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Killinger, Margaret O'Neal. "Helen Knothe Nearing: A Biography". Fogler Library, University of Maine, 2004. http://www.library.umaine.edu/theses/pdf/KillingerMON2004.pdf.
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Reid, George. "Popes, politicians and political theory: The principle of subsidiarity in 20th century European history". Thesis, University of Ottawa (Canada), 2005. http://hdl.handle.net/10393/27018.
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The transformation of the principle of subsidiarity from a philosophical principle in Catholic social teachings to a constitutional article in the 1992 Treaty on European Union has been a source of confusion for scholars of European integration. Political scientists have examined subsidiarity from the perspective of political philosophy to account for its transformation and to determine its impact on European integration. However, no attempt has been made to anchor the emergence of subsidiarity in a historical context. This thesis employs a historical approach to analyze the transformation of subsidiarity. It examines the political struggles surrounding the principle in the Catholic Church, in German Christian Democracy, and in the debates over European Union in the European Community. It concludes that the transformation of subsidiarity occurred during the debates over the European Union that began in the 1970s and culminated in the ratification of the 1992 Maastricht treaty on European Union.
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Wernitznig, Dagmar. "No documents, no history : a political biography of Rosika Schwimmer (1877-1948)". Thesis, University of Oxford, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.711810.
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Day, Lara Elisabeth. "Paul Schultze-Naumburg : an intellectual biography". Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/17964.
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The subject of this dissertation is the work of the German writer, architect and Volkspädagoge Paul Schultze-Naumburg (1869-1949). His published work - 37 books, over 230 articles and countless lectures – ranging from art and architectural pedagogy, practice and criticism to cultural and racial theory, made him one of the most widely read German authors of the first half of the 20th century. Renowned during his lifetime, his racial and eugenic writing prompted his relegation in post-war German historiography, which ignored his impact and central position in the cultural and architectural landscape of German modernism. This dissertation examines Schultze-Naumburg as a specific cultural catalyst of radical nationalist and racist art and architectural history and theory, and traces his trajectory through Wilhelmine, Weimar and National Socialist Germany. Beyond the fine arts, Schultze-Naumburg helped formulate the conceptions of the anti-Semitic, pro Heimat and anti-urban, völkisch mind frame that would be transformed into the blood and soil rhetoric of the emerging National Socialist ideology. Schultze-Naumburg’s historical stature and socio-cultural prominence was recognized throughout his life, and history’s subsequent repression of his figure is based entirely on his ideas nefarious and fanatical potency and not on his erstwhile importance. Moving broadly chronologically, the first four chapters of the dissertation examine Schultze- Naumburg’s Wilhelmine work. After the introduction and literature review, Chapter II begins with an overview of his education and examines his landscape painting. Chapter III examines a sample of his prescriptive preservation writing composed for the Deutsche Bund Heimatschutz. The fourth examines his involvement in the Lebensreform movement and the Deutsche Werkbund, establishing his role in the Kunstgewerbe movement. Chapter V concentrates on the application of the Lebensreform ideal and Hermann Muthesius’ writing on Schultze-Naumburg’s design of the Cecilienhof (1913-1917) for the imperial Crown Prince. The sixth chapter traces the development of Schultze-Naumburg’s corporeal racial rhetoric from his Wilhelmine writing on women’s clothing reform to such radical polemics as Kunst und Rasse (1928), and its cumulation in National Socialist legislative policy, the Gesetz zur Verhütung des Erbkranken Nachwuchses (1933). Chapter VII considers the city of Weimar as the site of Schultze-Naumburg’s Volkspädagogik positing 1930 as turning point for both his career and the city itself.
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Wallace, Christine. "The Silken Cord: Contemporaneous 20th Century Prime Ministerial Biography in Australia & Its Meaning". Phd thesis, Canberra, ACT : The Australian National University, 2015. http://hdl.handle.net/1885/124059.
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Political biography as political intervention is explored
in this thesis: biography as action rather than as passive
publication. This idea is investigated through
contemporaneous political biography in twentieth century
Australia — specifically, biographies written in the lead
up to, or during, the active political careers of
Australia's prime ministers from Barton to Howard.
Australia had 25 prime ministers in this first century of
Federation, but only 17 contemporaneous biographies of them
were written and published. Three-quarters of these were
written in the post-war period, and half were written in
the 20th century's final two decades. Most were written by
journalists.
Given that perceptions of politicians influence their
electability, and that biography can influence perceptions,
this is a highly prospective area for testing the idea of
biography as action — in this case, as political
intervention. Here the metaphor of biography as a silken
cord composed of several strands — historical,
philosophical, psychological and political — can be seen to
operate with specific application. The silken cord of
biography slips on easily because of its familiar form; it
is capable of dragging a politician's reputation up or down
and may even be designed to hang them. While the biographer
makes the cord, someone else may be holding onto it or
subsequently seize it for their own ends. Of the 17
contemporaneous biographies examined here, the majority
were found to promote or burnish the subject's standing -
the silken cord lifting the subject up. One biography
unequivocally sought to diminish the subject's standing -
the silken cord dragging them down. This thesis takes
perceptions of biography from a simplistic
'authorised/unauthorised' binary to a more nuanced
exposition of its character and dynamics.
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Dowd, Ann Karen. "Elizabeth Bishop: her Nova Scotian origins and the portable culture of home". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31238427.
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Lee, Sai-chong Jack, i 李世莊. "Painting in western media in early twentieth century Hong Kong". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B31214344.
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Mueller, Marieke. "Subjectivity in Sartre's 'L'idiot de la famille' : biography as a space for the development of theory". Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:54f60363-e148-4481-b710-c7e68a908bd5.
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In the context of a renascent interest in the thought of Jean-Paul Sartre, this thesis proposes a close examination of one of his less studied texts, the study of Gustave Flaubert, L'Idiot de la famille (1971-72). The analysis focuses on theoretical developments that emerge from Sartre's biographical enquiry, pursuing an interdisciplinary approach combining a consideration of literary theory and literary history with the perspective of Sartre's philosophy of subjectivity. L'Idiot is situated amongst a wide variety of texts by Sartre, from Qu'est-ce que la littérature? (1948) to the Critique de la raison dialectique (1960), identifying theoretical innovations within Sartre's understanding of the subject (ch. 1), his social theory (ch. 2), his theory of the imaginary (ch. 3), of literary production (ch. 4) and of reading (ch. 5). Additionally, hitherto largely unexplored passages highlight Sartre's reflections on the situation of the late 1960s. Previous analyses of the philosophical innovations presented in L'Idiot have often focused on the strictly theoretical passages in the biography. The present thesis also concentrates on the 'imagined' scenes presented throughout the text. Read as an integral part of Sartre's method, it is suggested that the dramatization facilitated by the biographical format is an integral part of the theoretical enquiry. Despite the lack of explicit referencing provided by Sartre, the biography is explored in its open character, identifying a series of resonances and similarities with a diverse range of authors. The different chapters consider thinkers whose relationship with Sartre has received little or no attention (such as Pierre Bourdieu and Walter Benjamin), or whose work resonates with Sartre in ways that have so far gone unnoticed (Roland Barthes, Maurice Merleau-Ponty and Maurice Blanchot).
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Kirton, Teneille. "Racial exploitation and double oppression in selected Bessie Head and Doris Lessing texts". Thesis, University of Fort Hare, 2010. http://hdl.handle.net/10353/232.
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During the era of discrimination and disparity in Southern Africa, racial inequality silenced many black writers. It was the white authors that dominated the literary environment presenting their biased views on social and political concerns; the black authors standpoints were seen as unimportant and they were deemed inferior to the white authors. Consequently, it was particularly difficult for black writers to voice their experiences of living in a society riddled with oppression, prejudice and unequal opportunities. The purpose of this study is to critically compare selected texts by African authors Doris Lessing and Bessie Head, which depict the political and social struggles within Southern African society during the era of unequal opportunities. Lessing and Head’s works present incidents of life experiences in Southern Africa from two contrasting viewpoints. The selected texts explored are: The Grass is Singing and “The Old Chief Mshlanga” by Doris Lessing, a white author, in contrast and comparison to the texts: A Question of Power and “The Collector of Treasures” by Bessie Head, a coloured author. The research for this thesis is conducted from an ethnic literary perspective with careful consideration to critical race theory and cultural studies. From this perspective, the focus of the study is on the struggles that affected both the victim and perpetrator during the apartheid era as well as on the idea that those in power determined what was deemed acceptable and unacceptable, behaviourally and ideologically. Specifically, the plight experienced by the female characters living in a patriarchal society, and the segregation and racial inequality faced by the characters of colour is explored by analysing these characters’ influences, pressures and societal manipulations and constraints in the texts. Thus, this study will provide a more in-depth understanding of Southern African society during the apartheid era and the strategic use of literature to spotlight the subjugation and disparity.
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Hubbs, Holly J. "American women saxophonists from 1870-1930 : their careers and repertoire". Virtual Press, 2003. http://liblink.bsu.edu/uhtbin/catkey/1259304.
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The late nineteenth century was a time of great change for women's roles in music. Whereas in 1870, women played primarily harp or piano, by 1900 there were all-woman orchestras. During the late nineteenth century, women began to perform on instruments that were not standard for them, such as cornet, trombone, and saxophone. The achievements of early female saxophonists scarcely have been mentioned in accounts of saxophone history. This study gathers scattered and previously unpublished information about the careers and repertoire of American female saxophonists from 1870-1930 into one reference source.The introduction presents a brief background on women's place in music around 1900 and explains the study's organization. Chapter two presents material on saxophone history and provides an introduction to the Chautauqua, lyceum, and vaudeville circuits. Chapter three contains biographical entries for forty-four women saxophonists from 1870-1930. Then follows in Chapter four a discussion of the saxophonists' repertoire. Parlor, religious, and minstrel songs are examined, as are waltz, fox-trot, and ragtime pieces. Discussion of music of a more "classical" nature concludes this section. Two appendixes are included--the first, a complete alphabetical list of the names of early female saxophonists and the ensembles with which they played; the second, an alphabetical list of representative pieces played by the women.The results of this study indicate that a significant number of women became successful professional saxophonists between 1870-1930. Many were famous on a local level, and some toured extensively while performing on Chautauqua, lyceum, and vaudeville circuits. Some ended their performing careers after becoming wives and mothers, but some continued to perform with all-woman swing bands during the 1930s and 40s.The musical repertoire played by women saxophonists from 1870-1930 reflects the dichotomy of cultivated and vernacular music. Some acts chose to use popular music as a drawing card by performing ragtime, fox-trot, waltz, and other dance styles. Other acts presented music from the more cultivated classical tradition, such as opera transcriptions or original French works for saxophone (by composers such as Claude Debussy). Most women, however, performed a mixture of light classics, along with crowd-pleasing popular songs.School of Music
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Ng, Wing-fai, i 吳永輝. "Liang Sicheng, 1901-1972". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1991. http://hub.hku.hk/bib/B31950024.
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Mbatsha, Thembisa. "A critical analysis of the screen adaptation of Saule’s Unyana womntu". Thesis, University of Fort Hare, 2012. http://hdl.handle.net/10353/d1018674.
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This research will concentrate on various aspects of the screen adaptation of “Unyana womntu” (Saule, 1989). This study comprises of six chapters. In Chapter 1 of this study, the research aims and objectives are formulated. The research methods that are to be followed will involve a thorough reading of the written text, as well as a comprehensive repetitive viewing of all the episodes of the screen version. In the final part of Chapter 1, background information is provided on the personal life of the author as well as on his contributions to the African literary tradition. Background information on the production of the screen version is also provided. In the Chapter 2, the theoretical aspects of the phenomenon of literary adaptation are discussed. This discussion provides a framework for the analysis of the adaptation of “Unyana womntu” (Saule, 1989) in the remaining chapters of this study. The aim of this chapter is to identify and discuss the most important principles which come into play when the written text is adapted into a screen production. Since the screen production belongs to the genre of the performing arts, this chapter is introduced with a discussion on the performing arts and on the drama, in particular. The section will be concluded with a discussion on the different sub-types of the drama which can be found, including the screen production. The main emphasis is on an analysis of the basic features and principles of the drama in screen format. Since the screen play Unyana Womntu (1998) is based upon a novel by the same title, the literary features of the novel are to be discussed here as well. The specific features of the Xhosa novel will also receive attention.
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O’Neill, Patrick Nathaniel. "Paul Solanges : soldier, industrialist, translator : a biographical study and critical edition of his correspondence with Antonio Fogazzaro and Henry Handel Richardson". Monash University. Faculty of Arts. School of Languages, Cultures and Linguistics, 2007. http://arrow.monash.edu.au/hdl/1959.1/53105.
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Paul Solanges was one of the most prolific (in correspondence) and enthusiastic fans of Australian author Henry Handel Richardson (HHR). What was it about him that made HHR invest so much time in his translation of her novel, and to what extent can credence be given to the self-portrait in his letters? This thesis reveals his illegitimate royal background, considers his early career as a cavalry officer in North Africa and in the Franco-Prussian War, and describes his long career as manager of the gasworks in Milan. It also portrays in detail his other life as a translator of songs, short stories and operas from Italian to French. Finally, it compares his relationship with Italian novelist Antonio Fogazzaro to his relationship with HHR. A critical edition of Solanges’s correspondence with Fogazzaro and HHR offers the reader a privileged insight into the life and character of this Franco-Italian littérateur.
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Hoenle, Sandra Vivian Berta. "Walter Benjamin : the production of an intellectual figure". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape3/PQDD_0021/NQ48647.pdf.
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Nassimi, Azim M. "An ethnography of political leaders in Afghanistan". Virtual Press, 1997. http://liblink.bsu.edu/uhtbin/catkey/1063417.
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This study consisted of qualitative interviews with six Afghan political leaders who served as cabinet members in the Afghan government prior to the Soviet invasion. The study sought to report the political conditions in Afghanistan based on the direct experiences and the reflections of these leaders whose titles and names remain anonymous.The data were collected and analyzed using a modified version of Spradley's Developmental Research Sequence Writing methodology. The data included field notes gathered from numerous interviews, casual conversations, tape recording, library research and documents provided by the informants.The rivalries that prevented political unity during the war of resistance have exacerbated the quest for power now that the common enemy, the Soviet Union and Afghan-Marxist regimes, has disappeared from the scene. No credible social or political within the country to initiate and promote political reconciliation. Each group appears to be attempting a unilateral solution to the national crisis. The great majority of Afghans are not only left out of the political process, but are also held hostage to the confrontation between competing groups whose political and military strategies is the elimination, or at best exclusion, of other competing groups. Dangerously, none of the powerful group's adversaries has given up the idea of war as the institution or nationally acceptable leadership is available instrument of political settlement. Among political leaders there is still much in Afghan political culture that is basically hostile to open and competitive politics.Department of Educational Leadership
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Hans, Birgit. "Surrounded: The fiction of D'Arcy McNickle". Diss., The University of Arizona, 1988. http://hdl.handle.net/10150/184452.
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This study of D'Arcy McNickle (1904-1977) focuses primarily on his literary work: his two novels, The Surrounded (1936) and Wind from an Enemy Sky (1978), the manuscript versions of the two novels, and his short fiction. McNickle regarded fiction as a vehicle to explore his own identity as an American Indian. Of mixed French-Cree-American ancestry McNickle grew up on the Flathead Reservation in western Montana. Cut off from the Reservation and its traditions by a rather unhappy childhood, he struggled throughout his life to reestablish the severed bonds to his roots. In addition to this personal involvement in his fiction, McNickle also considered fiction a proper medium for writing tribal history, one that could include such diverse materials as oral tradition, literature, history, anthropology, etc. The first three chapters of the dissertation provide some background information on the Flathead tribal history, as well as the problems and prejudices McNickle encountered while growing up as a "breed," which led to a rejection of his American Indian heritage. This section ends with a consideration of his pivotal years in New York City when he started to rethink his earlier experiences and took the first step on his journey back to his tribal roots. The middle section, chapter four, gives a brief summary of McNickle's activities during the years he was involved with federal Indian policy. Even though McNickle did not work on any new fiction during those years, he continued his journey in a more detached way through non-fiction and biography. The last two chapters of the dissertation, the final stage of his journey, analyzes McNickle's disassociation from the abstract policies of the Bureau of Indian Affairs and how he turned to fiction once more in order to complete the painful but successful journey back to his tribal roots.
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Li, Boting, i 李博婷. "Leonard Woolf: towards a literarybiography". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B45697735.
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Chan, Flora Kay, i 陳鳳姬. "呂壽琨的藝術發展". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1991. http://hub.hku.hk/bib/B1300587X.
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Greenshields, Mary Clare, i University of Lethbridge Faculty of Arts and Science. "The Amazon in the drawing room : Natalie Clifford Barney's Parisian salon, 1909-1970 / Mary Clare Greenshields". Thesis, Lethbridge, Alta. : University of Lethbridge, Dept. of English, c2010, 2010. http://hdl.handle.net/10133/2606.
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This thesis is organised into two chapters and an appendix. The first chapter explores the significant American expatriate movement in France in the early part of the twentieth century, in an effort to answer the question ―Why France?‖ The second chapter examines the life and work of Natalie Clifford Barney, an American expatriate writer in Paris, who wrote predominantly in French and ran an important weekly salon for over sixty years. Specifically, her aesthetic and subject matter, her life, and her fraught publishing history are considered. The appendix is a translation of Barney's 1910 book of aphorisms entitled Éparpillements.v, 110 leaves ; 29 cm
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Baird, Julia Woodlands. "Housewife superstars : female politicians and the Australian print media, 1970-1990". Thesis, The University of Sydney, 2001. http://hdl.handle.net/2123/18048.
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This thesis focuses on the relationship between female politicians and the press in Australia - how they were interviewed and reported on, and how their public image was shaped, between 1970 and 1990. Making use of frame analysis, it examines the way the media framed women elected to parliament, and reveals a pattern of coverage which consistently portrayed women as outsiders in a male political realm. However, it also reveals that the coverage changed over time. There were four major frames through which female politicians were viewed. The ‘iron lady’ frame involved a search for Australia’s first woman Prime Minister, and compared femininity to the exercise of power or authority. The ‘housewife’ frame focused on women politician’s domestic responsibilities, and sprang from an anxiety about the impact of women’s participation in the public sphere on the private sphere. The ‘body’ frame drew attention to women’s weight, appearance and sex lives, often to either explain or query their political success. Finally, the ‘feminist’ frame centered on questions which asked women MPs to define themselves as feminists, and sought their opinions only on narrowly defined women’s issues. Frames were determined by the hook, the headline, and the choice of photograph as well as the narrative of newspaper articles, and repetition of descriptive words. Each frame evolved over time, and each has been shaped by female politician’s criticisms of their treatment at the hands of the press. This thesis shows the previously unexamined relationship between female politicians and the Australian print media is not static or unilateral, but symbiotic, dialogic and constantly changing. As a forum for a broader societal debate about the role of women, the major metropolitan newspapers sustained and shaped, but also undermined a separate spheres ideology. The print media was not monolithic, and competing viewpoints were aired in editorials, articles, comment and opinion pieces. Female journalists in particular played a critical role in introducing and sustaining a debate about a gender bias in political reporting, in the press. I argue analyses must incorporate the agency of women politicians in order to understand the complexities of the women’s responses and resistance to their portrayal as ‘housewife superstars’ in the press, as well as the possibilities for change.
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楊舒恒. "戲裏戲外 : 香港六十年代國語電影女星的螢幕再現與現實生活 = Inside/outside the movies: Hong Kong Mandarin film actresses of the 1960s : their representations on screen and their real lives". HKBU Institutional Repository, 2008. http://repository.hkbu.edu.hk/etd_ra/926.
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Soderberg, Karen Amelia Phillips. "A survey of selected contemporary Swedish choral composers and literature". Diss., The University of Arizona, 1991. http://hdl.handle.net/10150/185410.
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This study presents a survey of selected Contemporary Swedish Choral Composers and Literature representative of the trends in contemporary Swedish choral music. The varied compositional styles and techniques of composers Sven-David Sandstrom, Thomas Jennefelt, Karin Rehnqvist and Andres Hillborg exemplify these trends. Little information is readily available about the current generation of choral composers outside of Sweden. Most of the available materials concentrate on the music of composers of the 1940s Monday Group such as Sven-Erik Back and Ingvar Lidholm and Karl-Birger Blomdahl, the works of Gunnar Bucht of the 1950s who reacted against modernism, the 1960s avant-garde styles of Bengt Hambraeus, Sigfriend Naumann, Arne Mellnas and Folke Rabe. This survey discusses the life, career and musical styles of each of the composers and analysis of an a cappella work illustrative of their musical styles. Fundamental to the growth and musical development of the representative composers is an examination of the historical background, foundation and tradition of choral singing in Sweden. The select bibliography, list of works by the composers, catalogs of choral music, list of institutions and organizations, and publishers, is intended to serve as a reference guide.
23
Conway, Martin. "The Rexist movement in Belgium, 1940-1944". Thesis, University of Oxford, 1989. http://ora.ox.ac.uk/objects/uuid:c65f3221-b732-4789-b3fd-e8aa8045c52b.
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The Rexist movement led by Léon Degrelle was the principal francophone collaborationist grouping in German-Occupied Belgium during the Second World War. In the 1930s, the Rexists had been a movement on the Catholic right of the political spectrum who advocated the replacement of the outmoded parliamentary regime by a more authoritarian New Order which would enable a return to the spiritual values of the Catholic faith. Soon after the Belgian defeat of May 1940, they emerged as enthusiastic advocates of an agreement with the apparently victorious German invaders and in January 1941 Degrelle publicly declared his support for the Nazi cause. This resulted in a marked decline in popular support for Rex but did not bring it the German recognition which he craved. Only in the summer of 1941 with the formation of a Légion Wallanie which fought with some distinction alongside the German armies on the Eastern Front was the basis created for closer links between the German authorities and Rex. Subsequently, many Rexists were appointed by the Vehrmacht administrators of Belgium to positions of public responsibility and in January 1943 Degrelle announced the abandonment of his former belief in a unitary Belgian state in favour of the absorption of the francophone Walloons into a Germanic empire. During the latter war years, the Rexists were often the target of attacks by Resistance groups and the atmosphere of fear created by these attacks together with the opportunistic efforts of Degrelle to .forge an alliance with the SS led to a progressive radicalization of the movement. By 1944, the Rexists had become a beleaguered marginal grouping who increasingly resorted to violence to counter their many enemies and in September 1944 many Rexists fled from the Allied liberators to exile in the German Reich.
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Lamberth, Marion. "Interaktion von Leben und Werk bei Schönberg : analysiert anhand seiner Ehekrise des Jahres 1908". Doctoral thesis, Lunds universitet, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-33137.
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Eppig, Margaret L. "Russell Lord and the Permanent Agriculture Movement: An Environmental Biography". Antioch University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1503404147197934.
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Roos, Hilde. "Hendrik Hofmeyr : lewe en werk, 1957-1999". Thesis, Stellenbosch : University of Stellenbosch, 2000. http://hdl.handle.net/10019.1/51787.
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Thesis (MMus) -- University of Stellenbosch, 2000.ENGLISH ABSTRACT: The topic of this thesis is the life and music of Hendrik Hofmeyr, from his birth in 1957 until July 1999. The discussion on his life focusses on the events that influenced the establishment of his works and also those that had an effect on the style in which Hofmeyr composes. Although he experienced a steady development and growth as a composer, Hofmeyr's ten year stay in Italy and the event of the 1997 Queen Elisabeth of Belgium Composition Competition can be mentioned as major influences on his life and thus on his work. Hofmeyr's ideas on music are discussed in Chapter 2. To understand the intention of his music, it is important to know something of Hofmeyr's approach to music. The chapter concludes that Hofmeyr can be described as a 'romantic' composer which provides the reason why he has always been outspoken against the avant-garde which characterises much of the artmusic of the zo" century. The style analysis of the following chapter looks at three important parameters of any composer's style: harmony, melody and form. It further also discusses Hofmeyr's use of counterpoint and the specific playing techniques he requires of instruments. These two aspects stand out as particular to the composer's style. Due to the scope of the thesis, these aspects are dealt with in a limited way. A more detailed discussion of two compositions follow, the song cycle Alleenstryd and the String Quartet. Besides an analysis of both works, attention is also given to how the composer's ideas on music are manifested in these works. The thesis concludes with a detailed list of works including all works composed up to July 1999. 50 compositions are listed. To allow for maximum exposure of each work, the duration as well as a description of each work are added to the otherwise standard information.
AFRIKAANSE OPSOMMING: Hierdie tesis behandel Hendrik Hofmeyr se lewe en werk as komponis vanaf sy geboorte (1957) tot en met Julie 1999. Die beskrywing van sy lewe is daarop gerig om aan te dui hoe die gebeure in sy lewe die totstandkoming van sy komposisies en die styl van sy musiek beïnvloed het. Hoewel daar 'n geleidelike ontwikkeling in sy groei as komponis bestaan, kan sy tienjarige verblyf in Italië en die Koningin Elisabeth van België Komposisiekompetisie in 1997 as belangrike invloede uitgelig word. In hoofstuk 2 word Hofmeyr se idees oor musiek bespreek. Om die intensie en gedaante van Hofmeyr se musiek te verstaan, is dit belangrik om hierdie uitgangspunte van die komponis te begryp. In die hoofstuk word die gevolgtrekking gemaak dat Hofmeyr in wese 'n 'romantikus' is en dat hy daarom reeds sedert sy studentejare sterk uitgesproke is teen die avant-garde wat 20ste eeuse kunsmusiek kenmerk. Die stylanalise wat daarna gemaak word, behandel drie belangrike parameters van enige komponis se styl: harmonie, melodie en vorm. Verder sluit dit ook Hofmeyr se gebruik van kontrapunt in en die spesifieke speeltegnieke wat hy van instrumente verlang. Hierdie twee aspekte staan uit as besondere eienskappe van die komponis se musiek. Vanweë die omvang van die tesis, is die bespreking van hierdie aspekte redelik beperk. In Meer gedetaileerde bespreking van twee werke volg, naamlik die sangsiklus Alleenstryd en die Strykkwartet. Buiten 'n analise word ook na ander aspekte van hierdie werke gekyk, soos byvoorbeeld die wyse waarop die komponis se uitgangspunte oor musiek in hierdie werke tot uiting kom. Die tesis sluit af met 'n volledige werklys wat alle werke tot en met Julie 1999 insluit. Daar is altesaam 50 werke. Om soveel as moontlik inligting te verskaf, word buiten die standaard-inligting, ook die tydsduur en 'n beskrywende paragraaf oor elke komposisie ingesluit.
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Muchena, Kudakwashe Christopher. "Dambudzo Marechera: a psychobiographical study". Thesis, Nelson Mandela Metropolitan University, 2013. http://hdl.handle.net/10948/d1020777.
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Marechera the Zimbabwean writer, poet and novelist emerged in the late 1970s as a new voice in African literature, but his writing career lasted less than a decade. It was his iconoclastic, dense style that expressed the psychological disintegration prevalent in Africa during this period and challenged the central beliefs of both the nationalist and post-independence eras. Defying the limitations of nationality, race and culture, Marechera’s writing explores universal issues, particularly urban existence in the late twentieth century. Marechera’s life and work were closely linked. His outspoken views and unorthodox lifestyle brought him into frequent conflict with the authorities and contributed to him being perceived as a cult figure. Through his work and personality he became a major inspiration and role model for the younger generation of writers in Zimbabwe and other African countries. The present study is a psychobiographical case study with the primary aim being to explore and describe the personality development of Dambudzo Marechera (1952-1987) using Alfred Adler’s theory of Individual Psychology. It was through the use of a theory of psychological development that a better understanding of Marechera’s personality, based on his cultural and historical background was achieved and a new interpretation and explanation was reported. The findings of the study can be generalised to the theory of individual psychology through the process of analytical generalization.
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Hacksley, Helen Elizabeth. "An edition of a selection of poems by John Randal Bradburne". Thesis, Rhodes University, 2006. http://hdl.handle.net/10962/d1008069.
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This thesis examines the life and work of John Randal Bradburne (1921-1979), poet, mystic, musician, cenobite, sometime soldier, pilgrim and wanderer. His religious experiences, particularly, gave rise to a vast corpus of verse, virtually all of it as yet unpublished. This study provides a brief overview of his life, and a critical and textual introduction to a sample selection of poems entitled Bradburne 's Assays. The biography has been compiled from published and unpublished sources, as well as from personal interviews and correspondence with Bradburne's friends, relatives and associates in South Africa, Zimbabwe and the United Kingdom. Chief among these are two unpublished biographies by Judith, Countess of List owe I. Bradburne's extant corpus consists of over five thousand titled pieces of verse, ranging from brieflyrics to verses hundreds of pages long. The forty-seven poems comprising Bradburne 's Assays, published here for the first time, were selected and arranged by Bradburne himself in a single sequence. A unique collection in his corpus, they are unified by their common sonnet form and their contemplative approach to secular and religious experiences. An accurate reading text of this set of poems, transcribed from Bradburne's typescripts, currently held at Holyhead in Wales, is provided. These typescripts have been electronically scanned and are presented in the Appendix. Editorial intrusion, which has been kept to a minimum, is recorded in the critical apparatus beneath the text of the poems. Since all the poems in this ed ition are presented here for the first time, each is accompanied by detailed commentary on their form and content. Where necessary, interpretations of obscure passages have been suggested. A general index to the Introduction and Commentary is supplied, along with indexes of first lines and titles of the poems. It is hoped that this thesis will stimulate further study of the life and work of a unique and intriguing figure.
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Stephen, Ann. "Looking through conceptual art : a dialogue between Ian Burn and his collaborators". Thesis, Queensland University of Technology, 2003.
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A monograph on Ian Burn poses major problems and opportunities for art historical inquiry. A central dilemma concerns the challenge that his Conceptual art raises for biography. How is it possible to turn a conversational practice into a monograph?
In Looking Through Conceptual Art Bum's dialogical art is engaged in a series of imaginary and actual encounters with the work of other artists. The ten chapters mark out the passage of a life through a series of exchanges. Each chapter begins at a specific historical moment however its internal dynamic pursues a conversational rather than a temporal logic. Their breadth-from regional landscape with Albert Namatjira, self-portraiture with Bum's Australian masters, appropriation with Sidney Nolan, abstraction with Piet Mondrian,
collaboration with Mel Ramsden, Conceptual art with Art & Language, provincialism with Jackson Pollock, the political legacy of Conceptual art with Fernand Leger and the readymade with 'Em Malley'-represents the challenge that Bum poses for Conceptual art. The structure loosens the diachronic inevitability of biography and traces instead a non-linear surface that articulates and frames the spacing between different cultures, practices and collaborations.
Three fundamental questions inform all the conversations and are at the heart of Bum's practice: How is it possible to make art from a different (marginal) place? What role can
painting and perception play in Conceptual art ? And what are the political implications of Conceptual art?
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Gaudette, Stacey Leigh, i University of Lethbridge Faculty of Arts and Science. "Genêt unmasked : examining the autobiographical in Janet Flanner". Thesis, Lethbridge, Alta. : University of Lethbridge, Faculty of Arts and Science, 2006, 2006. http://hdl.handle.net/10133/531.
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This thesis examines Janet Flanner, an expatriate writer whose fiction and
journalism have been essential to the development of American literary modernism in
that her work, taken together, comprises a remarkable autobiographical document which
records her own unique experience of the period while simultaneously contributing to its
particular aesthetic mission. Although recent discussions have opened debate as to how a
variety of discourses can be read as autobiographical, Flanner’s fifty years worth of
cultural, political, and personal observation requires an analysis which incorporates
traditional and contemporary theories concerning life-writing. Essentially,
autobiographical scholarship must continue to push the boundaries of analysis, focusing
on the interactions and reactions between the outer world and the inner self. This thesis,
therefore, will situate Janet Flanner as an important writer whose experience among the
modernist literary community in Europe informs, and is recorded in, her writing.v, 93 leaves ; 29 cm.
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Heywood, David. "British combatant writers of the Spanish civil war". Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61706.
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Mulley, Elizabeth. "Women and children in context : Laura Muntz and representation of maternity". Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36781.
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This thesis is concerned with several aspects of the life and work of the Canadian painter Laura Muntz (1860--1930). It examines in particular Muntz's images of women and children both within the cultural themes and ideologies of the period and from the perspective of contemporary twentieth-century theories of gender. The introduction and literature review outline the broad issues surrounding the artist in her time and present a summary of her critical fortunes in Canadian art historical literature. Chapter one provides a discussion of Muntz's life and artistic production between 1860 and 1898, the year in which she returned to Toronto after a decade of study and work in Europe. The following two chapters are conceived as case studies of single paintings, observed in the context of various discourses that surround them. Chapter two analyses Muntz's Madonna and Child in terms of hereditarian theories, eugenics, maternal feminism and the Canadian social purity movement and considers the broader, psychological implications of gender, specifically in the fin-de-siecle associations of femininity and death. Chapter three examines the imagery in Muntz's Protection with reference to North American Symbolist painters and their relationship to the constructs of the feminine ideal. As a whole, the thesis elucidates the complex layers of meaning that Muntz's images of women and children contributed to the popular conceptions of femininity and motherhood current in her time.
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Korf, Lindie. "D.F. Malan : a political biography". Thesis, Stellenbosch : University of Stellenbosch, 2010. http://hdl.handle.net/10019.1/3991.
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Thesis (DPhil (History))--University of Stellenbosch, 2010.ENGLSIH ABSTRACT: This study is a political biography of D.F. Malan (1874–1959), the first of the apartheid-era Prime Ministers, and covers the years 1874 to 1954, when Malan retired from politics. It endeavours to provide a warts-and-all account of D.F. Malan which challenges prevalent myths and stereotypes surrounding his public persona and his political orientation. While the overwhelming focus is on Malan’s political career, special attention is paid to his personal life in order to paint a multi-faceted picture of his character. The biography is written in the form of a seamless narrative and employs a literary style of writing. It is based on archival research which utilised Malan’s private collection, as well as the private collections of his Nationalist contemporaries. Malan takes the centre stage at all times, as the biography focuses on his perceptions and experiences. Malan’s views regarding Afrikaner nationalism, which was his foremost political priority, are described, and are related to his views of British imperialism as well as other ideologies such as communism and totalitarianism. This study demonstrates that there is a notable link between Malan’s perceptions of race relations and his concerns about the poor white problem. It reveals that Malan’s racial policy was, to some extent, fluid, as were his views on South Africa’s constitutional position. Debates about South Africa’s links to Britain and the nature of the envisioned republic preoccupied Afrikaner nationalists throughout the first half of the twentieth century – and served as an outlet for regional and generational tensions within the movement. Malan’s clashes with nationalists such as Tielman Roos, J.B.M. Hertzog and J.G. Strijdom are highlighted as an indication of the internecine power struggles within the National Party (NP). By emphasising these complexities, this study seeks to contribute to a nuanced understanding of the South African past.
AFRIKAANSE OPSOMMING: Hierdie studie is politieke biografie van D.F. Malan (1874–1959), die eerste van die apartheid-era Eerste Ministers, en dek die jare 1874 tot 1954, toe Malan uit die politiek getree het. Dit poog om onversuikerde beeld van Malan te skets wat heersende mites en stereotipes aangaande sy openbare beeld en sy benadering tot die politiek uitdaag. Die fokus is hoofsaaklik op Malan se politieke loopbaan, maar besondere aandag word aan sy private lewe geskenk om sodoende veelsydige portret van sy karakter te skilder. Die biografie is in die vorm van naatlose narratief geskryf en maak van literêre skryfstyl gebruik. Dit is gebaseer op argivale navorsing, waartydens daar van D.F. Malan se privaat versameling gebruik gemaak is, sowel as die privaat versamelings van sy tydgenote. Malan is ten alle tye die sentrale figuur en die biografie fokus op sy persepsies en ervarings. Malan se denke oor Afrikaner nasionalisme, wat sy vernaamste prioriteit was, word beskryf en in verband gebring met sy opinie van Britse imperialisme, sowel as ander ideologieë soos kommunisme en totalitarisme. Die studie wys op die verband tussen Malan se denke oor rasseverhoudinge en sy besorgdheid oor die armblanke vraagstuk. Dit dui daarop dat Malan se rassebeleid tot sekere mate vloeibaar was. Dit was ook die geval met sy benadering tot Suid-Afrika se konstitusionele posisie. Afrikaner nasionaliste het tydens die eerste helfte van die twintigste eeu baie aandag geskenk aan debatte oor Suid-Afrika se verhouding tot Brittanje en die aard van die voorgenome republiek. Dit was tot mate weerligafleier vir reeds bestaande spanning tussen die onderskeie streke en generasies. Malan se botsings met nasionaliste soos Tielman Roos, J.B.M. Hertzog en J.G. Strijdom word belig as aanduiding van die diepgewortelde magstryd binne die Nasionale Party (NP). Deur op hierdie kompleksiteite klem te lê, poog die studie om bydrae te lewer tot meer genuanseerde begrip van die Suid-Afrikaanse verlede.
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Souza, Carla Delgado de 1980. "Os caminhos de Gilberto Mendes e a música erudita no Brasil". [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280043.
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Orientador: Rita de Cássia Lahoz MorelliTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
Made available in DSpace on 2018-08-19T13:09:48Z (GMT). No. of bitstreams: 1 Souza_CarlaDelgadode_D.pdf: 8418141 bytes, checksum: e98ea08ab510a92f26561ef9dfe9f62f (MD5) Previous issue date: 2011
Resumo: A presente tese de Doutorado consiste em uma etnografia da experiência social de Gilberto Mendes - um dos mais destacados compositores brasileiros de música erudita contemporânea. Procura-se compreender, com base em uma abordagem biográfica, como ele enfrentou alguns dilemas estéticos e relacionou-se com instâncias políticas e de poder dentro do campo musical, desde os anos 1940, quando decidiu tornar-se músico, até o momento de sua consagração no Brasil e no exterior. Por meio do estudo da trajetória de Gilberto Mendes foi possível mapear uma série de relações existentes entre estética e política, arte e mercado, que foram determinantes não apenas para ele, mas também para os demais autores que vivenciaram o campo da música erudita brasileira na segunda metade do século XX. Ainda que o percurso biográfico de Gilberto Mendes sirva como fio condutor da narrativa, de modo algum o trabalho resulta em um monólogo. Antes, a analogia mais adequada para esse texto é a de um drama, que pretende iluminar todo o contexto de relações entre pessoas, instituições e estéticas que fizeram parte da experiência social do protagonista. Assim, a obra e a trajetória de Gilberto Mendes são colocadas em diálogo com a produção de outros compositores, de forma que possamos escutá-lo e entendê-lo a partir das discussões estéticas e das possibilidades auditivas e políticas de seu tempo e espaço sociais
Abstract: The present Doctorate thesis is an ethnography of the social experience of Gilberto Mendes - one of the most important Brazilian composers of classical contemporary music. Our objective is to understand how he struggled with some aesthetical dilemmas and related himself with the musical field political and power instances since 1940's, when he decided being musician, until the moment of his consecration in Brazil and abroad. By the study of Gilberto Mendes trajectory, it was possible to map many relations between aesthetical and politics, art and market, which were determinant not only for him, but also for other authors which experienced the classical music field in the second half of XX century. Although Gilberto Mendes biographical journey is the conducting wire of this narrative, the work cannot be considered as a monologue. The analogy more appropriated for this text refers to a drama, with the purpose of illuminating a whole context of relations between people, institutions and aesthetics present in his social experience. The work and the trajectory of Gilberto Mendes are put in dialogue with other composers production, in a way that we can hear and understand him from the perspective of the aesthetical arguments and the hearing and political possibilities of his social time and place
Doutorado
Antropologia
Doutor em Antropologia
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Woerner-Powell, Tom. "Another road to Damascus : an integrative approach to ʻAbd al-Qādir al-Jazā'irī". Thesis, University of Oxford, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669735.
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Mangan, John Timothy. "Bertolt Brechts Exilleben und Parallelen zur Entstehung des Werkes Leben des Galilei". PDXScholar, 1996. https://pdxscholar.library.pdx.edu/open_access_etds/5255.
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When Bertolt Brecht flees Nazi Germany in 1933 he spends fourteen years in exile where he writes some of his most significant works, among them, Leben des Galilei. In his Leben des Galilei, Brecht explores the relationship between the individual and society. Using the historical Galileo Galilei as context, Brecht elucidates the responsibility that scientists must accept for how their discoveries are put to use. With his Galilei figur, Brecht expresses his belief that scientific advancement should be employed for the societal advancement of the common person. Brecht wrote three versions of his Galilei work, each showing significant parallels to Brecht's experiences during the corresponding time period of his exile. This thesis will illustrate these parallels. It will first show that the Galilei thematic is to be found in the very first years of Brecht's exile. It then deals with the influences surrounding the writing of the first version while Brecht is in Denmark. The second part of the thesis focuses on Brecht's exile in America and the resulting second version of his Galilei work. Here, working with Charles Laughton on an English translation of the work, Brecht's Galilei undergoes a fundamental change. Brecht attempts to alter the positive perception of the first version's Galileo who cleverly outwits the Inquisition and secretly has his work the Discorsi smuggled out of Italy. Brecht now wants to portray Galileo as a traitor of the people, who missed his chance to help the common people overcome the suppression they were subjected to. This change is strongly influenced by Brecht's experiences in America and the dawning of the Atomic Age. The last section of the thesis deals with Brecht's return to Europe and the third version of Leben des Galilei written in East Berlin. This is a result of translating the American version into German and the addition of scenes and individual elements cut from the first version to make it more appropriate for American audiences. Brecht maintains and tries to heighten the negative portrayal of Galileo as traitor of the common people.
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Domareki, Mary. "La Voix Defie: Une Etude de L'oeuvre Autobiographique de Claire Martin - The Voice that Defied: A Study of the Autobiographical Works of Claire Martin". Fogler Library, University of Maine, 2004. http://www.library.umaine.edu/theses/pdf/DomarekiM2004.pdf.
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Mbonambi, Phakama. "Aggrey Klaaste : the relentless community-builder". Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1020882.
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This thesis looks at the life and times of Aggrey Klaaste, the larger-than-life late editor of Sowetan who shot to fame by championing a novel idea of nation building. His initiative started in 1988 as flames of violence engulfed South Africa and it seemed as if an apocalypse was on the cards. Sickened by what the frustrated black community was doing to itself, for example the use of the dreadful practice of necklacing against the so-called collaborators, he called for moral regeneration. He wanted his compatriots to look into the future and take their destiny in their own hands. Through nation building he tirelessly launched into crusading journalism that sought to heal the scars of the black community after decades of apartheid. It was grassroots community building. He rewarded ordinary men and women who made a difference in their communities. He actively sought peace to end the violence of the 1980s and 1990s. He spoke his mind without wearing any ideological blinkers, even as some thought his initiative would disturb the march to freedom. He was the ultimate newspaperman. This thesis argues that by calling for reconciliation and rebuilding of battered black communities even before freedom came, Klaaste was ahead of his time and even predated Nelson Mandela. Klaaste preferred to do what was right and not be shackled to any ideology. In doing so, he angered many people who felt his thinking was derailing the struggle for freedom. But Klaaste stressed that nation building was ideologically neutral and was meant for everyone. By contradicting prevailing political orthodoxy, he very likely risked his own life. But, like a true leader, he stuck to his convictions. Klaaste was exemplary in calling for reconciliation and building when others called for breaking. Ten years after he died, as the country still grapples with issues he raised in his popular weekly column On The Line, it is worth appraising his thinking and actions. The thesis also looks at the environment that influenced his thinking. His life is interwoven with South African history. That he began his adult life shakily, spending his days in a drunken stupor at Johannesburg shebeens to being awarded the Order for Meritorious Service for his outstanding community work, makes him an interesting subject to look at. It’s a story of a man who vanquished his demons and, through his compassionate community engagement, became an asset to the country. It’s a story of redemption. As his private life attests, he was man with flaws – like anyone else. But Aggrey Klaaste strived to do what was right for his community at all times. He was a restless community builder.
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Mosco, Natalie. "On creating : A brush with Georgia O'Keeffe". Thesis, View thesis, 2008. http://handle.uws.edu.au:8081/1959.7/43722.
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In 1988, my interest in the Twentieth Century American painter and feminist icon, Georgia O’Keeffe, was sparked by two seemingly disparate events: The Art Institute of Chicago’s first posthumous retrospective show of the painter’s works and the twentieth anniversary reunion of the original Broadway cast of Hair (of which I had been a member) that was celebrated at the United Nations in New York. Somewhere within me at that time O’Keeffe and Hair became entwined. In studying O’Keeffe’s life I sensed that her sincerity of aspiration coupled with her dogged resolve were life-lessons that might inform all artists. As a performing artist, a logical vehicle by which I could explore O’Keeffe was through the creation and performance of a play about her life. In embarking in this direction, I hoped to discover some key to creativity whereby all artists could be informed. O’Keeffe was a historical figure so my work included historical research that included autobiographical and biographical sources, videocassettes, correspondence, newspaper and magazine commentary. In addition to studying historical resources, O’Keeffe’s art was a primary resource; in particular what inspired it, how O’Keeffe painted and her philosophy of art. My research prompted the question: “At what point does the tenacious biographer leave off and the artful dramatist begin?” This question expresses the key creative and ethical problem of such a project: how much creative license can be taken with a subject who was an actual human being with a verifiable history? O’Keeffe was a creature of contradiction so rather than attempting to reconcile the contradiction between historical accuracy and creativity, I would begin by immersing myself in the known facts about my subject which I would then use as an impetus for my imaginative engagement with her life. The frisson generated by this cohabitation of contradictions could result in a release that could then be shared with audiences and, hopefully, enhance their understanding of the subject and the nature of creativity. To “dance”, so to speak, with her contradictions became my goal and methodology for writing A Brush With Georgia O’Keeffe. A part of my study also considers my experience playing the character, Georgia O’Keeffe. I had not anticipated that O’Keeffe’s emotional contrarieties would affect me personally. I had expected her mood swings to manifest within the character of O’Keeffe; in fact, they also became a part of the actor portraying her. In addition, because O’Keeffe worked and reworked her subjects, I permitted myself that luxury as a writer; however, I neglected to allow myself as the actor time to engage in a similar exploration in order to integrate the rhythm of the role into my body. By default, I also became producer for the WorkShop production of my play (overburdening myself at a time when my focus should have been on the role of Georgia). Nonetheless, O’Keeffe’s belief that one’s artistic expression must be the most perfect manifestation of one’s truth fueled my own conviction that integral to any artist of sincere aspiration was the quest for a pure form of personal expression as well as the necessity of maintaining one’s artistic vision. It was O’Keeffe’s philosophy that kept me on course as a performer. Moreover, although there is no blueprint for the creation of biographical drama, in the case of a work exploring the ambivalent O����Keeffe, embracing the dualities of historical accuracy and artistic integrity offered assurances of a probable road to travel. By embracing her inner direction and balancing her contrarieties, O’Keeffe seemingly guided my foray into her life.
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O'Connor, Clémence. "'Pour garder l'impossible intact' : the poetry of Heather Dohollau". Thesis, St Andrews, 2009. http://hdl.handle.net/10023/791.
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Modzelewski, Ann Shirley. "Internal dialogues: Construction of the self in The Woman Warrior". CSUSB ScholarWorks, 2003. https://scholarworks.lib.csusb.edu/etd-project/2468.
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This thesis considers past autobiographical theory and questions whether it addresses the autobiography of the female writer. Autobiographies of Harriet Jacobs, Margaret Sanger, and Maxine Hong Kingston are examined to reveal their polyvocality, use of the autobiographical "I", and rhetorical strategies maintained in order to create a close relationship with the reader. Particular attention is paid to Mikhail Bakhtin's theory of dialogism and Sidonie Smith's autobiographical "I."
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Rock, Brian. "Irish nationalism and postcolonial modernity : the 'minor' literature and authorial selves of Brian O'Nolan". Thesis, University of Stirling, 2010. http://hdl.handle.net/1893/2495.
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In the immediate post-independence period, forms of state-sponsored Irish nationalism were pre-occupied with exclusive cultural markers based on the Irish language, mythology and folk traditions. Because of this, a postcolonial examination of how such nationalist forms of identity were fetishised is necessary in order to critique the continuing process of decolonization in Ireland. This dissertation investigates Brian O’Nolan’s engagement with dominant colonial and nationalist literary discourses in his fiction and journalism. Deleuze and Guattari define a ‘minor’ writer’s role as one which deterritorializes major languages in order to negotiate textual spaces which question the assumptions of dominant groups. Considering this concept has been applied to postcolonial studies due to the theorists’ linguistic and political concerns, this dissertation explores the ‘minor’ literary practice of Brian O’Nolan’s authorial personae and writing techniques. Through the employment of Deleuze and Guattari’s concept of the deterritorialization of language alongside Walter Benjamin’s models of the flâneur and translation, and Claude Lévi-Strauss’s concept of bricolage, this thesis examines the complex forms of postcolonial narrative agency and discursive political resistance in O’Nolan’s work. While O’Nolan is often read in biographical terms or within the frameworks of literary modernism and postmodernism, this thesis aims to demonstrate the politically ambivalent nature of his writing through his creation of liminal authorial selves and heterogeneous narrative forms. As a bi-lingual author, O’Nolan is linguistically ‘in-between’ languages and, because of this, he deterritorializes both historical and literary associations of the Irish and English languages to produce parodic and comic versions of national and linguistic identity. His satiric novel An Béal Bocht exposes, through his use of an array of materials, how Irish folk and peasant culture have been fetishized within colonial and nationalist frameworks. In order to avoid such restricting forms of identity, O’Nolan positions his own authorial self within a multitude of pseudonyms which refuse a clear, assimilable subjectivity and political position. Because of this, O’Nolan’s authorial voice in his journalism is read as an allusive flâneur figure. Equally, O’Nolan deterritorializes Irish mythology in At Swim-Two-Birds as a form of palimpsestic translation and rhizomatic re-mapping of a number of literary traditions which reflect the Irish nation while in The Third Policeman O’Nolan deconstructs notions of empirical subjectivity and academic and scientific epistemological knowledge. This results in an infinite form of fantastical writing which exposes the limited codes of Irish national culture and identity without reterritorializing such identities. Because O’Nolan’s ‘minor’ literary challenge is reflective of the on-going crisis of Ireland’s incomplete decolonization, this thesis employs the concept of ‘minor’ literature to read Ireland’s historical past and contemporary modernity through O’Nolan’s multi-voiced and layered narratives.
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Weiler, Sylvia. "Jean Amérys Ethik der Erinnerung: die Materialisierung des Geistes im Körper". Doctoral thesis, Universite Libre de Bruxelles, 2008. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210403.
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In dieser Dissertation wird Jean Amérys Ethik der Erinnerung auf ihre philosophischen, politischen und literarischen Implikationen hin untersucht. Dabei wird sie als ein moegliches philosophisches Fundament fuer den westdeutschen Auschwitz-Diskurs und die westdeutsche Nachkriegsliteratur vorgestellt. Ihre Besonderheiten gewinnen auf der Grundlage eines Vergleichs von Amérys erinnerungspolitischen Positionen mit jenen Theodor W. Adornos Kontur, der allgemein als der philosophische Begruender der deutschen Literatur nach 1945 gilt. Beide Intellektuelle denken ausgehend von ihrer Verfolgungserfahrung als Juden deutscher (Adorno) bzw. oesterreichischer (Améry) Herkunft. Doch anders als Adorno, dem 1938 die Emigration nach Amerika gelang, wurde Améry als politischer Widerstandskaempfer gefoltert und nach Auschwitz deportiert. Vor diesem Hintergrund geht es um die Frage nach der erkenntnistheoretischen Bedeutung der koerperlichen Erfahrung der Vernichtung beim Versuch, ein der Zaesur Auschwitz angemessenes Denken zu begruenden. Hierzu werden erstmals Amérys Anleihen bei dem Phaenomenologen Maurice Merleau-Ponty systematisch analysiert. Wie er geht auch Améry davon aus, dass die koerperliche Wahrnehmung eines Menschen in entscheidender Form ueber sein Engagement in Kultur und Gesellschaft mitbestimmt.Im Rahmen der Forschungsarbeit werden saemtliche Werke Amérys beruecksichtigt, inklusive seiner zum Teil noch unveroeffentlichten Nachlass-Arbeiten. Sie ist in drei Teile aufgegliedert, in denen jeweils eine der Werkepochen, die Améry auf seinem Werdegang als politischer Schriftsteller durchlaeuft, zentral steht: sein politisches Erwachen 1934/35 in Wien, seine ersten Schreibversuche nach der Befreiung aus dem Konzentrationslager Bergen-Belsen zwischen 1945 und 1949, und zuletzt die Ethik der Erinnerung des kanonischen Améry, die er in zwei Werkepochen erarbeitet hat, in denen er sich jeweils unterschiedlichen Fragestellungen widmet.(1966-1974 und 1974-1978).
Aus der Literaturzeitschrift "Die Bruecke", die der 22jaehrige 1934 gemeinsam mit einem Freund herausgab, und Amérys Jugendroman "Die Schiffbruechigen" werden in den ersten beiden Kapiteln die fruehen philosophischen und aestetischen Urspruenge von Amérys Ethik eroertert. Im folgenden Kapitel rueckt die Vernichtungserfahrung des Autors in den Brennpunkt. Die Parameter ihrer ersten literarischen Verarbeitung in seinen Schriften aus der unmittelbaren Nachkriegszeit werden herausgestellt, die Améry in seinem Spaetwerk weitergedacht hat. Auf den vorangehenden Forschungsergebnissen aufbauend wird im letzten Kapitel Amérys Ethik der Erinnerung im Vergleich zu jener Theodor W. Adornos erarbeitet. Ihr phaenomenologisches Fundament wird dem geschichtsphilosophischen Fundament des Adornoschen Denkens gegenuebergestellt. Dabei wird gezeigt, dass nicht nur Amérys Denken, sondern auch seine Aesthetik phaenomenologisch ausgerichtet ist. Durch die Analysen in diesem Hauptteil der Dissertation, in dem erstmals alle Essay-Baende auf ihren erinnerungspolitischen Gehalt im Zusammenspiel untersucht wurden, wird Amérys Beitrag zur Begruendung einer postmodernen Ethik und der Gattung der Shoah-Literatur einsehbar.
Doctorat en Langues et lettres
info:eu-repo/semantics/nonPublished
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ANGELO, Anaïs. "Becoming president : a political biography of Jomo Kenyatta (1958-1969)". Doctoral thesis, 2016. http://hdl.handle.net/1814/44166.
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Defence date: 21 November 2016Examining Board: Professor Dirk Moses, European University Institute (EUI Supervisor); Professor Daniel Branch, University of Warwick (External Advisor); Professor Federico Romero, European University Institute; Professor John Lonsdale, University of Cambridge
Presidential rule, closely related to personal rule, is a prominent feature of African studies. Nevertheless, the making of presidents has for a long time remained an untold story: few biographies or monographs have explored the political negotiations and imagination surrounding the making of presidential powers in postcolonial Africa. This dissertation reconstructs the political rise of Jomo Kenyatta, first president of Kenya, and the first decade of his presidential rule after independence. I show that the creation of the "father of the nation" was a contingent process, revealing that Kenyatta always lacked firm control over national politics. His major political asset was the popularity he owed to his unclear connection to the Mau Mau movement: he was simultaneously believed to be a leader and an opponent of the freedom fighters. As decolonization opened up an institutional vacuum, the burning issue of the decolonization of land institutions set a precedent for the creation of a centralized government, even before the debate over regionalism was settled during the independence negotiations. It set up Jomo Kenyatta as the most moderate politician to preserve British economic interests, and gave him substantial powers over land resources: upon independence, the Kenyan nationalist elite had to support the presidentialisation of the constitution to ensure its access to land. I argue that presidential rule is a postcolonial construction tailor-made to fit Kenyatta's charismatic persona, even before he achieved political prominence. After independence, Kenyatta had little choice but to remain a distant and discreet president, while employing repressive politics, whether against resilient Mau Mau fighters or political opponents. I show that the negotiations and construction of Kenyatta's presidential powers amounted neither to centralization, nor to regionalisation, but instead, institutionalized informal powers, weakening all state institutions: the party, the national assembly and even the provincial administration.
Chapter 1 'Jomo Kenyatta’s political imagination' of the PhD thesis draws upon an earlier version published as a chapter 'Virtues for all, state for no one?' in the book 'African thoughts on colonial and neo-colonial worlds : facets of an intellectual history of Africa' (2015)
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Gorvine, William A. "The life of a Bönpo luminary sainthood, partisanship and literary representation in a 20th century Tibetan biography /". 2006. http://wwwlib.umi.com/dissertations/fullcit/3214340.
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BOARELLI, Mauro. "Militanti comunisti a Bologna : autobiografie e percorsi di formazione tra il fascismo e il 1956". Doctoral thesis, 1995. http://hdl.handle.net/1814/5721.
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Defence date: 27 February 1995Examining board: Prof. Nicola Gallerano, Università di Siena ; Prof. Paul Ginsborg, Università di Firenze ; Prof. Heinz-Gerhard Haupt, Martin-Luther Universität/Halle (Supervisore) ; Prof. Luisa Passerini, Istituto Universitario Europeo ; Prof. Claudio Pavone, Università di Pisa
PDF of thesis uploaded from the Library digitised archive of EUI PhD theses completed between 2013 and 2017
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Petrusenko, Nadezda. "Creating the Revolutionary Heroines : The Case of Female Terrorists of the PSR (Russia, Beginning of the 20th Century)". Doctoral thesis, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-149245.
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Representing revolutionary terrorists as heroes and martyrs was a typical feature of the mythology of the Russian revolutionary underground at the beginning of the 20th century. This mythology described Underground Russia, the world of the revolutionaries, as an ideal country inhabited by ideal people. The purpose of that epos was to represent the revolutionary struggle, and individual revolutionaries in such a way that they would gain sympathy from the wider public and become role models for other revolutionary fighters. Sympathetic representations of women who committed political violence seem to be especially shocking in the context of Russia at the beginning of the twentieth century, since female violent behavior contradicted the existing gender order. Employing theoretical perspectives of Critical Discourse Analysis, gender history and intersectionality, the dissertation analyzes the way narratives about the individual life paths of female terrorists of the Party of Socialist Revolutionaries (the PSR), the biggest socialist party in Russia at the beginning of the 20th century, were constructed in their revolutionary auto/biographies. It analyzes how the lives of women from different social and ethnic origins, of different ages, with different life paths, who happened to be united only by their participation in the political terrorism of the PSR, were recounted with the help of narratives used in the Russian revolutionary underground. The research findings demonstrate that the accounts of the lives of female PSR terrorists were constructed with the help of the dominant narrative that was formed as a conversion story. Within the framework of that narrative, the lives of individual women were adapted to the dominant discourse of heroism and martyrdom, and at the same time were contextualized within the dominant discourse on “good” femininity that existed in the Russian society, and even within the discourse on Jews as perpetual “Others” in the Russian empire in case of Jewish women. Social and ethnic backgrounds as well as individual circumstances of the terrorist women, however, transformed the dominant narrative, and thus created diversity of representations. The discursive practice of writing a revolutionary life accepted by Bolsheviks influenced the discursive practice employed in revolutionary auto/biographies of female terrorists written during the early Soviet period.
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Hertenberger, Renate. "Drei Aspekte zu Leben und Werk Erich Kästners". Thesis, 2012. http://hdl.handle.net/10210/5728.
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M.A."Es gibt nichts Gutes, auger: man tut es!" 1 Diese Worte stammen von einem Mann, der nicht nur als Autor, sondern auch als Mensch heute noch als ein Moralist bezeichnet wird. Seine Werke sollen dazu dienen, den Erwachsenen und den Kindern ein Beispiel der Moralitat zu sein. Wie kommt es, daft ein Mann so hohe moralische AnsprOche stellt? Bei Erich Kastner kann man these AnsprOche auf seine Kindheit zuruckfuhren; seine Mutter war fOr ihn dieser Einflull und sollte es sein Leben lang bleiben. Der Muttertyp taucht in seinen Werken immer wieder auf, und Ida Kastner dient immer als der Magstab, an dem Erich Kastner die Mutter, die in seinen Werken vorkommen, mat.
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POLESE, REMAGGI Luca. "La nazione perduta : Ferruccio Parri dall'interventismo all'esperienza di governo". Doctoral thesis, 2002. http://hdl.handle.net/1814/5945.
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Defence date: 17 October 2002Examining board: Richard Bellamy (Trinity Hall, Cambridge) ; Yves Mény (European University Institute) ; Gaetano Quagliarello (Centro di Metodologia delle Scienze Sociali della Luiss Guido Carli) ; Raffaele Romanelli (European University Institute)
PDF of thesis uploaded from the Library digitised archive of EUI PhD theses completed between 2013 and 2017
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Gerber, Marelize. "Kritiese waardebepaling van Mimi Coertse (1932-) se bydrae tot die uitvoering van die Afrikaanse kunslied". Diss., 2005. http://hdl.handle.net/10500/3114.
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Text in AfrikaansIn hierdie studie word Mimi Coertse se bydrae tot die uitvoering van die Afrikaanse kunslied in diepte ondersoek. Die kunslied word omskryf en die ontwikkeling van die kunslied in Westerse kunsmusiekgeskiedenis en in Suid- Afrika word ontleed. Die belangrikste komponiste word gevalle uitgelig. 'n Oorsig van Mimi Coertse se lewe en loopbaan volg hierna. 'n Volledige tabel van algemene opmerkings oor Coertse se uitvoering van die Afrikaanse kunslied deur resensente, kollegas en vriende word bespreek. Dit word gevolg deur opmerkings oor Coertse se uitvoering van spesifieke Afrikaanse kunsliedere deur resensente. Die Afrikaanse kunsliedere wat deur komponiste aan Coertse opgedra is, sowel as die lys van Afrikaanse kunsliedere wat deur Coertse opgeneem is, word geboekstaaf. Coertse se sangloopbaan as kunsliedsangeres val saam met 'n tydperk waarin Afrikaans as taal en die Afrikaanse kultuur gedy het. Sy het in Afrikaans 'n uitdrukkingsmedium gevind wat haar die naaste aan die hart gele het.
This study involves an in-depth investigation into Mimi Coertse's contribution to the execution of the Afrikaans art song. The art song is defined and its development in the history of Western music and in South Africa analysed. The principal composers are highlighted in both instances. An overview is then provided of the life and career of Mimi Coertse. A comprehensive table of general comments on Coertse's execution of the Afrikaans art song by critics, colleagues and friends is discussed. This is followed by critics' comments on Coertse's performance of specific Afrikaans art songs. The Afrikaans art songs that composers dedicated to Coertse as well as the list of Afrikaans art songs recorded by Coertse are chronicled. Coertse's career as a performer of the art song coincided with a period in which Afrikaans as a language and Afrikaans culture blossomed. She found a medium of expression in Afrikaans that was closest to her heart.
Art History, Visual Arts & Musicology
M. Mus.