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Music lessons and the construction of womanhood in English fiction, 1870-1914Watson, Anna Elizabeth January 2014 (has links)
This thesis explores the gendered symbolism of women's music lessons in English fiction, 1870-1914. I consider canonical and non-canonical fiction in the context of a wider discourse about music, gender and society. Traditionally, women's music lessons were a marker of upper- and middle-class respectability. Musical ‘accomplishment' was a means to differentiate women in the ‘marriage market', and the music lesson itself was seen to encode a dynamic of obedient submission to male authority as a ‘rehearsal' for married life. However, as the market for musical goods and services burgeoned, musical training also offered women the potential of an independent career. Close reading George Eliot's Daniel Deronda (1876) and Jessie Fothergill's The First Violin (1877), I discuss four young women who negotiate their marital and vocational choices through their interactions with powerful music teachers. Through the lens of the music lessons in Emma Marshall's Alma (1888) and Israel Zangwill's Merely Mary Ann (1893), I consider the issues of class, respectability and social emulation, paying particular attention to the relationship between aesthetic taste and moral values. I continue by considering George Du Maurier's Trilby (1894) alongside Elizabeth Godfrey's Cornish Diamonds (1895), texts in which female pupils exhibit genuine power, eventually eclipsing both their music teachers and the artist-suitors for whom they once modelled. My final chapter discusses three texts which problematize the power of women's musical performance through depicting female music pupils as ‘New Women' in conflict with the people around them: Sarah Grand's The Beth Book (1895), D. H. Lawrence's The Trespasser (1912) and Compton Mackenzie's Sinister Street (1913). I conclude by looking forward to representations of women's music lessons in the modernist period and beyond, with a reading of Katherine Mansfield's ‘The Wind Blows' (1920) as well as Rebecca West's The Fountain Overflows (1956).
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The intersection of Shakespeare and popular culture : an intertextual examination of some millennial Shakespearean film adaptations (1999-2001), with special reference to musicGerzic, Marina January 2009 (has links)
This dissertation analyses millennial film adaptations of five of Shakespeare's plays with a specific focus on a selection of different kinds of film. These are William Shakespeare's A Midsummer Night's Dream (1999: Dir. Michael Hoffman), 10 Things I Hate About You (1999: Dir. Gil Junger), Hamlet (2000: Dir. Michael Almereyda), Titus (1999: Dir. Julie Taymor), and Scotland, PA (2001: Dir. Billy Morrissette). The films covered include both box office and independent, textually close to Shakespeare's words or not, all totally different from each other. This thesis contextualises these film adaptations within the realm of film studies, music theory, Shakespeare performance theory, critical theory and popular culture. Rather than analysing each Shakespearean film adaptation purely on an aesthetic level, my dissertation will identify and analyse each director's
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Singing poets : literature and popular music in France and Greece /Papanikolaou, Dimitris. January 2007 (has links)
Based on Thesis (Ph. D.)--University of London, 2002. / Includes bibliographical references (p. [161]-170) and index. "List of recordings and websites": p. [171]-172.
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Mentiras sinceras: um estudo sobre as letras de CazuzaNascimento, Fabio Serra January 2005 (has links)
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Previous issue date: 2005 / Na presente dissertação, buscamos situar as letras de Agenor de Miranda Araújo Neto, Cazuza, compositor de músicas divulgadas através dos meios de comunicação de massa em relação à tradição poética brasileira. Pretendemos buscar uma caracterização do poeta, a partir da reconstituição de seu diálogo com o momento histórico no qual se inscreve, ou seja, o espaço urbano brasileiro dos anos 80. Através da análise de textos do compositor comprovamos seu diálogo com outros textos de autores contemporâneos e que integram a tradição literária. Em comum com seus contemporâneos, Cazuza tem a temática urbana, a vivencia de uma época que se buscou expressar em letra de música. No entanto, sua produção tem características que a colocam em um lugar próprio. Na organização dos capítulos que compõem essa dissertação, dispomos, primeiramente, de uma visão analítica dos anos 80, seus representantes na música, literatura e de como manifestações artísticas anteriores inspiraram as renovações da década. Registramos a importância de alguns nomes que influenciaram o trabalho do compositor, assim como, constatamos a influencia de Cazuza e a repercussão de sua obra para seus contemporâneos e mesmo na atualidade, com a reedição de suas músicas e a transposição de sua biografia para as telas. Em um segundo momento, ressaltamos a singularidade da obra do compositor, representante da chamada geração rocker. Com sua originalidade e riqueza poética, Cazuza aliava uma bagagem repleta de tradição à marca da rebeldia de sua geração. No terceiro capítulo, dedicamo-nos a analisar a concepção de amor nas letras do poeta. A representação do sentimento amoroso, que ora se revela intenso e ora se mascara, é identificado pelas imagens utilizadas nas letras. / Salvador
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Musical Ekphrasis in the Poetry of Nicolás Guillén, Federico García Lorca, and Langston HughesDivett, Andrew Brennan 12 1900 (has links)
Musical ekphrasis was occurring in the twentieth century in different centers around the world, Cuba: Andalusia, Spain; and Harlem, New York, simultaneously. The writers at the heart of this movement used poetry about music as a means to celebrate the cultures of the marginalized people in their lands, los negros, los gitanos, and African-Americans. The purpose of this study is to define musical ekphrasis and identify it in the works of Nicolás Guillén, Federico García Lorca, and Langston Hughes. Also explored are the common characteristics in ekphrastic poetry by the three poets and the common themes found in their ekphrastic poetry, as well as common influences. Each author is considered in the context of his surroundings and his respective culture, and how that influenced his musical tastes as well as his writing style.
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[pt] FUGA A DUAS VOZES: POÉTICAS DE ESCUTA EM PRIMO LEVI E ROBERTO BOLAÑO / [en] FUGUE IN TWO VOICES: POETICS OF LISTENING IN PRIMO LEVI AND ROBERTO BOLAÑOLEANDRO DONNER 05 July 2021 (has links)
[pt] Esta dissertação coteja obras de Primo Levi e Roberto Bolaño a partir
de leituras sonoras de seus escritos. Entende-se por leituras sonoras uma atenção
ampliada à musicalidade e a outros aspectos auditivos expressos no conteúdo e na
forma literária dessas obras. Nessa perspectiva, busca-se apontar sintonias e
contrastes entre os expedientes criativos dos autores em questão. Algo que os
vincula de antemão é o fato de suas escritas serem atravessadas por experiências
em regimes totalitários: Levi é sobrevivente da Shoá, enquanto Bolaño lidou com
o autoritarismo das ditaduras latino-americanas. O presente trabalho não procura
confrontar estratégias de testemunho e ficção — procedimentos de escrita que
emergem dessas vivências —, mas assume que, nos escritores analisados, tais
registros de certa forma se imiscuem, formando um tecido sonoro-textual de efeito
estético singular que permite diversas análises. Para realizá-las, o pesquisador
procura estabelecer e enunciar certas poéticas de escuta, particularmente aquelas
de maior acento político, partindo de elementos sonoros como intensidade e ritmo
e percorrendo questões como tempo, memória, excesso, imprecisão, morte e arte.
O corpus de análise da dissertação é composto de É isto um homem?, A trégua e Os
afogados e os sobreviventes, de Levi; dos romances 2666, Estrela distante, O
Terceiro Reich e Amuleto e do conto Carnê de baile, de Bolaño. A conexão entre
as obras é dinamizada pelo conceito físico-sonoro de ressonância, em diálogo com
Tato Taborda, e conta com a interlocução de pesquisadores como Giuliano Obici,
Michael J. Shapiro, Marília Librandi-Rocha e Arthur Nestrovski. / [en] This dissertation compares works by Primo Levi and Roberto Bolaño through
sound readings of their writings. Sound readings are understood as expanded
attention to musicality and other auditory aspects expressed in the content and
literary form of these works. We seek to point out harmonies and contrasts between
the creative expedients of the authors in question. Something that links them
beforehand is the fact that their writings are crossed by experiences in totalitarian
regimes: Levi is a Shoah survivor, Bolaño dealt with the authoritarianism of Latin
American dictatorships. The present work does not try to confront strategies of
testimony and fiction — writing procedures that emerge from these experiences —
, but assumes, in the writers analyzed, that such registers somehow intersect,
forming a sound-textual fabric of singular aesthetic effect that
allows several analyses. To perform these analyses, the researcher tries to establish
and enunciate certain poetics of listening, particularly those of greater political
accent, starting from sound elements such as intensity and rhythm and going
through issues such as time, memory, excess, imprecision, death, and art. The
dissertation s corpus of analysis is composed of É isto um homem?, A trégua and Os
afogados e os sobreviventes, by Levi; the novels 2666, Estrela distante, O Terceiro
Reich and Amuleto, and the short story Carnê de baile, by Bolaño. The connection
between the works is dynamized by the sonorous-physical concept of resonance, in
dialogue with Tato Taborda, and counts on the interlocution of researchers such as
Giuliano Obici, Michael J. Shapiro, Marília Librandi-Rocha, and Arthur
Nestrovski.
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« La matière ensorcelée » : poétiques et représentations de la musique au XXe siècle (Federico García Lorca, Pierre Jean Jouve, Giorgio Caproni) / « The bewitched matter » : poetics and representations of music in the XXth century (Federico García Lorca, Pierre Jean Jouve, Giorgio Caproni)Le Colleter, Thomas 07 December 2013 (has links)
La thèse ici présentée ambitionne d’étudier l’impact de l’imaginaire musical sur l’écriture de trois poètes majeurs du XXe siècle : Federico García Lorca (1898-1936), Pierre Jean Jouve (1887-1976) et Giorgio Caproni (1912-1990). Elle part d’un constat simple : ces trois poètes ont pour élément fédérateur non seulement une connaissance intime de la musique, mais, risquons le terme, une véritable obsession de celle-ci, qui prend bien souvent les aspects d’une fascination irrationnelle et enchanteresse face à ce que Jouve, dans une expression lourde de sens, appelle la « matière ensorcelée » – entendons par là le pouvoir désarmant du charme musical.Tous trois permettent ainsi l’élaboration, par la comparaison, d’une réflexion sur les positionnements esthétiques et idéologiques possibles de la poésie face à la musique en Europe, dans une période à la fois post-wagnérienne et post-mallarméenne. Ils sont l’occasion d’une méditation sur le rêve énoncé par Vladimir Jankélévitch dans Quelque part dans l’inachevé, appelant à « écrire non pas sur la musique, mais avec la musique », pour « demeurer complice de son mystère ».Pour répondre à ce questionnement, la thèse envisage d’abord la dimension identitaire de l’imprégnation musicale chez les auteurs, puis les modalités de son inscription dans leurs poétiques respectives, avant d’observer les évolutions à l’œuvre dans leur perception du référent musical au fil du temps. Ainsi sera mise en valeur la dimension imaginaire et fantasmatique de cet art qui n’aura cessé de les requérir leur vie durant. / This thesis aims at studying the impact of musical imagination on the writing of three major poets of the XXth century : Federico García Lorca (1898-1936), Pierre Jean Jouve (1887-1976) and Giorgio Caproni (1912-1990). It starts from a simple observation : not only do these poets have an intimate knowledge of music, but, let us risk the term, a real obsession for it, that often verges on an irrational and enchanting fascination for what Jouve, in a thoughtful expression, calls “the bewitched matter” – ie the disarming power of the musical charm.All three of them thus enable the elaboration, through comparison, of a reflection on the esthetical and ideological positionings of poetry in front of music in Europe, in a time both post-wagnerian and post-mallarmean. They make possible a meditation on the dream once stated by Vladimir Jankélévitch in Somewhere in the unfinished, calling for “writing not on music, but with music”, to “remain accomplice of its mystery”.To answer this questioning, the thesis first tackles the search for identity enabled by the authors’ musical impregnation; it then explores the way music comes within the scope of their respective poetics; it finally observes the evolutions in their perception of the musical referent as time goes by. Thus will be underlined the imaginary and fantastical dimension of this art which kept calling for them all their lives.
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Rhythm Changes: Jazz Rhythm in the African American NovelLevy, Aidan January 2022 (has links)
In Rhythm Changes: Jazz Rhythm in the African American Novel, I demonstrate how novelists from the Harlem Renaissance to the Black Arts Movement adapted jazz rhythm into literary form. In the prologue to Invisible Man, Ralph Ellison famously defines invisibility as a state of being “never quite on the beat.” Ellison frames the novel as a kind of translation of the “invisible” rhythm the narrator hears in Louis Armstrong, a syncopated rhythm rooted in Black aesthetic and cultural forms. “Could this compulsion to put invisibility down in black and white be thus an urge to make music of invisibility?”
Ellison was not alone in this project. The writers I study all exemplify what Duke Ellington calls a “tone parallel”—the concept that literary form could reproduce or “parallel” the particularities of musical form. However, these writers find literary strategies to transcend parallelism, such that the lines between medium begin to touch. Considering devices that cut across music and literature—anaphora, antiphonal dialogue, polysyndeton, parataxis—I argue that novelists, not just poets, respond formally to the rhythmic concepts they hear on the bandstand, synthesizing these innovations with a broader literary tradition.
Rudolph Fisher’s novel The Conjure-Man Dies brings the complex rhythmic sensibility of Louis Armstrong to detective fiction; Ann Petry’s The Street channels the rhythmic phrasing of Ethel Waters in a “novel of social criticism”; Ellison’s epic unfinished second novel follows the paratactic rhythm of the preacher and jazz trombonist; and Amiri Baraka’s The System of Dante’s Hell projects the rhythm of Sonny Rollins and Cecil Taylor onto Charles Olson’s “Projective Verse.” By finding the literary in the musical and vice versa, these novelist-experimenters move beyond Pater’s credo that all art aspires to the condition of music.
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An Analysis of the Representation of Queen Elizabeth I of England in the Operas by Rossini, Donizetti, and Thomas in the Context of Nineteenth-Century Vocal Style and Historical InfluenceHsiao, Han 08 1900 (has links)
The purpose of this research is to analyze representations of Queen Elizabeth I of England in nineteenth-century Franco-Italian opera, and the relationship of these representations to contemporaneous singing style and the historical background. The basis for this analysis is three arias: "Quant'é grato all'alma mia" from Elisabetta, regina d'Inghilterra (1815) by Gioachino Rossini (1792-1868), "Sì, vuol di Francia il rege...Ah! quando all'ara scorgemi...Ah! dal ciel discenda un raggio" from Maria Stuarda (1835) by Gaetano Donizetti (1797-1848), and "Malgré l'éclat qui m'environne" from Le songe d'une nuit d'été (1850) by Ambroise Thomas (1811-1896). This research is divided into two main sections: the historical background of Italy and France in the nineteenth century, especially in the contemporaneous vocal style and fashions of literature; and a discussion of the composers' musical and dramatic choices for Queen Elizabeth I in the three selected arias. Chapter 2 is a brief introduction to the early nineteenth-century Franco-Italian historical background, vocal style, and popular literature. Chapter 3 presents an analysis of the three arias. The last chapter summarizes the representations of Elizabeth I in nineteenth-century politics, literature, and vocal style.
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