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A social history of military service in South-Western Nigeria, 1939-1955Coates, Oliver Richard January 2013 (has links)
No description available.
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232 |
The political significance of the writings of Erich Fromm for democratic doctrineLieberman, Jerome, 1937- January 1963 (has links)
No description available.
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233 |
Thomas Wolfe's dark man; the influence of death upon the structure of Wolfe's novelsPeterson, Leon Latren, 1931- January 1963 (has links)
No description available.
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234 |
Stephen Crane's naturalismFisher, Richard James, 1925- January 1951 (has links)
No description available.
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235 |
The annexation of the Hawaiian IslandsMiller, Ajha January 1929 (has links)
No description available.
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Copland’s clarinet concerto : a performance perspectiveYeo, Lisa Lorraine Gartrell 05 1900 (has links)
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.
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Copland’s clarinet concerto : a performance perspectiveYeo, Lisa Lorraine Gartrell 05 1900 (has links)
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.
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238 |
Thomas Wolfe, the exile motif and the Jews.Kay, Barbara Ruth. January 1966 (has links)
[...] 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. [...]
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239 |
Art, criticism, and the self : at play in the works of Oscar WildePunchard, Tracy Kathleen 05 1900 (has links)
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.
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A psychoanalytic study of Buñuel’s cinemaPark, Mi Soo 05 1900 (has links)
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.
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