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Aaron Copland's Clarinet Concerto was written for jazz clarinetist Benny Goodman. The work's incorporation of popular elements, particularly jazz, has led to the perception that it is a "lightweight" representative of Copland's output. However, the concerto shares many characteristics with French neoclassical works of the 1920's and SCfs, and demonstrates a highly skilled construction that belies this label. The neoclassical aspect of the concerto raises important questions as to whether the jazz elements in the piece are really central to its expressive essence, or whether they merely reflect a choice of materials common to Copland and to other neoclassical composers. This dissertation is directed to the potential performer who wishes to have a better knowledge of the concerto's performance issues. It discusses the influence of neoclassicism on Copland's compositional style, gives the historical background to the Clarinet Concerto's composition, and outlines its general stylistic characteristics. The concerto's structure is examined in detail, and then applied to the work's performance issues, as the document investigates the performance practice of the piece through the study of recordings. The purpose of this dissertation is not to burden performers with a detailed set of instructions to be followed in performing the concerto. Rather, it aims to equip them with the techniques necessary to developing an individual, personal interpretation, based on a thorough understanding of the piece.

Aaron Copland's Clarinet Concerto was written for jazz clarinetist Benny Goodman. The work's incorporation of popular elements, particularly jazz, has led to the perception that it is a "lightweight" representative of Copland's output. However, the concerto shares many characteristics with French neoclassical works of the 1920's and SCfs, and demonstrates a highly skilled construction that belies this label. The neoclassical aspect of the concerto raises important questions as to whether the jazz elements in the piece are really central to its expressive essence, or whether they merely reflect a choice of materials common to Copland and to other neoclassical composers. This dissertation is directed to the potential performer who wishes to have a better knowledge of the concerto's performance issues. It discusses the influence of neoclassicism on Copland's compositional style, gives the historical background to the Clarinet Concerto's composition, and outlines its general stylistic characteristics. The concerto's structure is examined in detail, and then applied to the work's performance issues, as the document investigates the performance practice of the piece through the study of recordings. The purpose of this dissertation is not to burden performers with a detailed set of instructions to be followed in performing the concerto. Rather, it aims to equip them with the techniques necessary to developing an individual, personal interpretation, based on a thorough understanding of the piece.

[...] This study attempts to define and articulate the essentially ordered rhythms of meaning governing Wolfe's quest for psychic fulfillment. It seeks to explain his significant relationships and decisions in terms of the 'exile motif': Wolfe's perennial and heroic struggle to overcome the forces of background and temperament, which made him a stranger and exile, in order to establish a normal life for himself. [...]

This thesis explores the works of Oscar Wilde as they articulate and model an aesthetic of play. I show that Wilde distinguishes between true and false forms--or what I call models and anti-models--of play in a number of areas: art, criticism, and society, language, thought, and culture, self and other. My introduction establishes a context for the cultural value of play in the nineteenth century. I survey the ideas of Friedrich Schiller, who treats play in the aesthetic realm; Matthew Arnold, who discusses Criticism as a free play of the mind; Herbert Spencer, who explores play in the context of evolution; and Johan Huizinga, who analyses play in its social context. In my three chapters on Wilde's critical essays, I draw upon their ideas to describe Wilde's philosophy of play and examine how the form of Wilde's critical essays illuminates his aesthetic. My first chapter explores models and anti-models of play in Art, as they are described by Vivian in "The Decay of Lying." By exploring the role of "lying" in its aesthetic rather ethical context, Vivian demonstrates the value of the play-spirit for the development of culture. My second chapter discusses models and anti-models of play in Criticism as they are described by Gilbert in "The Critic as Artist." By refashioning the traditions of nineteenth-century criticism, Gilbert presents his own model of criticism as an aesthetic activity and demonstrates the role of the play-spirit in the development of the individual and the race. My third chapter relates models and anti-models of play in art, criticism, and social life to the modes of self-realization described by Wilde in "The Soul of Man Under Socialism." I take up Wilde's well-known paradox, that Socialism is a means of realizing Individualism, by showing how Wilde plays with these terms in an aesthetic rather than a political context. In the remaining chapters I read Wilde's fictional and dramatic texts in light of his aesthetics and treat the characters as models and anti-models of the play-spirit. In The Picture of Dorian Gray, I take the measure of play, not morality, as a guide for interpretation. In this reading Lord Henry Wotton is the novel's critic as artist, while Dorian Gray, with his literal-mindedness, his imitative instinct, and his ruthless narcissism, fails to achieve the aesthetic disinterestedness that characterizes true play. My sixth chapter traces themes related to play—game, ceremony, and performance—in Wilde's Society Comedies to demonstrate how these plays both reflect and critique the spectacle of Society and the conventions of nineteenth-century melodrama. My thesis concludes with The Importance of Being Earnest as it presents a culmination of Wilde's play-spirit and his playful linguistic strategies. I show how both the form and content of Earnest model the paradoxical ideal of play itself—that through play we may realize the experience of being at one with ourselves and on good terms with the world.

The objective of this thesis is to attempt a semiotic- psychoanalytic reading of the cinema of Bunuel. For this proposal we have selected three films of the director, An Andalusian dog, Land without bread and The obscure object of desire. The criteria that has led to this particular selection of films takes into account a wide range of variables to be contrasted to the psychoanalytical determinants that, we propose, play a decisive role in the form and content of the productions. The different variables present in these films are: genre (Surrealist, documentary and traditional narratives), thematics (surrealistic, erotic and socio-etnographic study), time of creativity (early adulthood, senility) and socio-cultural conditions of production (Spain, France). Our intended psychoanalytic study focuses on the creator's unconscious motivations that regulate, in a rather compulsive way, the poetics of love or life indistinctively present in all these cinematic creations. In order to reach to this interpretative stance, we will follow the different methodological steps of a semiotic reading of the texts that will discern their cinematographically denotative and connotative devises and contents. This way of illuminating art through psychoanalysis is reflected on the Freudian idea that creativity constitutes one of the mysterious human manifestations in which the instincts channel their conflicts in a socially disguised way, in order to pursue the desired gratification.