Benjamin Britten was one of the major twentieth-Century composers in England, wrote twelve song cycles for voice and piano or various instruments, and the most prolific composer of the genre since Gustav Mahler. On this Island written during his early period, Britten employs various Baroque musical traits and the modern music techniques, which shows his influence on the neoclassical style. The study of the lecture recital document contains four main sections: the life of the composer, the stylistic features of Britten¡¦s song compositions, the written background of the cycle, and detailed analysis of the whole cycle. On This Island was Britten¡¦s first song cycle written for solo voice and piano. The success of premiere of the cycle brought him as one of the most important composer of this genre in the history of the twentieth-century music.

Texte remanié de : Thèse de doctorat : Philosophie : Paris 1 : 2005. / Bibliogr. p. 225-233.

Inaug.--diss.--Tübingen. / Lebenslauf. Bibliography: p. i-iv.

In The Memory of Things, I begin by posing the question, what if memory were not merely a human characteristic but also a thingly one. I aproach this thought through the work of Walter Benjamin, for whom things and memories are often juxtaposed, and whose writing of modernity is concerned particularly with the intersection of material traces and memory. I access these questions by means of various theories, among which are psychoanalysis, object-oriented ontology, thing theory, and phenomenology, and, more briefly, through the history of geological science. At their cores, the questions of modernity, of things and people, of trauma and politics, of aura and its decay, of memory and forgetting, of weight are questions of ethics. I demonstrate in the dissertation to follow, objects bear the weight of human memory and ethics. Furthermore, I demonstrate that Benjamin's eclectic writings, most especially his writings on aura, provide the tools we need to re-think objects and our relations to them.

In The Memory of Things, I begin by posing the question, what if memory were not merely a human characteristic but also a thingly one. I aproach this thought through the work of Walter Benjamin, for whom things and memories are often juxtaposed, and whose writing of modernity is concerned particularly with the intersection of material traces and memory. I access these questions by means of various theories, among which are psychoanalysis, object-oriented ontology, thing theory, and phenomenology, and, more briefly, through the history of geological science. At their cores, the questions of modernity, of things and people, of trauma and politics, of aura and its decay, of memory and forgetting, of weight are questions of ethics. I demonstrate in the dissertation to follow, objects bear the weight of human memory and ethics. Furthermore, I demonstrate that Benjamin's eclectic writings, most especially his writings on aura, provide the tools we need to re-think objects and our relations to them.

No description available.

Thesis (M.A.)--Virginia Polytechnic Institute and State University, 1994. / Vita. Abstract. Includes bibliographical references (leaves 140-145). Also available via the Internet.

Thèse--Université de Paris.

Inaug.--diss.--Tübingen. / Lebenslauf. Bibliography: p. i-iv.

Dissertation (D.M.A.)--The University of North Carolina at Greensboro, 2008. / Title from PDF t.p. (viewed Jul. 31, 2009). Directed by John Salmon; submitted to the School of Music. Includes bibliographical references (p. 132-137).