret Forster. This is followed by a discussion of the narrative strategies in Barbara Kingsolver’s The Poisonwood Bible, Ali Smith’s The Accidental and Alice Munro’s short stories, with reference to the narrative strategies employed in A Song for Issy Bradley. And finally, the poetics considers silences surrounding women’s life experiences and the illuminating properties of ‘domestic’ fiction and non-fiction.

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22

West, Ewan Donald. « Schubert's Lieder in context : aspects of song in Vienna 1778-1828 ». Thesis, University of Oxford, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.306522.

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23

Ringer, Rebecca Scharlene. « Beyond the "Year of Song" : Text and Music in the Song Cycles of Robert Schumann after 1848 ». Thesis, connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3622.

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Walsh-Harrington, Geraldine. « The function of the incidental song in contemporary French and Belgian cinema ». Thesis, University of Sheffield, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.310725.

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Collett, Jacqueline L., et Jacqueline L. Collett. « Benjamin Britten and Contemporary Art Song Literature : A Discussion of A Birthday Hansel ». Diss., The University of Arizona, 1986. http://hdl.handle.net/10150/626233.

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Harden, Sarah Joanne. « Self-referential poetics : embedded song and the performance of poetry in Greek literature ». Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:69380265-1014-4965-bc6a-32dbc244721a.

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This thesis is a study of embedded song in ancient Greek narrative poetry. The introduction defines the terminology (embedded song is defined as the depiction of the performance of a poem within a larger poem, such as the songs of Demodocus in Homer’s Odyssey) and sets the study in the context of recent narratological work done by scholars of Classical literature. This section of the thesis also contains a brief discussion of embedded song in the Homeric epics, which will form the background of all later examples of the motif. Chapter 1 deals with embedded song in the Homeric Hymns and Hesiod’s Theogony. It is argued that the occurrence of embedded song across these poems indicates that the motif is a traditional feature of early Greek hexameter poetry, while the possibility of “inter-textual” allusion between these poems is considered, but finally dismissed. Chapter 2 focuses on Pindar, Bacchylides and Corinna, and explores how lyric poets use this motif in the various sub-genres of Greek lyric. In epinician poetry, it is argued that embedded song is used as a strategy of praise and also to boost the authority of the poet-narrator by association with the embedded performers, who can be seen to have in each case a particular source of authority distinct from that of the poet narrator. Chapter 3 considers the Hellenistic poets Apollonius Rhodius and Theocritus, and how their interest in depicting oral poetry meshes with their identity as literate and literary poets. Appendix I gives a list of all the examples of embedded song I have found in Greek poetry. Appendix II gives an account of Pindar’s Hymn to Zeus, a highly fragmentary poem which almost certainly contained an embedded song, analysing this as an example of the difficulties thrown up by lyric fragments for a study of embedded narratives.

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Stanton, Brandi. « On location race and family in the poetry of Sonia Sanchez, June Jordan, and Cathy Song / ». [Bloomington, Ind.] : Indiana University, 2009. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3378394.

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Thesis (Ph.D.)--Indiana University, Dept. of English, 2009.
Title from PDF t.p. (viewed on Jul 8, 2010). Source: Dissertation Abstracts International, Volume: 70-10, Section: A, page: 3857. Adviser: Susan Gubar.

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Dawson, Melanie. « From Song to Silence : The Coding of Music in Kate Chopin's "The Awakening" ». W&M ScholarWorks, 1990. https://scholarworks.wm.edu/etd/1539625602.

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梁李步正 et Li Po-ching Leung. « The Pianwen of the six prose masters of the Song dynasty ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1987. http://hub.hku.hk/bib/B3120773X.

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Linekin, Kim. « The modern popular song as a literary art form ». Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ37216.pdf.

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Chew, Ellen C. « Goethe’s "Gretchentragodie" in Song : A Multidimensional Woman, not Victim ». University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1458893328.

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32

Thomas, Joan Potter. « Broken Branches : The Search for Ancestry in Toni Morrison's Novels "Song of Solomon" and "Beloved" ». W&M ScholarWorks, 1991. https://scholarworks.wm.edu/etd/1539625676.

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Tsutsumi, Setsuko. « Kawabata Yasunari : interweaving the "old song of the East" and avant-garde techniques / ». Thesis, Connect to this title online ; UW restricted, 1997. http://hdl.handle.net/1773/6657.

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Chan, Kar Yue. « Ambivalence in poetry : Zhu Shuzhen of the Song Dynasty ». Thesis, University of Edinburgh, 2006. http://hdl.handle.net/1842/28704.

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Many people in the past praised Chinese literature partly because of the glamour revealed in splendid poetry, and in creating these poetry male poets have proved their excellence. Conversely the contributions of women poets have seemed much less significant in the history of traditional Chinese literature. Among the relatively small number of famous women poets in China, Zhu Shuzhen (11357-1180?) is certainly worthy of discussion, but she has not received much critical attention, in part because of the lack of reliable biographical information. Although some of Zhu Shuzhen's poems have been seen by some scholars as disgraceful, it is nevertheless valuable to explore the inner world and poetic indications of the voice projected from the poems in an objective way. However, as the number of poems attributed to Zhu Shuzhen is large, despite living under an atmosphere that discouraged the writing of poetry by women, her name is undoubtedly significant in the development of female poetry. Western theories of gender representation and the development of self in literature have been used as the main sources and frameworks for research in this thesis. The aesthetic values in Zhu Shuzhen's original verse have been retained through my translations by selecting the best appropriate original versions in different editions. Comparisons between Zhu Shuzhen and Yu Xuanji fa, (8447-868?), a woman poet in the Tang Dynasty, reveal similarities and differences which distinguish the two in terms of their resistance to the code that cast women as inferior. This thesis will analyse Zhu Shuzhen's ambivalent mind as revealed in her poetry through her contradictory statements, ideas and images regarding the notion of being a good wife on the one hand, and, on the other hand, of a woman suspected of conducting an extramarital affair.

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VonKamp, Rebecca Lee. « Contemporary art song of the United States : a graded handbook ». Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6326.

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The purpose of this dissertation is to provide vocal teachers and singers with a reference handbook of twenty-first century art songs for solo voice and piano accompaniment, written in English by composers from the United States. This handbook presents songs composed between the years of 2000-2015 by level of difficulty, from songs appropriate for high school students through collegiate students, and including professional singers. This handbook will familiarize teachers with over two hundred solo songs of seventeen composers, furthering the study and performance of contemporary art songs.

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Buckley, Ann I. « A study of old French lyric lais and descorts and related latin song to c. 1300 ». Thesis, University of Cambridge, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.316675.

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Ramos, Sefferino. « Silence, Power, and Mexicans in Willa Cather's The Song of the Lark ». CSUSB ScholarWorks, 2016. https://scholarworks.lib.csusb.edu/etd/280.

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In The Song of the Lark (1915), Willa Cather does something extraordinary by presenting a well-rounded and likeable Mexican character. This is quite different from her contemporaries’ stereotypical depictions of minorities. To include immigrants in a modern novel was avant-garde and radical subject matter; and presenting a realistic, likeable Mexican character was unheard of because the colonized and immigrants were largely ignored in American literature, or deliberately overlooked. When they were included, persistent demeaning views and unflattering Mexican stereotypes were the norm. This paper seeks to explain how positively Cather depicts Mexican characters, decades before Civil Rights. Cather includes the plight of Mexicans in her novel and gives voice to those that were silenced and ignored. Even though she was a bestselling author and considered one of the best American writers of the era, she has not been properly credited for how progressive she was in her treatment of minorities. It is well documented that Cather used juxtaposition and absences in her writing to convey meaning; I build on these absences to add in rhetorical silence and connect her use of silence to the academic conversation about speech in post-colonial analyses. By contextualizing her writings within the period, I demonstrate how progressive her novels are. Even though most depictions of minorities at the turn of the century were stereotypical, Cather diverges from the racism, which makes her decades ahead of her contemporaries in including good immigrants and minorities in American literature.

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Chen, Jue. « Making China's greatest poet| The construction of Du Fu in the poetic culture of the Song Dynasty (960-1279) ». Thesis, Princeton University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10010843.

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In traditional narrative of Chinese literary history, Du Fu (712–770) is arguably the “greatest poet of China,” and it was in the Song (960–1279) that his greatness was finally recognized. This narrative naturally presumes that the real Du Fu in history is completely accessible to us, which is not necessarily true.

This dissertation provides another perspective to understand Du Fu and the “greatness” of his poetry. I emphasize that the image of Du Fu that we now have is more of a persona that has been constructed from his available poetic texts. Poets in the Song Dynasty, especially those in the eleventh century, took initiative to construct this persona, and their construction of Du Fu was largely conditioned by their own literary and intellectual concerns.

The entire dissertation is divided into five chapters. Chapter 1 investigates how Du Fu’s poetic collection emerged. His collection, as it was compiled and edited, not only provided a platform, but also set restrictions, for the construction of Du Fu. Chapter 2 examines how Du Fu used to be remembered before his collection took form. Memory of him before the eleventh century was considerably different from his received image. The remaining chapters focus on three major aspects of Du Fu’s persona—namely his images as a poet-historian, a master of poetic craft, and a Confucian poet—to analyze how and why Du Fu was constructed as such in the Song. Song poets accepted poetry as a medium loaded with valuable information, and they thus explored Du Fu’s poetry for history; they concerned themselves with issues pertaining to poetic craft, and retrospectively looked for examples in Du Fu’s poetry as established standards; they, as scholar-officials, committed themselves to the state, and declared Du Fu as their model. In sum, Song poets provided particular readings to Du Fu’s particular poems, and claimed these readings as the result of Du Fu’s intentional production. Through interpretation of Du Fu’s surviving poems, they constructed Du Fu as China’s greatest poet.

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Dunham, Phyllis M. « The People's Poets : Literature Born of the Texas Singer-Songwriter Movement of the Last Forty Years ». ScholarWorks@UNO, 2016. http://scholarworks.uno.edu/td/2212.

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The People’s Poets of Texas: Literature Born Within the Singer/Songwriter Tradition of the Last Forty Years is a creative nonfiction exploration of the poetry found within the songs of multiple generations of modern Texas singer/songwriters and a case for the consideration of their work as a genuine regional literature. Studying the roots of Texas music, the musicality of Texan manners of speech and storytelling, and re-examining the Austin, Texas music scene of the 1970s that brought a national focus to the organic, reciprocal manner in which Texas music is traditionally experienced, radically altered the ways in which the songs were written, recorded, and marketed. An examination of this phenomenon allows us to understand that, first, a proliferation of Texas singer/songwriters of unprecedented quality has emerged in recent decades and that, second, a legitimate people's literature is emerging from their song-craft.

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Jönsson, Ola. « Autobiographical Existentialism in Norman Mailer's The Executioner's Song ». Thesis, Blekinge Tekniska Högskola, Institutionen för humaniora, 2003. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-1666.

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This essay investigates how Norman Mailer’s “true-life” novel The Executioner’s Song may also be read as an autobiography. The novel contains strong traces of Mailer’s existential philosophy as related to sexuality, non-conformity and death. The essay discusses the nature of the relationship between truth as defined by the author and the function of autobiography to tell the truth about a life. The discussion centres around Mailer’s conviction that the novel is a better, i.e. more accurate vehicle for truth than is the autobiography. The essay argues that the truth which Mailer imparts is less the “true” story of Gary Gilmore and more the “true” story of Norman Mailer.

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Gregg, Thomas Andrew. « Song composers and their poetry choices : an analysis of the literary background and textual selections of twelve composers ». The Ohio State University, 1989. http://rave.ohiolink.edu/etdc/view?acc_num=osu1241188637.

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Barlow, Rachelle Louise. « The 'land of song' : gender and identity in Welsh choral music, 1872-1918 ». Thesis, Cardiff University, 2015. http://orca.cf.ac.uk/91290/.

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This thesis concerns Wales as the ‘land of song’. In particular, it looks at choral singing in Wales which has long been considered a male tradition. From definitions of Welsh musical traditions featured in encyclopaedias to the continued use of male voice choirs at cultural events (such as rugby matches), men are continually promoted as the only bearers of the Welsh choral tradition. By contrast, this thesis questions such an assertion by arguing that women were also key players in its development in the late nineteenth and early twentieth centuries. In this matter, I interrogate two gendered stereotypes: Wales as ‘the land of my mothers’ (with reference to the suffrage movement) and Wales as ‘the land of my fathers’ (with reference to music, sport and nationhood). Conceived as a historical ethnography, this thesis draws upon extensive primary and secondary sources to provide the first in-depth study of gender and identity in Welsh choirs. The core of the thesis is comprised of historical narratives of four case study choirs from the period under study, namely the South Wales Choral Union (led by ‘Caradog’), the Rhondda Glee Society (led by Tom Stephens) and the two Royal Welsh Ladies’ Choirs (led by Clara Novello Davies and Hannah Hughes-Thomas respectively). In each case, I provide a discussion of the choir’s origin and the social context in which it developed, details about performance practice, membership, social class, repertoire and each choir’s relationship to notions of gender and identity in Wales. Moreover, I present a new understanding of the choirs’ conductors through biographical accounts; information regarding Clara Novello Davies and Hannah Hughes-Thomas especially has not been featured in previous scholarly studies. Informed by my perspective as a Welsh woman, I present a nuanced reading of Wales as ‘the land of song’ by considering both historical narratives and personal ethnographic experiences today. In this manner, this thesis contributes to ethnomusicological literature on gendered discourse and concepts of nationhood.

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Howell, Mark Hunter. « A War of Words : Satire and Song in the Pre-Revolutionary Virginia Gazettes ». W&M ScholarWorks, 1998. https://scholarworks.wm.edu/etd/1539626155.

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King, John Paul. « The Sad Kitchen and Song of Neon : Two Novellas ». TopSCHOLAR®, 2019. https://digitalcommons.wku.edu/theses/3149.

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The Sad Kitchen, a work of magical realism, tells the story of a saintly woman named Helen. She opens an underground kitchen where people who feel guilty can come to be comforted and nurtured in the middle of the night. The story is, at its heart, a reflection on forgiveness. Song of Neon, also of the magical realist genre, is an existential work about a nurse named Avery and her husband, an owl house maker, named Saul. Their town, Milliard, is under a trance. Avery and Saul struggle with their respective identities in the quiet, vacuum the town has become.

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Pelonis, Claire M. « "Let's do it!"| Criminality, space, and law in Norman Mailer's The Executioner's Song ». Thesis, California State University, Long Beach, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1598648.

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This thesis will demonstrate the ways in which Mailer treats the Gilmore v. Utah case, the space of the courtroom, and the legal system that Gary Gilmore challenged. The Executioner’s Song can be used as a document of sorts, displaying changing attitudes within the traditional American fascination with marginal characters, death-row inmates specifically. This thesis also argues that Mailer presents a man who believes in the law and in upholding the sentences that are given to those who break it. Additionally, Mailer exploits the space of the courtroom and the state of Utah as places in order to establish a discussion regarding capital punishment and criminal figures in the United States. Finally, this thesis will look at the specific way that Mailer presents the legal facts of the case and the liberties he took with these details in order to construct his “true-life novel” in a very particular way.

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Westerfield, Lillian Leigh. « "This anguish, like a kind of intimate song" : resistance in women's literature of World War II / ». Amsterdam ; New York : Rodopi, 2004. http://catalogue.bnf.fr/ark:/12148/cb40037120p.

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Malloy, Bronwyn. « "Measure me in metered lines" : unreliable narration and the hermeneutics of narrative identity in contemporary 'Indie' song lyrics ». Thesis, McGill University, 2014. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=123324.

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In the interest of exploring the hermeneutics of narrative identity in popular song lyrics, that is, the textual process by which a song's narrator imparts their story to the listener, this thesis examines a specific generic and temporal group of 'narrative' song lyrics against the branch of narrative theory relating to unreliable narration. Theories of unreliable narration have been selected as this study's key theoretical framework both because the area is central to contemporary literary studies (Nünning 2005: 2), and because, like song lyrics themselves, theories of unreliable narration problematize the notion of a unidirectional flow of meaning from the speaker/implied author to the reader/listener. Thoughtful, well-researched, highly literate (and often literary) lyrics are a central facet of the "indie music" genre's aesthetic. In this thesis I will therefore primarily focus on two of the indie music scene's most critically lauded lyricists, Colin Meloy of American indie-prog-rock band The Decemberists and John K. Samson of Canadian indie-folk-punk band The Weakerthans. Both Meloy and Samson's lyrics, I suggest, not only withstand such close critical scrutiny, but actually invite it. Demanding (and, arguably, enforcing) a new contract with the listener, Meloy and Samson's lyrics are representative of a larger shift in what an 'ideal' audience looks like in indie music, from casual listeners to an active (Schafer; Nancy), practiced, and critical audience. Engaging with a range of literary theoretical and musicological texts, the broad intentions of this project are to explore the formal complexities of first-person narration in contemporary indie song lyrics and to simultaneously diversify the potential scope for the application of theories of unreliable narration.
"Measure me in metered lines": Narration non-fiable et les herméneutes d'identité narrative dans les paroles de chansons 'Indie' contemporaines Dans l'intérêt d'explorer les herméneutes d'identité narrative dans les paroles de chansons populaires, c'est-à-dire le procès textuel par lequel le narrateur d'une chanson partage leur histoire avec l'auditeur, cette thèse examine un groupe de paroles narratives d'une convention de genre et de temporalité particulière, à l'encontre de théorie établie concernant la narration non-fiable. Des théories de narration non-fiable ont été sélectionnées en tant que cadre théorique principal, car ce domaine est central aux études de littérature contemporaine (Nünning 2005 :2) et car, comme les paroles elles-mêmes, les théories de narration non-fiable rendent problématique l'idée de flux unidirectionnel du message transmis par l'orateur/l'auteur impliqué au lecteur/auditeur. Les paroles réfléchies, soutenues par de la recherche et littéraires sont primordiales à l'esthète du genre musical indie. Donc, cette thèse ce concentre principalement sur deux des auteurs lyriques les plus célébrés de la scène indie : Colin Meloy de The Decemberists, un groupe américain de musique indie-rock-prog et John K. Samson de The Weakerthans, un groupe canadien de musique indie-folk-punk. Je propose que Meloy et Samson font plus qu'endurer l'examen critique minutieux de leur paroles et vont jusqu'à l'inviter. En demandant (et possiblement en l'imposant) un nouveau contrat avec l'auditeur, les paroles de Meloy et Samson sont représentationnelles d'un mouvement par lequel les auditeurs de musique indie « idéaux » se transforment d'écouteurs décontractés en écouteurs actifs (Schafer; Nancy), pratiqués et critiques. Engageant dans une gamme de théorie littéraire et de textes de musicologie, les vastes intentions de ce projet sont l'exploration des complexités formelles des récits à la première personne dans les paroles de musique indie contemporaine et, également, de diversifier l'application des théories de narration non-fiable.

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Negreiros, Eliete Eça. « Paulinho da Viola e o elogio do amor ». Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-12122012-102202/.

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O trabalho propõe uma leitura da obra de Paulinho da Viola à luz da tradição da lírica ocidental, da Filosofia e da Literatura.
This dissertation is about the relation between the songs of Paulinho da Viola and the tradition occidental, the philosophy and literature.

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Oliveira, Leonardo Davino de. « Pletora de alegria : a aventura frustra e reluzente do país mulato na poesia de Caetano Veloso ». Universidade do Estado do Rio de Janeiro, 2010. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=1710.

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Fundação de Amparo à Pesquisa do Estado do Rio de Janeiro
Criador moderno e conceitual, Caetano Veloso trabalha com inúmeras referências, da ordem da canção, da literatura e das artes em geral, em contato com a memória cultural do país, colocando essa memória em crise. Sob a perspectiva Zabé come Zumbi, Zumbi come Zabé, Caetano realiza a mistura e a antropofagia teórica e estética que representa (apresenta) o Brasil. Caetano resgata o popular de um isolamento profundo, promovido pela retórica purista de certa elite. Percebe que, preservar cegamente uma cultura, ou simplesmente desprezá-la, é uma perversão, em um país tão diverso quanto o Brasil. Ele assume os sucessos da massa e usa a canção como instrumento teórico e crítico para pensar o país; quebra a linearidade e desmonta o automatismo violentando-os através de uma estrutura feita de fragmentos superpostos, algo, ao mesmo tempo alusivo e ilusório. O presente trabalho analisa as canções de Caetano Veloso a partir de uma leitura baseada no procedimento de hibridação e da presença mulata, para além do étnico-racial, tomando tais componentes teóricos como um processo circular (recorrente) e característico da obra de Caetano. Por hibridação entenda-se que não é um terceiro termo que resolve a tensão entre duas culturas, de outro modo, é a crise no sistema de reconhecimento
A modern and conceptual creator, Caetano Veloso works with numerous references, of the order of the song, literature and the arts in general, contacting the cultural memory of the country, putting this memory in crisis. Under the perspective "Zabé come Zumbi, Zumbi come Zabé" Caetano performs mixing and the cannibalism theory and aesthetics that represents (presents) Brazil. Caetano rescues the folk from a deep isolation promoted by purist rhetoric of some elite. He realize that, blindly preserving a culture, or simply dismiss, it is a perversion, in a country as diverse as Brazil. He takes the hits of the mass and uses the song as a tool for theoretical and critical thinking about the country, breaking the linearity and dismantles the automatism, raping them through a structure made of overlapping fragments, something elusive and illusory at the same time. This work analyzes the songs of Caetano Veloso from a reading based on the procedure of hybridization and the presence of mulatto, in addition to ethnic-racial, taking theoretical components such as a circular process (applicant) and characteristic of Caetanos work. For hybridization understand that there is not a third term that resolves the tension between two cultures, otherwise, is the crisis in the system of recognition

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Rainbow, Jesse. « The Song of Songs and Solomonic biography in early Jewish and Christian literature (with special reference to traditions of Solomonic magic and exorcism) ». Theological Research Exchange Network (TREN), 2007. http://www.tren.com/search.cfm?p036-0377.

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Thèses sur le sujet « Song in literature »

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