by Lai Boon Tsing Joseph. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1994. / Includes bibliographical references (leaves 212-214) and discography (leave 215). / Chapter Chapter 1 --- Introduction --- p.1 / Chapter Chapter 2 --- The Development of I. Stravinsky's Word- setting Philosophy --- p.8 / Chapter Chapter 3 --- The Word-setting of Threni: id est Lamentationes Jeremiae Prophetae (1957/58) --- p.29 / Chapter Chapter 4 --- "The Word-setting of A Sermon, a Narrative and a Prayer (1960/1)" --- p.70 / Chapter Chapter 5 --- The Word-setting of Abraham and Isaac (1962/3) --- p.102 / Chapter Chapter 6 --- Comparison of the Word-setting of the Three Selected Passages --- p.137 / Chapter Chapter 7 --- Conclusion --- p.156 / Appendices --- p.162 / Bibliography --- p.212 / Discography --- p.215 / List of Appendices / Appendix I THRENI: The metric placement of the normally-stressed syllables --- p.162 / Appendix II THRENI: The metric placement of the normally-unstressed syllables --- p.168 / Appendix IIIA THRENI: Normally-unstressed syllables that are accentuated resulting from an ascending leap in the melody --- p.175 / Appendix IIIB THRENI: Normally-stressed syllables that are accentuated resulting from an ascending leap in the melody --- p.178 / "Appendix IV THRENI: The treatment of the ultimate syllable of a phrase, clause or sentence" --- p.180 / "Appendix V A SERMON， A NARRATIVE AND A PRAYER, II A NARRATIVE: Table of monosyllabic sung- words showing their stressed or non- stressed identity" --- p.182 / "Appendix VI A SERMON, A NARRATIVE AND A PRAYER, II A NARRATIVE: The metric placement of the normally-stressed syllables" --- p.185 / "Appendix VII A SERMON, A NARRATIVE AND A PRAYER, II A NARRATIVE: The metric placement of the normally-unstressed syllables" --- p.187 / "Appendix VIIIA A SERMON， A NARRATIVE AND A PRAYER, II A NARRATIVE: Normally-unstressed syllables that are accentuated resulting from an ascending leap in the melody" --- p.189 / "Appendix VIIIB A SERMON, A NARRATIVE AND A PRAYER, II A NARRATIVE: Normally-stressed syllables that are accentuated resulting from an ascending leap in the melody" --- p.190 / "Appendix IX A SERMON, A NARRATIVE AND A PRAYER,II A NARRATIVE: The distribution of all syllables stressed by all means" --- p.191 / Appendix X ABRAHAM AND ISAAC :The metric placement of the normally-stressed syllables --- p.195 / Appendix XI ABRAHAM AND ISAAC: The metric placement of the normally-unstressed syllables --- p.199 / Appendix XIIA ABRAHAM AND ISAAC : Normally-unstressed syllables that are accentuated resulting from an ascending leap in the melody --- p.204 / Appendix XIIB ABRAHAM AND ISAAC: Normally-stressed syllables that are accentuated resulting from an ascending leap in the melody --- p.206 / "Appendix XIIIA A SERMON, A NARRATIVE AND A PRAYER, II A NARRATIVE: The distribution of normally-stressed monosyllabic words" --- p.208 / "Appendix XIIIB A SERMON, A NARRATIVE AND A PRAYER,II A NARRATIVE: The distribution of normally-unstressed monosyllabic words" --- p.210

Tesis para optar al grado de Magister en Axiología y Filosofía Política

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The Recurrence of Rhythm is an inquiry into the notion that the voice flows ??? a theme that continually recurs in the Homeric poems, Plato's Cratylus and James Joyce's A Portrait of the Artist as a Young Man and Ulysses. Through a re-interpretation of the meaning of rhythmos in pre-Socratic philosophy, I define rhythm as the particular manner in which the voice is flowing, and argue that it is the specific quality of phonetic writing to represent the flowing aspect of the voice. The Greek concept of rhythmos is held to be inseparable from the invention of phonetic writing and the transcription of the Homeric poems, and it is this new definition of rhythm that allows the thesis to engage in contemporary debates concerning the relationship between speech and writing (as developed by Derrida, Ong, Havelock, Parry, Lord and Prier). I also argue that the Platonic concept of rhythm qua metre provides an essential point of mediation between the Greek oral tradition and the history of Western literature, a move that sets the scene for a comparative study of Homer and Joyce. By developing an original concept of recurrence that pertains to both the repetition of themes in the Homeric poems and the heroic experience of living for the sake of the story, this thesis proposes that rhythm and recurrence are interrelated concepts that distinguish the lyrical and dramatic modes that structure the epic form of narrative found in both Homer's poems and Joyce's novels. Drawing upon the esthetic philosophy of Stephen Dedalus, I develop the dialectical theory of genre first outlined by Joyce in the Paris notebook, and argue that the latent lyricism contained in the narrative style of A Portrait is a proto-typical form of the interior monologue found in Ulysses. In opposition to the early modernist paradigm of Joyce criticism, this thesis rejects the notion that mythic archetypes function as Platonic ideals (i.e. the transcendent form of the modernist artwork), but rather holds that heroic themes recur in the mental stream of the modern subject, and manifest themselves immediately through Joyce???s use of the interior monologue technique.

In his works, A Portrait of the Artist as a Young Man (1916) and Ulysses (1922), James Joyce demonstrates what he perceives to be the paralyzing effects of those institutionalized religions that sit at the center of cultures. Drawing on Michel Foucault's analysis of institutional dressage as well as his use of Jeremy Bentham's Panopticon prison in Discipline and Punish (1981), this thesis argues that Joyce's portrait of the Catholic Church's influence on Irish culture is his attempt to display its ubiquitous and inextricable power. In both works, Joyce focuses on the internalization of this power which emanates from the physical manifestations of the Church's presence, the strict tenets of its doctrine, and its concept of an omnipotent, omniscient God who, embodied in an individual's conscience, becomes the perfect "surveillant." Tracing the influence of Catholic dressage on his first protagonist, Stephen Dedalus, who unequivocally abandons the Catholic faith in A Portrait, Joyce reveals the overwhelming power that the Church held over the cultural consciousness of Ireland, an influence rivaled solely by the British colonial powers. Similarly, in Ulysses, Joyce introduces Leopold Bloom, the Jewish Other, who stands outside the institutional structure of the Church and provides a removed but critical perspective on the Catholic rituals and beliefs which, according to Joyce, were intricately woven into the Irish Weltanschauung. Indeed, while Joyce's critique of the Church's power is clearly evident in the narrative of the novel, in a larger context this criticism is directed at the stifling effects of all institutional powers on individual consciousness. Similarly, Foucault's cultural theories examine the intricacies of such power within a culture and their effect on the individual, who, in short, is a product of these elements. This thesis explores these dynamics in Joyce's works to further understand his position as one of the central novelists of the twentieth century. / Graduation date: 1997

Reproduction de : Thèse de doctorat : Histoire : Lyon 2 : 2006. / Titre provenant de l'écran-titre. Bibliogr.

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