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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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Griffin, Amy. "The Song of Monteverdi". Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1186.
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Freya diMonteverdi has spent her entire life trying to piece together the story of her family. Interspersed amongst three generations of women, this fiction piece attempts to answer questions of home and absence through the narrative mediums of mushrooms, the tale of Atlantis, opera and excessive use of footnotes.
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Cho, Nancy Jiwon. "The ministry of song : unmarried British women's hymn writing, 1760-1936". Thesis, Durham University, 2006. http://etheses.dur.ac.uk/1822/.
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Because they were not obliged to take on the familial tasks which until recently have defined woman's role, unmarried British women of literary talent and Christian conviction have often seen themselves as being called to the vocation of hymn-writing. Through biographical study, historical contextualisation and close reading. this thesis examines hymns written by seven such writers, over the period 1760-1936. Chapter 1 examines how Anne Steele's hymns gained entry into print, and came to be circulated and popular. It also demonstrates how the image of Steele as a sickly spinster perpetuated by the Victorian hymnologists is too limited a picture of the writer. Chapter 2 considers two labouring-class hymn writers, Susanna Harrison and Eliza Westbury, and shows how they were heavily influenced by the images and stylistic features of the earlier male hymn writers from the Evangelical tradition. Chapter 3 looks at Charlotte Elliott's writings, which were mostly for invalids, and considers how nineteenth-century Evangelicals often envisaged invalidism as a time for refinement of faith and spiritual action, and the `cult of invalidism' is contextualised. Chapter 4 considers how the writings of Dora Greenwell championed the underprivileged, and envisaged the second coming of Christ as a time for the vanquishing of evil and injustice. Chapter 5 looks at the work of Frances Ridley Havergal, one of the most popular hymn writers of the Victorian era. It considers her Evangelical background, her interest in organisations which encouraged female fellowship and ministry (such as the YWCA, the Mildmay Deaconess Institution and the Zenana missionary organisations), and the transformation of her active faith into a more contemplative one after her experience of `Consecration'. Chapter 6 examines the work and life of the Anglo-Indian hymn writer Ellen Lakshmi Goreh, and considers in further detail the opportunities offered to British women by the call for Zenana missionaries. Chapter 7 looks at the life and writings of Amy Carmichael, founder of the Dohnavur Fellowship, who spent most of her life working as a missionary in India. It shows how her hymns, which owe a debt to the Holiness Movement and its stress on the `rest of faith', and were mostly written for Indian children, are an early example of Indian inculturation.
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Carriage, Leigh. "Breathing New Life into Old Forms: Collaborative Processes Supporting Songwriting and Improvisation". Thesis, The University of Sydney, 2019. http://hdl.handle.net/2123/20368.
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The primary aim of this practice-based research was to reinvigorate my artistic practice in composition, and in so doing provide a useful model for vocalists and singer-songwriters in the contemporary jazz genre. These aims are achieved by identifying the dialectics – the collaborative inputs – in composing, lyric writing, rehearsing and recording. The thesis provides a narrative of processes undertaken in the creative practice journey involved in the production of the albums Get Out of Town (2012), Mandarin Skyline (2013) and Weave (2016). Leading Australian musicians and composers were selected for the writing and recording processes. Through a detailed examination of their input and contribution to the music, along with the input of non-musician participants, an enhanced understanding of the musical and wider interactions related to collaborative processes is revealed. The collaborative processes are outlined song by song and analysed in every stage of music creation, including preproduction discussions, communications with selected co-writers, musicians’ contributions to arrangement and composition, informal discussions related to “best” practice, and negotiation regarding stylistic interpretations pertaining to genre, harmonic movement and improvisation. Improvisation emerges as a key factor in not only the personal creative compositional process, but also in the collaborative process. The concept of collaboration was stretched to encompass personal creative processes, informed as they are by issues of stylistic identity, inspirational figures and the creative milieu within which musicians hone their skills. This process shone light on strategies within the collaborative spectrum that promoted the extension and development of my songwriting and improvisational practices.
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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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James, Caleb Paul. "Translating Song Writing to a Recorded Work: Comparing Two Modes of Music Production from the Perspective of the Songwriter". Thesis, Griffith University, 2016. http://hdl.handle.net/10072/376504.
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The collaboration of music producer and artist has long been an effective and successful one, with the former providing oversight, technical knowledge and some portion of creative objectivity, and the latter focused on the delivery of a performance. Even after the emergence of song-writing artists such as The Beatles, producers were still regarded as specialists in their own right because they were highly trained studio technicians operating equipment far beyond the budgets of average musicians. With the increased availability of affordable technology, one person can now fill all roles, acting as creator, performer and producer. This has seen a reduction in the traditional separation of artist/creator and production roles, and led to environments where one person can be all entities. Although this can provide an efficient and convenient solution for many artists, is it always ideal? Does it provide a more effective translation of the original vision, or does the lack of objective oversight and collaborative input prevent discovery of more potent outcomes? This thesis explores the nature of decision-making processes, both creative and practical, undertaken by an artist/creator acting as the music producer of recordings of their own songs, and compares this with input from an external co-producer. A case study will be used as the primary vehicle for analysis along with direct comparison of original demos and final rendered recordings resulting from the production process.Thesis (Masters)
Master of Music Research (MMusRes)
Queensland Conservatorium
Arts, Education and Law
Full Text
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Tsui, Lik Hang. "Writing letters in Song China (960-1279) : a study of its political, social, and cultural uses". Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:804b5526-4607-49d2-a119-de3cad1b0cef.
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Even though there has been no lack of scholarly attention to Chinese epistolary texts as a source of information, discussions of the functions and practices of letter writing in imperial China are very limited. This thesis deals with how elites in Song dynasty (960-1279) China exchanged personal and political information by writing and sending letters to each other, and how the genre of letters functioned in its various forms throughout the socially transformative and culturally active period. Through contextualizing epistolary material - such as letters in manuscript and print form, letter collections, and epistolary manuals, as well as sources in other genres that describe letter writing practices - I explore the multifaceted uses of letter writing for literati officials. The study provides a systematic view of the functions of Song letter writing in political, social, and cultural realms by investigating its complex practices. Using letters in several sub-genres by important literati figures such as Mi Fu, Li Gang, and Sun Di, it illustrates the main aspects of letter writing, including format, rhetoric, topical content, and handwriting. In view of the roles played by letters exchanged among Song scholars, this research on literati correspondence provides a window on how interpersonal relationships were conducted by written exchanges during that period. It also sheds light on how epistolary culture was transformed by the literati community during one of the key periods of Chinese civilization. These insights will contribute to the research of Chinese literati culture and related fields, such as the social history of middle period China, and will also be useful for comparing China's epistolary culture with the world's other letter writing traditions.
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Täck, Sabina. "Tre sorters låtskriveri : Ett undersökande arbete om att skriva sångtexter". Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-44458.
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Davidson, Sara Florence. "Following the song of k’aad ‘aww (Dogfish Mother) : adolescent perspectives on English 10 First Peoples, writing, and identity". Thesis, University of British Columbia, 2016. http://hdl.handle.net/2429/59393.
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The purpose of this study was to explore how identity texts and narrative writing could strengthen adolescents’ writing and support adolescents’ identity explorations. The study took place in an English 10 First Peoples class in a small, remote community in northern British Columbia. The context was highly unique; therefore, the study also includes findings regarding the students’ and community’s response to a compulsory course with Indigenous content, the struggles for educators teaching the course, and the perceived strengths of the course. This qualitative case study (Stake, 1995) was guided by the metaphor of the Haida dogfish mother. It drew upon Indigenous storywork principles (Archibald, 2008) to create an ethical framework that extended beyond institutional standards for ethical conduct in research. This merging of methodologies invited improvisation, dialogue, and inner reflection to explore the role of stories, ancestry, history, and lived experiences in this research. Indigenous and non-Indigenous students, teachers, administrators, community members, and a parent were interviewed and observations were conducted in the English 10 First Peoples classroom, and the data were analyzed using the iterations of the k’aad ‘aww dance. The findings from this study indicated that adolescents generally engage more with writing that is based on topics of their choice and personal experiences. The adolescents shared ways that writing transformed their lives and strengthened their relationships. They also appreciated the inclusion of non-writing activities in their English language arts class. In this study, the resistance to English 10 First Peoples as a required course resulted in racially discriminatory conversations. These suggest the need to further explore ways to ensure all students and educators have access to accurate and respectful Indigenous content and history and to ensure that educators are not engaging in a racism of low expectations (Auditor General of British Columbia, 2015). The educators offered suggestions for improved support for courses that are rich in Indigenous content and pedagogical practices; overall they expressed that the strengths of the course far outweighed the struggles. All of the participants in this study emphasized the importance of building strong relationships between students and educators.Education, Faculty of
Language and Literacy Education (LLED), Department of
Graduate
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Fleming, Kenneth. "Asian Christian theologians in dialogue with Buddhism : a study of the writing of Kosuke Koyama, Choan-Seng Song and Aloysius Pieris". Thesis, University of Edinburgh, 2000. http://hdl.handle.net/1842/19751.
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This thesis is a study of the writings of three contemporary Asian Christian theologians - Kosuke Koyama, Choan-Seng Song, and Aloysius Pieris - within the context of their dialogue with Buddhism. In addition to examining the method and content of their dialogue, the intent of the thesis is to discern the impact of the dialogue upon their respective theologies, and engage the three theologians in an inter-contextual discussion that critically affirms their value for both Asian and Western theology. The thesis is a study in Asian contextual theology. The major reality that distinguishes the Asian context from others is the existence of many religious. Asian theologians immersed in their contexts are drawn into interreligious dialogue in order to reformulate and communicate their Christian faith. The three theologians at the heart of this study have all entered into an in-depth dialogue with Buddhism, a religion that has had an immense influence upon the lives of Asian peoples. A number of common theological issues emerge out of their dialogue with Buddhism. These fall into three main areas: Christian identity, theological method, and liberation theology; within which other issues related to spirituality, mission, theology of religions, doctrine and praxis, and christology also arise. An important aim of the thesis is to contribute towards a dialogue of contextual theologies, with the author's Western background and exposure to the Asian context providing, with the insights of other theologians, the basis for a critical but friendly dialogue with the theological issues raised by the three theologians. There are three main parts to the thesis. Part one consists of two chapters that provide introductions to Buddhism and Christian-Buddhist dialogue in Asia. The second and most substantial part of the thesis consists of three chapters, each devoted to one of the three theologians, examining how his thought has developed in dialogue with Buddhism. The final part has two chapters; the first consists of a critique of the theologians' dialogue with Buddhism and a critical engagement with the theological issues and challenges that emerge from the dialogue.
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胡又天. "華語流行歌詞的演變= The development of Chinese popular song lyrics (1970-2013) /胡又天". HKBU Institutional Repository, 2016. https://repository.hkbu.edu.hk/etd_oa/343.
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19世紀下半葉，留聲機的發明與唱片產業的崛起，大幅催化了世界各地音樂與文化的交流，隨之而興的流行歌曲也自然成為了無數歷史信息、群體情感與個人記憶的載體；雖或因族群、階級、學派中的各種歧見而初未能得到公正評價，但到多元思想起而與商業邏輯拮抗的1990年代以降，從大眾、文壇到學界，已有愈來愈多人肯認了流行歌曲在文學、音樂與社會等各方面的研究意義與價值，有關華語流行歌曲的研究，亦形成了一個新興的學術領域，本論文即為其中一環。本文緒論首先針對既有論著，提出以「文學、音樂、社會」三面與「知識、技能、情感」三向為之分類，述評其方法成果。其次，採取文學面、技能向的立場，在研究方法上，提出「以作品所預設之目的來評判作品」及「以『合樂』的考量探討辭章、聲韻」的原則，並且說明了華語歌曲所固有的聲韻問題，提出裨益實際創作的研究主張，而不僅將流行歌曲作為某學科議題的資料。正文則以傳統文學「知人閱世」的進路，採詞話形式，在1970-2013年台灣的國語流行歌詞之中，選錄特別流行、創新，或能代表時勢演變之作，介紹其背景、主旨與流傳情形，分析其觀念、技法與影響，以貢獻於當代中文世界「流行詞學」典律的建立，俾讀者從中建起一個大概的演變圖景 = The invention of gramophone records and the rise of music industry in late 19th century have greatly catalyzed the global interaction of cultures, and subsequently contributed to the emergence of pop songs. However, owing to various ethnical, class and academic differences in various cultures, the importance of pop songs as carriers of historical data, collective sentiments and personal memories has not been adequately appreciated. Only in recent years have the musical, sociological, and cultural significance of critical research in pop songs and lyrics gained wider recognition among academics, intelligentsia, and mass consumers.Born in the confluence of political intervention, social stereotypes and commercial interests in the Shanghai International Settlement since 1927, Chinese Pop songs had produced lasting classics and fading stars with ebbs and flows of historical personages and political dynasties. More studies were made amid the antagonism between commercial logic and cultural pluralism during the 1990s. A new academic field was thus brought into being. This dissertation is meant to provide a critical link in this field. The dissertation introduces a framework to analyze Chinese Pop songs in three dimensions: literary, musical, and social, as well as the involved three aspects : knowledge, skills, and emotions. Relevant writings and discourses are categorized, with their methods described and their achievements commented upon. It then considers the aspect of skills within the literary dimension by following the methodology of traditional lyrics studies, and expands beyond its pure academic critique of creative writings to the principles of generating creative writings. This framework is then used as a basis to analyze the evolution of concepts and techniques in the creation of Chinese Pop songs. This dissertation aims at providing researchers and writers a set of flexible methods to comprehend and utilize the creative enterprise from an objective vantage point.
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Kordus, Joanna. "Self-inscriptions : ethnic, indigenous, linguistic and female identity constructions in Canadian minority life writing. A comparison of Apolonja Kojder's "Marynia, Don't Cry" and Rita Joe's "Song of Rita Joe"". Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/4161.
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Despite Canada’s official policy of multiculturalism, until recently, the perspectives of the
country’s lesser-known, marginalized writers have not been usually taken into
consideration in mainstream discussions on the nature of Canadian identity and its socio
cultural mosaic. Specifically, minority life writing narratives had generally received little
critical attention in Canada. This paper aims to fill this slowly-decreasing gap through the
exploration of two texts whose female writers negotiate their distinct ethnic and national
selves within the cultural dominant of Canada. The essay compares Apolonja Kojder’s
Polish-Canadian memoir, Marynia, Don’t Cry, to Rita Joe’s Mi’kmaq-Canadian
autobiography, Song of Rita Joe. The analysis of these texts sets the Polish and Aboriginal
communities into conversation, and yields a discussion on the nature of cultural, national,
linguistic and female identity. It argues that identity is political, relational and always in process.
Since much of the personal narrative writers’ identity struggle in an alien land
and language often unravels as a translation of the self into another world, the two
personal narratives add nuance to our understanding of the contradictions found in
institutional policies. The study creates awareness of the literary and discursive strategies
by which writers of disadvantaged communities challenge and subvert cultural oppression,
identity misconstructions, and the exclusion of ethnic and women’s histories from within
mainstream society. However, through the textual hybridization of cultures, languages,
histories and life experiences, Kojder’s and Joe’s intention is to facilitate understanding
across groups, create respect for diversity, propel social participation and induce socio
political transformation. This paper means to shed light on the Canadian experience in its
unique variations, and to add to life writing studies on ethnic and national individuals’
personal encounters with and within the Canadian socio- cultural and political milieu.
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Hudgins, Kenna D. "The Effect of Music Therapy on the Grief Process and Group Cohesion of Grief Support Groups". Ohio University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1181099998.
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Pienaar, Sherri. "Verbal processing in music therapy with sheltered adolescent boys : a case study". Diss., University of Pretoria, 2010. http://hdl.handle.net/2263/37392.
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This qualitative research study explored how verbal processing occurred in music therapy work
with adolescent boys living in a shelter in Pretoria. The study examined both how the adolescent
boys and the therapist engaged in verbal processing. Three audio excerpts derived from the
music therapy sessions were analysed through a process of content analysis. The data was
coded, categorised and organised into themes. Results indicated that verbal processing was
interrelated between the therapist and the adolescent boys, both making use of various
techniques of verbal processing. This proved to be invaluable with the verbal processing
facilitating the therapeutic process as the boys were afforded with a safe space where any
ideas, feelings, thoughts, hopes and dreams could be expressed and shared with each other,
and the therapist was able to gain greater insight into the boys’ more intimate world.
I am unaware of any published literature of music therapy with adolescent boys living in a
shelter, as music therapy is in its early stages in South Africa, especially with this specific client
group. The majority of music therapy literature however, not surprisingly, focuses on musical
exchanges during sessions. I would therefore like to explore how verbal processing was used in
the music therapy process, after music listening and during song writing, with adolescent boys
living in a shelter. This is in order to facilitate a greater understanding and openness towards the
possibilities of including clinically informed verbal processing as part of music therapy work with
this population group.Dissertation (MMus)--University of Pretoria, 2010.
gm2014
Music
Unrestricted
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Joemets, Viivian. "Voice Outside the Verbal and the Musical. A Study on Human Voice in its relationto Body, Language, Writing, and Music in Western Culture". Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040119.
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La thèse vise à clarifier la notion de la voix et sa place dans la culture occidentale. La multiplicité de la voix est ici étudiée à partir de son origine biologique, fondement de toute expressivité vocale. Cette multiplicité est distinguée du verbal et du musical, ses principales manifestations dans la civilisation humaine. Dans le Chapitre 1 nous proposons une réflexion sur les modes naturels de la vocalité non langagière dont la communication holistique des espèces proto-humaines et l’expression vocale des jeunes enfants forment les principales manifestations. Le Chapitre 2 analyse les rapports du corps avec la voix en tant que signe de l’identité personnelle et preuve de la présence corporelle. Dans le Chapitre 3 nous traitons du statut de l’oralité définie comme la dimension sociale de la voix. Nous étudions l’influence de l’écriture et la domination du visuel exercée sur la voix. Les rapports entre la voix, le langage et la musique sont observés dans le Chapitre 4: nous demandons dans quel sens la voix, en dehors des structures verbales et musicales, peut avoir une signification. Le dernier chapitre est consacré à la voix musicale : une histoire de la voix musicale non verbale dans la tradition savante occidentale est esquissée. Le chant y est défini en tant qu’un acte fondamental de l’expressivité vocale chez l’homme, et non pas comme un art susceptible de superposer des structures linguistiques et musicales. Nous proposons une réflexion sur quelques exemples de l’art vocal contemporain sélectionnés selon leur rapport aux questions théoriques traitées dans la thèse. La thèse se veut comme un outil théorique dans le cadre de la théorie de la cultureThe present thesis aims at clarifying the notion of voice and its place in Western post-literacy culture from the aspect of vocal non-verbal expression and its artistization. The specificity of voice lies in its multiplicity, no single trait of voice may be viewed as representative of human vocality in its entirety. Rooted in human biology, vocal expressivity is inherently distinct from the verbal and the musical; Chapter 1 deals with natural modes of nonverbal vocality of proto-humans and pre-verbal children. A comparison of the functions of human and animal vocalization is made. In Chapter 2 the relation of voice to body is treated. We analyse voice as the mark of personal identity and physical presence. Chapter 3 looks into the question of orality, defined as the social dimension of voice, in post-literacy Western culture and analyse how the democratization of writing, printing, and recording may have influenced the status of voice. In Chapter 4 we ask whether voice outside the framework of language and music may convey meaning and whether such voice may be considered a sign. In the final chapter a brief historical overview of non-verbal vocal music is outlined and a proposition is made to define singing as a fundamental act of human vocal expressivity, not as an art form that superposes linguistic and musical structures. A selection of examples of contemporary voice art is subjected to theoretical reflection in the light of the issues related to vocal expressivity as discussed in the thesis. The aim of the thesis is to provide a theoretical tool for future researches on human expressive vocalization and its artistization in the field of culture studies
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Elwerdotter, Tuva-Lill. "Meningslager i musiken : En studie om egna konstnärliga processer inom låtskrivning och musikproduktion". Thesis, Kungl. Musikhögskolan, Institutionen för musik- och medieproduktion, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4081.
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Syfte med detta självständiga arbete har varit att introspektivt undersöka vilka musikaliska och kreativa aspekter som är viktigast för mig i mitt konstnärliga uttryck, och hur dessa har påverkat mig som musikproducent. I arbetet har jag också undersökt min konstnärliga arbetsprocess och vilka metoder som är mer eller mindre gynnsamma. Med en teoretisk utgångspunkt i filosofen Martin Heideggers teori om konstverkets ursprung, och musikpedagogen Fred V. Nielsens teorier om meningslager i det musikaliska objektet, har jag valt att analysera tre låtar inom mitt artistprojekt LiLL. I analysen har jag fått syn på hur viktigt det är för mig att de tre meningslagren, emotion, spänning och kinetik/kroppsligt, är sammankopplade samt hur jag använder visioner, färg och inre bilder för att förhålla mig till ett abstrakt skapande i en DAW och realisera mitt musikaliska uttryck. Insikter som denna studie har lett till är bland annat att min musikaliska process gynnas både tidsmässigt och kreativt av samarbeten. Jag har också konstaterat att jag skapar mig själv som musikproducent och artist genom att skapa musik. Min konstnärliga och tekniska förmåga utvecklas i takt med att jag skapat ett musikaliskt verk i enlighet med Heideggers teori.The purpose of this study has been to introspectively examine which musical and creative aspects are important to me in my artistic expression, and how these aspects have affected me as a music producer. I have also examined my artistic working process and which methods are more or less favorable. With a theoretical starting point in the philosopher Martin Heidegger's theory of the origin of the work of art, and the theories of layers of meaning in the musical object by the professor in musical education Fred V. Nielsen, I have chosen to analyze three songs within my artist project - LiLL. By analyzing these songs, I have seen how important it is for me that the three layers of meaning, emotions, tension and kinetics / bodily, are connected and how I use visions and inner images to relate to the abstract creation of music in DAW:s. This study has led to insights regarding my artistic working process which are that my musical process benefits from collaborations and, in affordance with Heidegger's theory, that I create myself as a music producer by creating music at the same time as my musical ability develops by creating music.
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Vincenot, Matthias. "La poésie et la chanson, un cousinage compliqué". Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040008.
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Après une introduction présentant un historique des rapports entre la poésie et la chanson, cette thèse tente de déterminer d’abord ce qui peut faire poésie, en s’arrêtant sur la mise en musique des poèmes, étudiant notamment comment un poème peut devenir une chanson ; ensuite, il sera question de la chanson, de la façon dont on peut la définir comme de son pouvoir évocateur, ce que le chanteur Eric Guilleton appelle « la bande originale de nos vies », qui n’est pas sans conséquences dans la culture et la mémoire populaires. La troisième partie s’arrête sur la musique des mots, et donc sur l’utilisation du son, dans la poésie comme dans la chanson. La quatrième partie présente le rapport des chanteurs à la poésie, ainsi que celui des poètes à la chanson. Les témoignages de poètes et de chanteurs permettent de déterminer si tel art est, ou non, étranger à ceux qui pratiquent l’autre. Enfin, il est question du débat ouvert par Jacques Roubaud au sujet de la poésie aujourd’hui, auquel cette thèse prend part, suivi d’un bref panorama qui amène à déterminer la nature et la place du slamAfter an introduction explores the historical bond between poetry and song, the first part of this thesis tries to define what poetry is and how music is used to transform a poem into a song. The second part then discusses the definition of singing and in particular, its evocative power and its consequences on culture and popular memory : what Eric Guilleton calls “the soundtrack of our lives”. The third part focuses on the musicality of words themselves, and how it is used in both poetry and singing. The fourth part emphasizes the relationship that singers have with poetry and songs, by trying to determine whether artists practicing the poetry can understand and practice the music, and vice-versa. This is emphasized through testimonials of poets and singers. The thesis concludes with the debate initiated by Jacques Roubaud about what poetry is today, as well as the nature and place of this new form of performance called “slam”
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Thorpe, Vicki. "We made this song : the group song writing processes of three adolescent rock bands : a thesis submitted to the New Zealand School of Music in fulfilment of the requirements for the degree of Master of Music in History and Literature of Music /". ResearhArchive@Victoria e-Thesis, 2007. http://hdl.handle.net/10063/272.
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Jerling, P. A. (Petra Adriana). "Music therapy for second language English-speaking learners in an english-medium school : a case study". Diss., University of Pretoria, 2013. http://hdl.handle.net/2263/41587.
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In many South African schools where English is used as the language of instruction learners with a different mother tongue are accepted, yet they may experience many challenges. In this research study I investigated whether group music therapy sessions can have a positive impact on such learners in relation to particularly two of these difficulties. The first difficulty is social interaction and integration. The second difficulty is their negative attitude towards English, the school and their school work. This difficulty develops because of their weak competency in the language.
The paradigm in which this study falls is interpretive and a qualitative approach was used. A case study design was utilised. Ten music therapy sessions were offered to a group of nine grade eight boys from three different linguistic backgrounds: three English home language speakers, three Portuguese home language speakers and three siSwati home language speakers.
Music therapy offers a non-threatening environment in which group members can creatively interact. I made use of an array of techniques including improvisation, movement, song writing and musical games where group members had opportunities to express themselves in an unconventional way.
Three different sources of naturally-occurring data were used. Questionnaires were filled in by all participants before the commencement of the sessions, five video excerpts were selected from the music therapy group sessions and a focus group was held with all participants after the last session. Data was analysed according to Ansdell and Pavlicevic’s (2001) qualitative content analysis. Responses from the questionnaires and focus group and thick descriptions from the selected video excerpts were coded and categorised according to Gibb’s (2007) proposed technique of open coding.
Results generated from the analysed data indicated that, through the opportunities afforded to the group in music therapy sessions, social interaction was experienced in a novel way and integration was enhanced. Findings also indicated that, through this unique way of interacting, the attitude of some members towards English improved.
There were also indications that improvement was not across the board and individuals reacted differently to the process. A much longer process could hold far more convincing results.Dissertation (MMus)--University of Pretoria, 2013.
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Benini, Romain. "Chansons dites « populaires » imprimées à Paris entre 1848 et 1851,approche stylistique et métrique". Thesis, Lyon, École normale supérieure, 2014. http://www.theses.fr/2014ENSL0966.
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L’objectif du travail est d’aborder la chanson du XIXe siècle à partir de la notion de populaire : au cours de la première moitié du siècle, les deux objets (chanson et populaire) semblent devenir interdépendants, et contribuent chacun à la représentation de l’autre. Le populaire résistant à une définition stable, on a opté pour une contextualisation de sa compréhension, et son association avec le genre chanson, devenue presque évidente de nos jours, a donc été questionnée à partir d’un corpus numérisé de plus de 600 textes réunis en fonction de considérations d’ordre historique, bibliographique, et discursif. Après avoir explicité l’importance du texte dans l’analyse de la chanson et les critères de sélection du corpus, on s’est attaché à questionner le populaire comme notion, dans la synchronie avec les chansons étudiées, pour mieux comprendre les enjeux de cette dénomination, avant d’observer la représentation construite, par la chanson elle-Même, de son interdépendance avec le peuple. L’approche stylistique qui est proposée ensuite amène, avec la question de la singularité, celle de l’auctorialité, de sa validité pour l’analyse des chansons imprimées entre 1848 et 1851, ainsi que de ses représentations et des enjeux qu’elles suppose dans la situation et l’historicité de ces productions. En lien avec ces questions, le traitement des textes par auteur permet d’observer également les divers types de circulations, de reprises, et d’éléments communs dans le corpus constitué, ce qui soulève le problème d’une écriture à l’intérieur de laquelle certains éléments sont disponibles pour tous les acteurs et marquent l’appartenance à un champ discursif conscient et revendiqué (en l’occurrence celui des chansonniers populaires). C’est pour approcher plus précisément cette question des formes qui apparaissent comme collectives ainsi que celle de la complexité sémiologique de l’écriture chansonnière que l’analyse métrique est décisive, parce qu’elle apporte un outil méthodologique propre à dégager des récurrences massives à l’intérieur d’un corpus, récurrences qui peuvent renseigner sur la pratique et la perception de l’écriture versifiée en synchronie, et en regard desquelles d’autres configurations minoritaires sont envisageables dans leur hétérogénéitéThe main goal of this research is to study 19th Century song through the prism of the popular. During the first half of the 19th Century, both objects (song and the popular) seem to become interdependent, with each contributing to the representation of the other. Since no fixed definition can be provided for the popular, a contextualized understanding of this notion is preferred. Its association with the genre of song, which has become almost obvious nowadays, was analysed based on a digitalized corpus of more than 600 texts selected according to historical, bibliographical and discursive criteria. After positing the importance of the text in the study of song and justifying the selection criteria for the corpus, we discuss the notion of the popular at the time period under scrutiny, we assess this denomination in relation with the corpus and we observe how songs construct a representation of their interdependence with the people. Our stylistic approach accounts for the texts’ singularities but it also assesses how valid the notion of auctoriality is for songs printed between 1848 and 1851 and discusses the situated and dynamic representation of authorship. Analyzing texts according to their authors casts light on the issues of circulations, common elements and recurrences in the corpus. In a writing context where some elements are available for all the actors, common elements can be used to mark how a textual production belongs in a specific discursive domain (that of popular song writers in our case). Metrical analysis is a decisive methodology to analyse what appears as the collective character of these forms and the semiological complexity of song writing. It allows us to identify massive recurrences in the corpus, to clarify the practice and perception of verse writing in synchrony and to account for the heterogeneity of less frequent configurations as well
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Warzycha, Anna K. "Inlargednesse of mind and activity of spirit : gender identities in the religious writings of mid-seventeenth-century England". Thesis, Loughborough University, 2012. https://dspace.lboro.ac.uk/2134/10229.
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In dominant seventeenth-century thinking women's bodies, minds, and spirits were not only inferior to men's, but also more prone to evil. This study explores the ways in which the women writers attempted to redefine these assumptions. Through an analysis organised along various spiritual transformations the writers claim to go through, the study presents an insight into seventeenth-century women's construction and redefinition of femininity. The symbolic process of women's spiritual transfiguration results in them identifying with the metaphorical figure of Zion and in positioning women as godly agents of God, whereas male writers' transformations eventuate in their being effeminized and being turned into 'Crooked Agents' of God. Therefore, the study shows how the potentials inherent in the biblical figure of Zion were used in establishing a connection with God and in forming female and male authorial identity. The thesis draws on the understudied voices of women such as the anonymous Eliza, Elizabeth Major, An Collins or Gertrude More, and is contextualized by male-authored texts, some of them considered as canonical and popular in contemporary literature.
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Gittens, Peter. "Magistra apostolorum in the writings of Rupert of Deutz: an investigation into the usage of this Marian title in Rupert's commentary on the Canticle of Canticles". IMRI - Marian Library / OhioLINK, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=udmarian1430389889.
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Robins, Roy. "Mothers and sons : stories". Master's thesis, University of Cape Town, 2003. http://hdl.handle.net/11427/7960.
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Paterson, Adrian. "'Words for music perhaps' : W.B. Yeats and musical sense". Thesis, University of Oxford, 2007. http://ora.ox.ac.uk/objects/uuid:d288984c-254a-40bc-b13d-b8790cc8226c.
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‘Poetry’ insisted Ezra Pound, ‘is a composition of words set to music’: his Cantos remembered ‘Uncle Willie’ downstairs composing, singing poetry to himself. This study examines the nature and effects of W.B.Yeats’s idiosyncratic but profound sense of music. For his poems were compositions set to music. They were saturated with musical themes; syntactically he professed to write for the ear rather than the eye; and he flung himself repeatedly into the breach between music and words, composing ballads, songs, and plays with music, and performing poetry with musical instruments. My thesis is that nature of poetry, spoken, read or sung, obsessed Yeats, and I hold it self evident that such an acutely self-conscious poetry will articulate this obsession: to use his own imagery, will bear the scars of its own birth. What follows is a study of meaning, obsession, and influence, beginning with what Yeats knew and how he came to poetry: his father’s and his own vocalizations of the musical preoccupations of Scott and Shelley, viewed through the annotations of ‘the first book [he] knew Shelley in’ and the solipsistic singers and instrumentalists of his early verse. The theme of chapter two is Ireland: the musical resonances of Anglo Irish ballads and Irish verse are viewed through Yeats’s aurally-oriented canon-formation, as we examine his instinctual recitations and deliberate approach to Irish folksong through the mediation of Douglas Hyde. The aesthetics of Wagner, Pater, and the French symbolistes frame the third chapter, which describes how poetry might approach the condition of music in the motivic organization of The Wind Among the Reeds. In chapter four the impact of Nietzsche’s profoundly musical philosophy is correlated for the first time with the exact moments of Yeats’s discovery of his texts, as Yeats’s plays and poetry move from ‘Apollonian’ languor to ‘Dionysian’ energy, from dream to song and dance. My final chapter uncovers the long history of the practical experiments Yeats made to perform poetry with a ‘psaltery’, and their resonating afterlife in subsequent poetry and poets. No musician himself, Yeats’s musical sense has until now been entirely dismissed: this study shows how central it is to his art and to an understanding of the dominant aesthetic of the age.
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Leask, Margaret Anne. "The development of English-language hymnody and its use in worship, 1960-1995". Thesis, Durham University, 2000. http://etheses.dur.ac.uk/1532/.
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Struve, Jonathon Paul. "Friedrich Hollaender and the art of writing songs for the cabaret". Diss., University of Iowa, 2017. https://ir.uiowa.edu/etd/5650.
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Friedrich Hollaender (1896-1976) was one of the most prolific composers of cabaret song literature in Berlin between 1918 and 1933. Beginning with his work at the literary-political cabarets of the early 1920s, including Max Reinhardt’s Schall und Rauch, Trude Hesterburg’s Wilde Bühne, and Rosa Valetti’s Café Größenwahn and continuing through the cabaret revues presented at Hollaender’s own Tingel-Tangel-Theater in the early 1930s, Hollaender wrote over 200 cabaret songs.
A classically trained composer who studied with Engelbert Humperdinck, Hollaender ultimately found his niche in creating cabaret songs that clearly evoked the mood and environment expressed in the texts he set. In this way, Hollaender elevated and expanded the expressive power of music in the cabaret. At the same time, Hollaender did not revolutionize the cabaret song. Instead, he worked within the traditional framework of the cabaret song, adapting his compositional style to fit the expectations of the genre. Cabaret songs privilege the clear expression and declamation of the text. Thus, most cabaret songs exhibit a simple musical framework. Performers often spoke or intoned the text rather than singing the melody, and as a result, cabaret songs often double the melodic line in the accompaniment so that it can be heard and recognized during the performance. This practice differs markedly from art song, in which the melody and accompaniment serve as equal partners in expressing the text as a unified musical work and the singer is expected to sing the melody provided by the composer.
Much of Hollaender’s work in the cabaret involved an effort to infuse the cabaret song with the expressive musical force of the art song without altering the traditional performance practice, the freedom to intone the text typical of the cabaret, and the simplified harmony and formal structure of cabaret songs. Hollaender’s ability to immediately capture the essence of the song texts in music is what ultimately made him successful. He also demonstrated an ability to adapt to the swiftly evolving tastes and expectations of cabaret audiences during the tumultuous Weimar Era. His adherence to a philosophy of music for the cabaret that would “explode in a lightning flash” and create a mood that would be “present in the first beats,“ along with his flexibility in responding to the evolving taste of the public allowed Hollaender to enjoy a sustained, successful career in the cabaret. His enormous output of cabaret songs is a testament to his effectiveness and success as a composer, writer, and producer in Berlin cabaret theatres. The purpose of the study is to understand how Hollaender’s work elevated the expressive force of the musical settings for cabaret songs through the analysis of the text and the music of his cabaret songs.
This study explores representative examples of Hollaender’s cabaret songs composed for Berlin theaters between 1919-1933. The songs were primarily selected to demonstrate the wide variety of musical expression Hollaender was able to achieve in his song settings within the confines of traditional cabaret song forms, particularly the couplet and the role chanson. A wide variety of subject matter is covered in these cabaret song settings, from political and social satire to adapted folktales, and from playful character pieces to defiant antimilitarist statements and poignant illustrations of poverty and hardship. In addition, the cabaret songs included in the study emerge from significant collaborative relationships the composer developed, most notably his early collaborations in literary-political cabaret theaters with satirist and poet Kurt Tucholsky, Dada author Walter Mehring, and performer and first wife Blandine Ebinger. Finally, songs were chosen from throughout the time Hollaender composed music for the cabaret in order to demonstrate the changing landscape of the cabaret as time progressed. As a result, a significant number of songs in the study emerge from Hollaender’s late cabaret revues, programs of songs, skits and other acts loosely organized around a theme or idea, for which the composer wrote both the text and the music.
Because the cabaret by its nature offered commentary on contemporary society, the study includes examples that demonstrate the evolving political and social climate in Germany as expressed in the cabaret song texts. For instance, Hollaender’s cabaret songs written in collaboration with Kurt Tucholsky in 1919-1920 frequently criticize Gustav Noske and the use of paramilitary Freikorps to quell dissent in the fledgling Weimar Republic. By the time of Hollaender’s 1931 cabaret revue Spuk in der Villa Stern, however, Hollaender’s political satire criticizes and lampoons National Socialist rhetoric and caricatures Adolf Hitler.
Finally, the songs included in the discussion were also chosen in part due to the availability of musical scores, texts, and recordings. Whenever possible, recordings of the original performers, including Blandine Ebinger, Paul Graetz, and Claire Waldoff were consulted in order to understand performance practices used in Berlin cabarets during the Weimar era. Recordings of modern performers, chiefly Ute Lemper, Tim Fischer, and Jody Karen Applebaum were also explored. Many of the original performers were actors rather than singers, and their style of interpreting their songs with a mixture of spoken declamation and singing demonstrates the importance of clearly expressing the text and its emotional content and creating a complete characterization in the presentation of the song. This style of performing did not diminish Hollaender’s contribution as a composer, but rather created a multilayered hybrid of speech, melody, harmony and rhythm that set for many the standard for excellence in the Weimar era cabaret song.
Literal English translations of the songs presented for the study were developed in order to facilitate the discussion of how Hollaender’s music specifically evokes the mood and expression of the text. In addition, the study includes explanations and annotations of the events, historical figures, and cultural icons that are peppered throughout these texts. Because cabaret songs are by their nature a product of the contemporary society out of which they emerge, a basic understanding of the time period is essential to fully comprehend these works. Hollaender’s cabaret songs often employ a Berlin dialect, use colloquial expressions, and assume an understanding of contemporary society in the 1920s that is no longer common knowledge nearly a century later. As a result, the detailed study and translation of the texts were essential to understanding Hollaender’s cabaret song settings.
This investigation demonstrates how Hollaender evoked a variety of specific moods and ideas in his cabaret song settings through an economy of musical means. Although his music adhered to the conventions and traditions of the cabaret song by employing simple harmonic structures and an almost exclusive use of verse-refrain song form, the composer effectively used dissonance, rhythmic motives, chromaticism, mode-mixture, melodic shape, and other compositional techniques to great expressive effect that clearly reflected the wide variety of environments and moods described in his texts. The result is that the text and music are wedded in Hollaender’s cabaret song settings in such a way that they become a unified expressive art form.
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Fisher, Cozza Robin Lee. "The writings and art songs of John Duke 1917-1945 /". Access restricted to users with UT Austin EID Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3023544.
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Lamb, John R. B. "I cannot sing you here, but for songs of where : contemporary alt-folksong and articulations of place". Thesis, University of the Arts London, 2014. http://ualresearchonline.arts.ac.uk/7765/.
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This practice-based research questions the potential defining characteristics and status of contemporary alt-folksong and its role(s) in the articulation of place through a collection of twelve original songs with accompanying written research. The thesis relates the term ‘place’ to the notion of subjectivity, autobiography and the performance of identity as they relate to geographic experience (Tuan 1997; Agnew 2005). Place is addressed from the perspective of a subject both re- and dis-located, and as such, diasporic neurosis concerning home and authenticity leads to a focus on aspects of place related to my past (Shetland), heritage (Ireland), present (Cornwall), and ‘in between’ (Augé 1995). Methodologically, songs respond to, and inform, written/ read/ listened research, with a ‘diarist’ mode of writing linking audio and text. Songs are generated through engagement with these research methods, and through field trips and recordings, influencing the directions of page-based enquiry. Early chapters draw on theories of Popular Music (Moore 1993; Eisenberg 2005) and Postmodernism (Jameson 1998), but also look to ethnomusicology of Folksong (Gammon 2008; Boyes 1993), and interviews with practitioners (Hayman 2011; Collyer 2010), characterising the relationship between traditional music and contemporary Alt-folk. Chapter 2 introduces psychoanalytic theory (Lacan 1977; Minsky 1998) in locating the three places within development of the subject. Each place is subsequently addressed respectively through appropriation of Lacan’s Imaginary, Symbolic and Real as a means of investigating the subject’s relationship to each. Chapter 3 discusses autobiographic theory (Marcus 1994; Anderson 2001), assessing the value of such a songwriting method, and aspects of musical ‘meaning’ (Small 1998; Moore 1993). Chapter 4 investigates the use of production/recording technologies as themselves sources of meaning (Doyle 2005; Barthes 2000). Conclusions, in songs and text, work towards articulation of the ‘outside’ nature of the itinerant in these aspects of (non)place, and the capacity of Alt-folksong to voice this state.
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Hopson, Samuel D. "Fathers and Sons: A Journey in Creating a Personal Work of Cinematic Art". ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/2085.
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This document gives an account of my artistic efforts in creating my thesis film Fathers and Sons. This document includes sections that cover the writing, casting, production design, principal photography, and editing of my film. I give special attention to the writing process in Chapter 2, because of its personal significance to my growth as a filmmaker. This chapter details the evolution of my original story concept from a drama to a comedy. The ultimate goal of my film was to create a personal work of art. This document self-reflects on how well I was able to achieve this goal, and what I learned along the way.
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McGarry, Theresa, e R. Marotta. "Songs and Memories for Expanding Vocabulary and Grammar". Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/6152.
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Book Summary: New Ways in Teaching With Humor explores the whole gamut of possibilities for using humor in English language teaching. Find ideas for beginning to advanced students, 5-minute activitiesto start a class on a humorous note to multiday projects, and silly English puns and jokes to activities for examining controversial social issues. Topics covered include: Humor and Language Development; Wordplay and Puns; Comics and Cartoons; Jokes and Joke Telling; Sitcoms and Movies; Internet Resources and Digital Literacy; and Parody, Satire, and Sarcasm.What all these lessons have in common is that they all use humor to enhance the English learning experience and provide English language learners with the linguistic and cultural knowledge they need to become more proficient users of the language. New Ways in Teaching With Humor not only shows the how of using humor in the English language classroom, but also the why.
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Chung, Ka-yin Gladys, e 鍾嘉賢. "Natural landscapes in the literary writings of the Eastern Jin (A.D. 316-420) and Liu Song (A.D. 420-479)Eras". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B30085494.
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Little, Bliss Sheryl. "Folk song and the construction of Greek national music : writings and compositions of Georgios Lambelet, Manolis Kalomiris and Yannis Constantinidis /". Ann Arboe (Mich.) : UMI, 2005. http://catalogue.bnf.fr/ark:/12148/cb40034603r.
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Caignec-Castagnet, Sonia. "La novélisation, du genre littéraire à son écriture à l’école". Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL131.
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Ce travail de recherche vise à analyser les comportements de scripteurs novices en situation écologique dans un genre qu’ils n’ont jamais travaillé auparavant : la novélisation. Une première partie de la thèse est consacrée à définir le phénomène littéraire de la novélisation d’un point de vue historique, linguistique et narratologique. Le genre est en effet un inconnu des canons scolaires alors qu’il bénéficie d’une certaine audience auprès des jeunes générations. Le principe de la novélisation se fonde sur l’adaptation livresque d’un discours audiovisuel (film, série, jeux vidéo). Dans le paysage éditorial, elle recouvre des formes très variées de transposition en fonction des intentions portées par l’auteur qui joue des opportunités offertes par la transsémiotisation d’un médium à l’autre. Les deuxième et troisième parties de la thèse se proposent d’observer comment les élèves s’emparent des potentialités du genre, avec ou sans séquence d’enseignement-apprentissage, à partir de plusieurs déjà-là filmiques qui leur sont proposés. Le protocole expérimenté dans 7 classes de primaire et du secondaire fournit un corpus large de 469 textes individuels. Les résultats de l’analyse du corpus permettent de déceler les obstacles qui entravent la mise en texte-mise en œuvre des novélisations mais aussi, d’observer des habiletés déployées par les rédacteurs novices. À l’issue de cette étude, des perspectives de didactisation du genre sont envisagées pour une application et un usage efficient dans les classesThis research aims at analysing the novice writers’ behaviours, in an ecological situation, in a genre they have never worked on before: novelization. The first part of this thesis is dedicated to the definition of novelization as a literary phenomenon that from a historical, linguistic and narratological perspective. Indeed, this genre is absent from the school curricula while it benefits from a certain audience among younger generations. The principle of novelization is based on a book adaptation of an audiovisual document (film, series, video-games). In the publication world, transposition can be highly varied depending on the intentions of the author who uses the opportunities that the trans-semiotization from one medium to the other offers. The second and the second part focus on how the pupils grasp the potentials of this genre, within or without a teaching-learning sequence, from several pre-existing filmic media that are given to them. The research protocol, which was carried out in 7 primary and secondary school classes, provides a range of 469 individual texts. The results of the analysis of this corpus enable us not only to detect the obstacles that prevent the pupils from writing and implement the novelization but also to observe the skills the novice writers make use of. Following this study, we consider to implement didactization prospects of this genre that will be applied and used efficiently in classes
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Rejas-Martin, Mari Carmen. "Témoigner du trauma par l'écriture : le texte-témoin comme moyen de se réapproprier son histoire ?" Thesis, Reims, 2011. http://www.theses.fr/2011REIML012/document.
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En référence au développement croissant ces dernières décennies des témoignages écrits autour des expériences traumatiques comme le génocide arménien, la Shoah, le Cambodge, l‟Indochine, l‟Algérie, le Rwanda, l‟ex-Yougoslavie, les dictatures européennes, d‟Amérique latine, les Goulags, force est de constater que nombre de ces témoins expriment cependant l‟impossibilité de communiquer de telles réalités qui ont été invivables. Dès lors, comment comprendre que malgré cette « incapacité » d‟écrire l‟expérience telle qu‟elle a été vécue, des textes foisonnent à tel point que l‟on parle d‟un « nouveau genre littéraire » ? Or, s‟il est vrai que les témoignages se sont multipliés depuis la Seconde Guerre mondiale, nous verrons qu‟écrire l‟expérience traumatique existe depuis bien longtemps. L‟hypothèse centrale est la suivante : le témoignage de l‟expérience traumatique est une réappropriation d‟une histoire par/pour ceux qui l‟ont vécue. Le témoignage est une révélation aux autres, un acte d‟exhumation, une libération. Mais le problème ne s‟arrête pas là, les autres générations se verront elles aussi confrontées à la question d‟élucider leurs histoires, à témoigner. Une problématique fondamentale accompagne l‟ensemble de la recherche, celle de donner du sens au non-sensWhen looking at the increasing number of written testimonies about traumatic experiences in the past decades, such as the Armenian Genocide, the Holocaust, Cambodia, Indochina, Algeria, Rwanda, ex-Yugoslavia, and in European and Latin American dictatorships, the Gulags, we cannot but stress that most of these accounts express the virtual impossibility of communicating unbearable realities. Consequently, how is it that in spite of this apparent « inability » to write about one‟s experience, so many texts have been produced and that while these experiences are qualified as inexpressible and unspeakable, the emergence of a « new literary genre » has been identified? The central assumption is as follows: The testimony of the traumatic experiment is a reappropriation of a history for those which lived it, and makes it possible to emerge from this same history. But the question will also arise for those which did not live the experiment directly. Fundamental problems accompany the unit by research, that to give sense to the nonsense
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Chehayed, Nibras. "Le corps et son écriture entre Nietzsche et Derrida". Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEE009.
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Jacques Derrida a ouvert un nouvel horizon pour concevoir l’écriture, en insistant notamment sur la dynamique de la différence qu’elle met en œuvre. Pour penser cette différence et pour libérer le texte d’un sens présupposé univoque, il sollicite Friedrich Nietzsche, mais sans étudier, pour autant, le lien qui rattache l’écriture de ce dernier à la question du corps. Quant à sa propre conception de l’écriture, il est frappant qu’elle ait été abondamment étudiée, sans que le lien qui l’unit à la question du corps reçoive toute l’attention méritée. Ce présent travail vise donc à penser l’écriture du corps chez Nietzsche et chez Derrida, ou plus exactement entre eux, en étudiant la « corporalisation » de l’écriture et la « textualisation » du corps. Nous montrons que, chacun à sa façon, Nietzsche et Derrida puisent dans l’ambiguïté corporelle pour élaborer de nouvelles dynamiques d’écriture, tout en donnant à penser le corps lui-même en termes d’écriture. Pour étudier ce double geste, nous lisons différents textes de Derrida, à partir desquels nous proposons une réflexion sur l’écriture du corps chez Nietzsche, sans que ce dernier y soit nécessairement mentionné. En effet, c’est l’hospitalité de l’écriture de Derrida elle-même qui invite à une telle démarche, que nous abordons en termes d’intrusionJacques Derrida has opened a new horizon to conceive writing by insisting on the dynamic of “difference” that it implements. To address the question of difference, as well as to liberate the text from a presupposed unambiguous meaning, he solicits Friedrich Nietzsche without examining, however, the link which connects the writing of the latter with the question of the body. As for Derrida’s own conception of writing, what is striking is that while it has been widely studied, its link to the question of the body has not received the attention it deserves. Therefore this present work aims to consider the writing of the body in Nietzsche’s and Derrida’s philosophies, and more precisely between them, by studying the “corporization” of the writing and the “textualization” of the corporeity. We demonstrate that both Nietzsche and Derrida, each in his own way, draw from the body’s ambiguity to develop new dynamics of writing, and think about embodiment, at the same time, in terms of writing. To discuss these two aspects, we read various texts of Derrida, through which we also suggest a reflection on Nietzsche’s writing of the body, without the latter being necessarily mentioned. It is actually the hospitality of Derrida’s writing that allows such a gesture, which could be perceived more in terms of intrusion
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Carver, Robert Benjamin. "When Again Comes Back to You". PDXScholar, 2013. https://pdxscholar.library.pdx.edu/open_access_etds/1260.
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This is a creative work in the genre of non-fiction writing, in the sub-genre of memoir. When Again Comes Back to You is a memoir that traces the effects of abuse as it works upon the life of a young girl who grows in the shadow of an abusive family. As the girl grows, and becomes a mother herself, the story explores how the effects of abuse can extend into the next generation.
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Zhou, Xiaohan. "Elements of continuity between mathematical writings from the Song-Yuan (13th - 14th Century) Dynasties and the Ming Dynasty (15th Century) : Comparing Yang Hui's Mathematical Methods (1261 C.E.) and Wu Jing’s Great Compendium (1450 C.E.)". Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCC333.
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Le discours qui insiste sur une « rupture » entre les mathématiques de la période Song-Yuan et celles de la période Ming est très répandu dans les écrits historiques consacrés aux mathématiques en Chine. Cette thèse analyse le processus et les raisons de l’apparition de ce genre de discours, et montre que la représentation en forme de « rupture » ne se présente que lorsque les observateurs examinent les mathématiques depuis certaines perspectives. Cette thèse est consacrée à la recherche d'éléments de continuité entre les mathématiques des Ming et celles des Song et des Yuan. Les Neuf chapitres sur les procédures mathématiques (ci-après, Les Neuf chapitres) ont représenté un ouvrage très important au cours de l’ensemble de ces périodes. L'achèvement des Neuf chapitres, tel que transmis par la tradition écrite, date de quelque part entre le premier siècle avant notre ère et le premier siècle après notre ère. Les Méthodes mathématiques (1261) de Yang Hui et le Grand Compendium (1450) de Wu Jing sont de précieux écrits mathématiques rédigés au cours des deux périodes examinées. Ils sont basés sur Les Neuf chapitres et leurs commentaires antérieurs. Pour ce qui concerne la question de la continuité entre textes mathématiques, ma thèse propose des études de cas comparant ces deux livres, qui montrent que Wu Jing a systématiquement repris des parties du texte des Méthodes mathématiques pour compiler le Grand Compendium. La manière selon laquelle Wu Jing a extrait des passages dans chaque chapitre de Yang Hui pourrait être utilisée pour récupérer en partie le texte de Yang Hui. En ce qui concerne la continuité des idées mathématiques, tout d’abord, l’organisation et l’ordre des problèmes du texte ancien tel que revus par Yang Hui sont des résultats essentiels du traitement des Neuf chapitres par l’érudit des Song. Wu Jing les a repris lorsqu'il a organisé les problèmes du Grand Compendium. Par ailleurs, Yang Hui a beaucoup insisté sur les « méthodes mathématiques ». Il en a ajouté de nouvelles et en a modifié d’autres qui provenaient des Neuf chapitres. Wu Jing a compris ces modifications et les a adoptées dans son Grand Compendium. En même temps, certains concepts et termes mathématiques, ainsi que l’utilisation de diagrammes, relatifs aux méthodes mathématiques qu’avait introduits l’érudit des Song, ont également été intégrés dans le Grand Compendium. Toutes ces découvertes montrent que Les Neuf chapitres qui ont circulé sous la dynastie des Ming avaient largement intégrés les réflexions et le travail de l’érudit des SongThe discourse of “break” between the mathematics of the Song-Yuan period and that of the Ming period is quite widespread in the historical writings dealing with mathematics in China. This thesis analyzes the process and the reasons of the shaping of this kind of discourse and suggests that discourses that insisted on a “break” only appeared when observers looked at mathematics from certain viewpoints. This thesis is devoted to finding elements of continuity between the mathematics of the Ming dynasty and that of the Song-Yuan time period. The Nine Chapters on Mathematical Procedures (thereafter, The Nine Chapters) represented a very important book during these two periods. The completion date of The Nine Chapters in the form that was handed down is placed somewhere between the first century B.C.E. and the first century C.E. Yang Hui’s Mathematical Methods (1261 C.E.) and Wu Jing’s Great Compendium (1450 C.E.) are extant and precious mathematical writings from the two periods considered, which were based precisely on The Nine Chapters and its ancient commentaries. With respect to the continuity of mathematical text between these two books, my dissertation offers case studies that show that Wu Jing systematically took parts of the text of Mathematical Methods to compile Great Compendium. The rule by which text was extracted from each chapter could be used to partly recover Yang Hui’s text. With respect to the continuity of mathematical ideas, firstly, the arrangement and the order of problems are essential results of the Song scholar’s treatment of The Nine Chapters. They were taken up by Wu Jing when he arranged problems in Great Compendium. Secondly, Yang Hui laid a great emphasis on “mathematical methods”. He added some new mathematical methods and also changed some methods in The Nine Chapters. Wu Jing understood these changes and adopted them in his Great Compendium. Meanwhile, some mathematical concepts and terms, and the use of diagrams, relating to these mathematical methods that the Song scholar introduced, were also absorbed into Great Compendium. All these findings prove that The Nine Chapters that circulated in the Ming dynasty had been largely permeated by the thoughts of the Song scholar
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LedBetter, Robert B. "An Examination of the Percussion Writing in the Chamber Works of George Crumb, 1960-1980 with Three Recitals of Selected Works of Bergsma, Kurka, Miyoshi, Niimi, Takemitsu, and Others". Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc278604/.
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In this study, the unique style of percussion writing in the chamber works of George Crumb, written between 1960 and 1980, is examined. The principal aspects examined within this study include: the extended instrumental techniques, the use of percussion within the musical imagery, soloistic treatment, compositional and notational procedures, and specific performance problems pertaining to the chamber work Songs, Drones, and Refrains of Death.
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Lacy, Sarah M. "Writing Through the Lower Frequencies: Interpreting the Unnaming and Naming Process within Richard Wright's Native Son and Ralph Ellison's Invisible Man". Cleveland State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=csu1494341009717745.
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Audet, Marie-Claude. "Arrêtez de pleuvoir, nouvelles suivi de, Le personnage de nouvelles: prisonnier de son espace? (with Original writing, Sylvie Massicotte, Jean Pierre Girard)". Mémoire, Université de Sherbrooke, 2005. http://savoirs.usherbrooke.ca/handle/11143/2435.
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Le présent mémoire se divise en deux volets, le premier contenant un recueil de nouvelles intitulé Arrêtez de pleuvoir et le deuxième, un essai intitulé Le personnage de nouvelles: prisonnier de son espace? Marie-Claude Audet explore ainsi la question précédemment soulevée autant par la pratique de l'écriture nouvellière que par une analyse de nouvelles tirées de deux écrivains québécois, soit Sylvie Massicotte et Jean Pierre Girard. Elle observe les rôles que jouent les protagonistes du genre narratif bref en créant une méthode d'analyse adaptée à la nouvelle. Les limites textuelles du genre en question étant dominantes, elle réussit à démontrer comment le personnage devient prisonnier de son cadre existentiel. Enfin, dans le dernier chapitre, elle revient sur ses propres stratégies narratives qui lui ont (ou auraient) permis de créer des personnages agents plutôt que patients, termes qu'elle utilise pour définir le personnage de la nouvelle québécoise et contemporaine.
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Audet, Marie-Claude. "Arrêtez de pleuvoir, nouvelles suivi de, Le personnage de nouvelles: prisonnier de son espace? (with Original writing, Sylvie Massicotte, Jean Pierre Girard) /". [S.l. : s.n.], 2005.
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Ekström, Alva. "Inget är skapat utanför : Teologi och kontext i Anders Frostensons författarskap". Doctoral thesis, Karlstad University, Faculty of Arts and Education, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-1339.
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To the general public, Anders Frostenson clergyman and poet, is primarily known for his many contributions to the Swedish hymn treasure. He was born on 23 April 1906. The present thesis examines and defines the theology embodied in his works, especially in his hymns, showing that Frostenson occupies a central and unique position in the Swedish 20th Century Christian tradition.
The study charts Frostenson´s life and work from poetry to hymn, and draws attention to the growth of a long-standing, significant authorship, that has served to make the Christian gospel accessible, relevant, and down-to-earth.
Much has happened in the last century. The 1900s have been characterised by enormous changes, social, cultural and public, involving both individuals and nations. Matters of opinion and aims, union and dissension, have in a special way been put at the centre of things. This is also reflected in Anders Frostenson´s work.
Frostenson´s autorship can be understood in terms of four concepts, which reflect the epiphanic mode of his works: the Word, the Testament, the Confirmation, and the Inheritance. These concepts can to a great extent be chronologically ordered, and taken together they function as the cornerstones on which Frostenson´s theology is built. The relationship between the four cornerstones and different periods is defined against the background of Frostenson´s existential situation and the socio-cultural context.
The theological analysis shows how central Christian themes and the Christian philosophy of life are shaped in the meeting of tradition and actuality. Frostenson conveys the idea that God reveals himself in the here and now. Human suffering is God´s injunction to the world to act with love in daily service. The sense of belonging and continuity makes life meaningful and excludes no one from the earthly and heavenly “endless home”. In true Lutheran spirit Frostenson places his creative will and words in the service of God.
The 1986 Hymnal is the cultural treasure through which Frostenson chiefly brought Word and Tradition into the everyday world. The cultural concept has been expanded with his help, through, among other things, spiritual song, where trust and tradition are obviously linked together with contemporary Christian culture.
In 1935, Anders Frostenson wrote ´Let my life also be a working day, in Your vast Kingdom!` On 4 February 2006, that long day´s work finally came to a close.
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Emerson, Whitney. "All of Chinese Literature Condensed: A Sourcebook from the Playwright, Director, and Biggest Fan". Master's thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5932.
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Aristotle stated in his Poetics that theatre's dual purpose was to educate and entertain. Centuries later the Roman Horace and Indian Bharata echoed his same sentiments. I intend to realize all three theorist's ideas on the theatre by creating an original educational and entertaining work and bringing it to performance. The audience will retain information without being aware of learning if it is presented in a pleasurable way.
The most important geopolitical relationship of this century will be between China and America. In order to educate the American public about the culture of The Middle Kingdom, I propose to write and direct my own play, condensing all three thousand years of Chinese literature into a one hundred and ten minute performance. I will benefit from the personal nature of this thesis by experiencing every stage of a play's production: from idea to page to performance.
My thesis will be made of three major parts: conceiving and writing the play, a journal of directing the debut production, and a third section made of choices, influences, and reflection on the entire experience. In this manner, the ideas swirling in my head may be made clear to others reading this thesis.
The play itself will be a comical distillation of ten selected works of Chinese literature. Four non-gender specific American actors will seem to make up the show as it performs in a tongue-in-cheek way. Taking my stated goal of entertaining and educating the audience to heart, the overarching plot of the play will center on the four actors teaching the audience about the literature and culture of China by acting out scenes and telling stories. The information in the scenes will be targeted to a normal American citizen's educational level with liberal doses of humor added. The four actors will be playing fictionalized versions of themselves and at times breaking character by explaining and setting up the theatricality of the piece to the audience. Part of the fun of the show will be seeing how these actors explain a subject as obtuse as Chinese literature to Americans. Perhaps a cooking metaphor is the best way to think of the play: I will chop up raw Chinese literature, the actors will boil it onstage, the theatregoer will consume the mix, and exit the theatre full of entertaining intellectual nourishment.
My experiences directing and producing the finished play will be recorded in a journal as a resource for future directors. I imagine directing the play will be the most challenging aspect of this thesis. How is the play changed when other people interact with it? How will the audience receive it? In addition, Committee Chair Mark Routhier and my thesis Committee Members, Mark Brotherton and Tan Huaixiang, will also give written responses to the play's performances. The play will be performed October 10-13, 2013 in the University of Central Florida's Performing Arts Complex Studio 2 classroom.
In the final section I will write a reflection on the entire process. This will serve the dual purpose of giving me a place to collect my thoughts and giving others a special insight to the growth they might experience when producing this play. Foremost among my influences in writing a play with this subject matter are the style and tone of The Reduced Shakespeare Company.M.A.
Masters
Theatre
Arts and Humanities
Theatre
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Silva, Evandro Rodrigues da. "Ouvidos abertos: a oralidade, a escrita e a canção". Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/48/48134/tde-02042015-112400/.
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Observar as múltiplas relações entre a oralidade, a escrita e a canção popular brasileira são o objetivo deste trabalho. O que na canção seria atributo da cultura escrita? O que seria reverberação da tradição oral? Os estudos sobre a oralidade, a história da escrita e da leitura articulam-se à análise de fonogramas diversos, de diferentes momentos da história da canção brasileira. Oralidade, escrita, música e poesia compreendidos como campos distintos que, no corpo da canção, interpenetram-se, indiferentes a quaisquer hierarquias. A canção popular é, concomitantemente, compreendida como fenômeno musical, poético e cultural. Tratamos de pensar a canção como gênero e, de alguma forma, pensar seu lugar social (suas origens e transformações, suas relações com os mass media, sua capacidade de adaptar-se às mudanças de paradigmas de produção e recepção e o caráter dadivoso de sua economia). A voz, a palavra cantada, os corpos de quem canta e de quem ouve, os meios materiais de produção, difusão e fruição, constituem um sistema de trocas simbólicas, determinante para a conformação de um gênero específico (híbrido, poético-musical, que é a canção) que se configurou como principal vetor de representação de múltiplas sociabilidades e, não raro, promotor de uma aproximação reflexiva sobre as mesmas. Propomos, portanto, um exercício teórico que conjugue, de alguma maneira, o estudo da forma pela qual as canções se dizem ao que dizem sobre nós as canções.This work aims at observing the multiple relationships between orality, writing and popular songs. How much of song writing is attributable to written culture? How much of it is a reverberation of oral tradition? Studies about orality, the history of writing and reading are articulated with the analysis of different phonograms, from different moments in the history of the Brazilian song. Orality, writing, music and poetry, understood as distinct fields that, in the body of the song, interpenetrate each other, indifferent to hierarchy. Popular song can be simultaneously understood as a musical, poetic and cultural phenomenon. Our endeavor here is to treat the song as a genre and, somehow, to reflect upon its social place (its origins and transformations, its relationships with mass media, its ability to adapt to paradigm shifts of production and reception and the generous/bountiful/giving character of its economy. The voice, the word being sung, the bodies of those who sing and of those who listen, the material means of production, diffusion and appreciation constitute a system of symbolic exchanges, which is determining in the conformity of a specific genre (the hybrid, poetic-musicalone which the song is) which became the main vector of representation of multiple sociabilities and, not rarely, a promoter of a reflexive approximation between them. What we propose, then, is a theoretical exercise which is able to connect, in some manner, the study of the form through which these songs enunciate themselves to what these songs say about ourselves.
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Warren, Sean Patrick. "Since I've Been Away". PDXScholar, 2013. https://pdxscholar.library.pdx.edu/open_access_etds/1093.
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The remains of James Oliver Plunkett are dug up one night from their grave at Mount Calvary Cemetery by two college adjunct writing professors, Bob Rusher and Phil Pike. Having chopped through Plunkett's coffin with a pick, Rusher lifts Plunkett's skeleton from the coffin and pronounces his name--and in this moment Plunkett returns to consciousness as a cognitive vapor. The reason that Plunkett has been dug up is hinted at: After writing many unpublished novels and stories during his lifetime, and dying utterly anonymous, Plunkett's fiction has somehow been posthumously published, to great acclaim. Rusher is a huge fan of Plunkett's published work and is digging him up in the belief that one of his unpublished novels--The King of Portland--has been buried with him. When he does not find the novel, Rusher decides to kidnap the remains to force Plunkett's family to reveal the status of The King of Portland.
Plunkett drives with Rusher and Pike to a strip club called the Serpentine, located in downtown Portland. They are not aware of Plunkett, but when they enter the club, leaving his bones behind in the car in a brown sack, Plunkett accompanies them. Rusher is courting one of the strippers, Hazel, and has given her one of Plunkett's posthumous novels to read, which she's enjoyed. Hazel's employer and perhaps boyfriend Chuck arrives at Rusher and Pike's table and, with Hazel still present, demonstrates his claim to the stripper by urinating in Rusher's beer.
Rusher leaves the club humiliated. After dropping Pike off, he drives to the Hollywood District and brings the sack with Plunkett's remains into his house. His girlfriend Ava Snyder is there, reading the poet Rilke in the bathtub--fully clothed, smoking a cigarette, lying on an air mattress, and drinking an old fashioned. Plunkett is present in consciousness throughout. Rusher does not tell Ava about his grave robbing or the bone-sack he's carrying; but when he leaves Ava in the tub, taking the bones with him, Plunkett remains behind in the bathroom and is startled to find himself privy to Ava's thoughts.
After Ava splits from Rusher, Plunkett remains with her, experiencing her life while wondering about the family he might have left behind at his death, nine years earlier. Ava has a scary encounter with her bullying, drug-addled sister Judy, during which she has hints of Plunkett's presence in her mind; but Ava dismisses these hints until after a disappointing visit to her mother, with whom she has long had trouble communicating. At this point Ava hears Plunkett's voice for the first time, and they begin conversing. After transitioning from disbelief to annoyance to the intimate, irresistible pull of their shared consciousness, Ava eventually helps Plunkett to discover the reason for his posthumous, unlikely literary fame and the state of his still-living family: A wife and son who have reaped the profits of his posthumous success, but do not harbor fond memories of their long lives together with him.
Plunkett has a vision of his death, in which he apparently committed suicide over his decades-long literary obscurity. Ava seeks out Plunkett's son, Kyle Fleming, an artist who has established his own, prominent comic book company. Kyle is bitter toward his father for neglecting him while growing up, and has taken on his mother's maiden name; but he then reveals that it was his father's fame that propelled him to celebrity as a comic book artist and publisher. Meanwhile, Plunkett's wife Camille is suffering from dementia and lives in a managed care facility. Ava and Plunkett arrive at Camille's room; in the presence of her late husband's consciousness, Camille reveals that it was she who asked Kyle to send out one of his unpublished manuscripts for publication--a romance novel whose enormous, unexpected success led to the publication of several other best-selling works by Plunkett. In spite of this, Camille tells Plunkett that she experienced the happiest years of her life after he died. While Plunkett was never violent and rarely verbally abusive, he was always distant, neglecting his wife and son to write his fiction around a series of demanding day jobs.
After this visit, in which she thought she might lose him to Camille, Ava informs Plunkett that she has fallen in love with him. Plunkett reciprocates her feelings. And yet, Plunkett's lack of physical being is causing Ava to consider a romance with Kyle, his son, in order to experience more fully the voice of the dead writer she has come to love. Ava meets Kyle at a bar on Lombard Street; Kyle informs Ava that his mother, Camille, has died. Kyle insists that Ava take him to the managed care home to help make arrangements for his mother's body. During this car ride, with Ava driving, Kyle begins to hear his father's voice and to rail against him. Kyle reveals that his father hasn't committed suicide, but that he shot him for what he considered to be Plunkett's cruelty toward his mother.
Ava and Plunkett are stunned. By this time, Ava has Plunkett's remains in the trunk of her car; she insists that Kyle return the bones to their grave as penance for the murder. At the cemetery Kyle runs away; Ava cannot bring herself to let go of Plunkett's remains. Ava's sister, Judy, shows up at the cemetery and in a drug-addled haze shoots Ava, of whom she has long been jealous. Ava dies of her wounds. Plunkett is left behind--but ultimately they are reunited in the dry, dark sea beyond this life.
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Ríos, Castaño Victoria. "Le regard de Julio Cortázar sur son métier d’écrivain". Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL162.
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L’objectif de cette étude est de recueillir des informations biographiques sur Julio Cortázar grâce à des lettres, des interviews, des essais et des documents pédagogiques écrits par l’auteur lui-même. Notre objectif est de remodeler ces éléments de manière à exposer et réfléchir sur la façon dont Cortázar entendait sa fonction d’écrivain et la manière dont il s’y est investi tout au long de sa vie. Grâce à une approche globale de ces sources biographiques, nous avons retracé le parcours de formation et d’évolution littéraire de l’auteur, les inquiétudes intellectuelles, sociales et politiques qui l’entouraient et les problèmes professionnels auxquels il a dû faire face au quotidien. Nous commençons par nous plonger dans la trajectoire chronologique de Cortázar en tant que lecteur. Nous apportons une vision globale des lectures qui l’ont formé et de celles qui l’ont accompagné de son enfance à son décès. Nous poursuivons notre analyse avec une présentation chronologique des opinions qu’il exprime sur son oeuvre. Nous montrons ainsi un jeune poète et auteur de contes qui doute de la qualité littéraire de ses écrits, un écrivain connu de contes fantastiques qui s’impose le défi de changer de modalité ou de genre ainsi qu’un auteur déjà reconnu qui continue à chercher comment briser les moules. Nous apportons enfin des informations sur les aspects pratiques de la fonction d’écrivain. En d’autres termes, nous présentons l’énorme implication de Cortázar dans le processus de publication et de traduction de ses livres ainsi que son interaction avec le monde littéraire et éditorialThis study aims to garner biographical information on Julio Cortázar, as obtained from his letters, interviews, essays and pedagogical texts, in order to offer new insights that allow us to expose and reflect on how he understood his writing career and worked as a writer throughout his life. In applying a global approach to said biographical sources, this study traces his first years as a writer and his literary evolution, his intellectual, social and political involvement, and the practical problems he had to face on a daily basis. To begin with, the study looks into Cortázar’s trajectory as a reader, providing an overview of the readings in which he was educated and of those that left an imprint on him from childhood to death. A chronological exposition of the opinions he expressed about his work follows. Thus, Cortázar offers a portrait of himself as a young poet and story writer who doubts about the literary quality of his texts, as a known writer of fantastic short stories who challenges himself with the task of changing modalities and genres, and as an acclaimed writer who constantly seeks to break moulds. Finally, this study furnishes data on the practical side of his writing career. Cortázar’s strenuous involvement in the publishing process and translation of his work is discussed, together with his interaction with the literary and editing world
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Kizzi, Akila. "L'accord im-possible : écriture, prise de parole, engagement et identités multiples chez Marie-Louise Taos Amrouche". Thesis, Paris 8, 2016. http://www.theses.fr/2016PA080076/document.
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Cette thèse se propose de rendre compte de l’oeuvre de Marie-Louise Taos Amrouche (1913-1976) comme prise de parole, engagement et écriture des identités multiples. Pour faireressortir de nouveaux aspects en lien avec la problématique de la parole des femmes parl’écriture, une analyse socioculturelle contextualisée et historicisée est privilégiée. L’enjeu estde montrer comment la carrière d’Amrouche, de sa venue à l’écriture à sa projection dans lepaysage littéraire français, est traversée par des obstacles liés aux origines et au genre. Uneapproche intersectionnelle permet notamment de (re)penser les différentes dominations – ladiscrimination de genre et de « race » et la problématique des identités plurielles – sans leshiérarchiser et en mettant à jour les mécanismes d’oppression et les stratégies de résistance dusujet écrivant.Pionnière sur l’écriture de sujets sensibles à son époque, Amrouche n’est pas seulementécrivaine mais également cantatrice des chants berbères. Cette thèse démontre, par ailleurs,comment l’écriture et le chant se font simultanément et traduisent le même besoin celuid’accord entre : la prise de parole d’une femme « indigène » sous la colonisation, la recherchedes origines berbères et la part de l’héritage chrétien et français. Est particulièrement mise enlumière la façon dans laquelle Amrouche devient un sujet hybride résultant de plusieursidentités créées par l’Histoire coloniale et postcoloniale : elle refuse de choisir entre lesidentités multiples, ne voulant en brader aucune au profit d’une autre. La recherche d’unaccord im/possible ressort ainsi comme la métaphore privilégiée pour qualifier ses luttes etson écritureThis dissertation aims to take stock of the work of Marie-Louise Taos Amrouche (1913-1976), in its capacity to speak out, engage politically, and write multiple identities. Acontextualized and historicized socio-cultural analysis is favored in order to bring out newaspects in conjunction with other research on women’s voices in writing. I hope to show howthe development of Amrouche’s career, how she began writing and her arrival into the Frenchliterary scene, is crossed by obstacles tied to constraints related to her origin and her gender.An intersectional approach allows us in particular to (re)think different types of dominationsuch as race and gender discrimination, according to themes of plural identities, withoutinternal hierarchies, and to take an up-to-date approach to mechanisms of oppression and thewriting subject’s capacity for strategies of resistance.Pioneer of writing on sensitive subjects of her time, Amrouche is not only a writer but also asinger of traditional Berber music. I intend to show the interrelatedness of song and writingand their mutual translating of the same call to find an agreement between the “indigenous”woman’s need to speak out from under colonization, the search for Berber origins and the roleplayed by Christian and French heritage. I thus shed light on the way in which Amrouchebecomes a hybrid subject resulting from the many identities created out of colonial andpostcolonial History: she refuses to choose between multiple identities, not wanting to sell offone in exchange for another. The search for an im/possible agreement thus emerges as thepreferred metaphor characterizing her struggles and her writing
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Gahungu, Céline. "Élan et devenir. Sony Labou Tansi (1967-1975) : naissance d’un écrivain et d’une écriture". Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040081.
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Les recherches consacrées à Sony Labou Tansi et les publications d’inédits témoignent de la richesse d’une œuvre dont les facettes sont multiples. Un pan de cet univers demeure toutefois méconnu : les premiers pas de l’écrivain. L’accès à ses manuscrits et tapuscrits conservés en partie à la Bibliothèque francophone de Limoges – d’autres sont consultables à l’ITEM – ouvre la voie à des analyses renouvelées. Composés de 1967 à 1975, ces textes, pour la grande majorité inédits de son vivant, dressent le portrait d’un auteur congolais en formation, se lançant dans l’aventure de l’écriture. Celle-ci consiste alors à construire son identité d’auteur, fabriquer un univers et professionnaliser son écriture destinée à investir les maisons d’édition françaises. Dans une première partie, ce travail démontre qu’en rédigeant ses textes, Sony Labou Tansi forge son identité auctoriale. Il se conçoit sous les traits d’une bombe, les manuscrits devenant des laboratoires où s’exerce son audace. Devenir écrivain revêt une dimension institutionnelle, à laquelle s’intéresse notre deuxième partie. À rebours de l’imaginaire anarchiste de la bombe, la création littéraire est considérée comme un métier : il faut donc en accepter les codes et élaborer une stratégie d’émergence afin d’être publié. Une troisième partie analyse les métamorphoses de son univers en gésine. Les refus des maisons d’édition ainsi que la tension entre le fantasme d’une création conçue comme une révolte et le désir d’être adoubé l’institution littéraire ne le conduisent nullement à renoncer à ses ambitions. Le maître mot de ces années d’apprentissage est devenir et c’est ainsi que Sony Labou Tansi réinvente son univers, qui est le lieu de transformations incessantes. Sa trajectoire est doublement significative : la bataille de la création et de la publication est le lot de tout novice, mais paraît bien plus complexe pour une génération d’auteurs africains confrontée à un univers éditorial francophone en mutationThe searches on Sony Labou Tansi’s works and the publications of his manuscripts testify of the wealth of his texts. A piece of it remains however unknown : the first steps of the writer. The access to its manuscripts and typescripts partially kept at the Francophone Library of Limoges – others are available for consultation in the Institute of Modern Texts and Manuscripts – open the way to renewed analyses. Written between 1967 and 1975, these texts, for the great majority unpublished in his lifetime, paint the portrait of a Congolese writer in training, dashing into the adventure of the writing. This one consists then in building his author’s identity, in making a universe and in professionalizing his writing intended to invest the French edition. In a first part, this work demonstrates that by drafting his texts, Sony Labou Tansi forges his auctorial identity. He conceives himself under the features of a bomb, the manuscripts becoming bold laboratories. Becoming a writer includes an institutional dimension, in which is interested our second part. Despite the anarchistic imagination of the bomb, the creative writing is considered as a job : it is thus necessary to accept its codes and to develop a strategy of emergence to be published. Our third part analyzes the metamorphoses of this universe under construction. The refusals of publishing houses as well as the tension between the fantasy of a creation conceived as a revolt and the desire to be recognized by the literary institution do not affect his will. The key word of these years of learning is to become and so Sony Labou Tansi reinvents its universe, which is the place of ceaseless transformations. His trajectory is doubly interesting : the battle of the creation and of the publication concerns every young writer, but seems more complex for a generation of African authors confronted with a changing editorial universe
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Gentry, James Duncan. "Substance and Sense| Objects of Power in the Life, Writings, and Legacy of the Tibetan Ritual Master Sog bzlog pa Blo gros rgyal mtshan". Thesis, Harvard University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3626633.
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This thesis is a reflection upon objects of power and their roles in the lives of people through the lens of a single case example: power objects as they appear throughout the narrative, philosophical, and ritual writings of the Tibetan Buddhist ritual specialist Sog bzlog pa Blo gros rgyal mtshan (1552-1624) and his milieu. This study explores their discourse on power objects specifically for what it reveals about how human interactions with certain kinds of objects encourage the flow of power and charisma between them, and what the implications of these person-object transitions were for issues of identity, agency, and authority on the personal, institutional, and state registers in sixteenth- and seventeenth-century Tibet.
My investigation of Sog bzlog pa's discourse on power objects shows how the genres of narrative, philosophy, and liturgy are related around such objects, each presenting them from a slightly different perspective. I illustrate how narratives depict power objects as central to the identity of Sog bzlog pa and his circle, mediating relations that are in turn social, political, religious, aesthetic, and economic in tone, and contributing to the authority of the persons involved. This flow of power between persons and objects, I demonstrate further, is connected to tensions over the sources of transformational power as rooted in either objects, or in the people instrumental in their ritual treatment or use. I show how this tension between objective and subjective power plays out in Sog bzlog pa's philosophical speculations about power objects and in his rituals featuring them. I also trace the persistence of this discourse after Sog bzlog pa's death in the seventeenth-century state-building activities of Tibet and Sikkim, and in the present day identity of Sikkim's Buddhist population. Power objects emerge as hybrid subject-object mediators, which variously embody, channel, and direct the flow of power and authority between persons, objects, communities, institutions, and the state, as they flow across boundaries and bind these in their tracks. Finally, I illustrate how this discourse of power objects both complicates and extends contemporary theoretical reflections on the relationships between objects, actions, persons, and meanings.
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Greenberg, Ted. "Stuffmobile: a Novella". Master's thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5227.
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The leitmotif of Stuffmobile, a modern day Florida-based novella, is that of relational healing: a son with his father, ex-lovers with one another, and, even more challenging perhaps, a son making peace with his dead mother. New beginnings are explored, both as resurrection of long dead feelings and as starting afresh after loss. A husband finds distraction in a covert project after his wife's death, so much so that his preoccupied isolation worries his two adult children. The son comes to investigate, and his malfunctioning car leads to the beginnings of reconciliation. The characters here struggle to understand and be understood, to avoid hurting others and avoid being hurt, all while searching for respect and love: just another normal day of the human experience.ID: 031001491; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Adviser: Pat Rushin.; Includes reading list (p. 177-181).; Title from PDF title page (viewed July 24, 2013).; Thesis (M.F.A.)--University of Central Florida, 2012.
M.F.A.
Masters
English
Arts and Humanities
Creative Writing