Diss. : Zürich : 1991.

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The thesis examines how the American novelist William Gaddis replenishes the tradition of the novel by way of a parodic subversion of its enabling assumptions. In the face of the subject's on-going marginalization, mimetic narrative appears as an "exhausted" literary form. JR (1975) directs the reader's attention to the complexity of language. In that sense, the novel problematizes the conditions for the existence of meaning in fiction. By means of narrative dissemination, Gaddis points to those anarchic energies in oral speech, which thwart efforts to instrumentalize language. Human beings in JR do not possess a recognizable personality, they are metonymic functions of cultural discourses. Deprived of their origins, they have to cope with an orphaned existence. The author also suspends his controlling functions and becomes a narrative stumbling block through disconcerting intrusions. Thus the text is constituted from the diversity of linguistic material in popular culture.

This document examines Paul Hindemith's piano work, Suite 1922, op. 26, (1922) a work that is seldom played and studied among pianists. My study explores two broad questions: first, how and for what purpose are traditional Baroque models and jazz idioms included in Hindemith's Suite 1922; and second, can one analyze portions of the suite according to the process and principles found in Hindemith's compositional system? While this system was not fully outlined by Hindemith until 1937, the author examines to what extent specific elements of his emerging theory are to be found throughout Suite 1922. The first two chapters are dedicated to an overview of Hindemith's life and music. Chapter III investigates the origins of the individual movements of Suite 1922 and provides a structural analysis for each. Chapter IV examines the jazz and Baroque features found in Suite 1922. In this chapter, the author identifies the main elements drawn from both styles: blues harmonies, extended triads, syncopations and rhythmic devices from jazz; and formal aspects, dance suite order and affects from the Baroque. Chapter V presents Hindemith's mature compositional system in a concise format and applies selected aspects of this innovative system to the suite. Hindemith's six levels of analysis and unifying principles are the primary tools applied to this analysis. This study provides new insights into one of Hindemith's more fascinating works to further enhance the understanding of his music for pianists, scholars, and composers alike.

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Thèse numérisée par la Direction des bibliothèques de l'Université de Montréal.

論文(碩士)--香港中文大學, 1973. / Ms. / Thesis (M.A.)--Xianggang Zhong wen da xue. / Chapter 壹、 --- 鄭觀應與盛世危言 --- p.1 / Chapter 貮、 --- 鄭觀應思想的形成 --- p.35 / Chapter 叁、 --- 鄭觀應的自強觀 --- p.99 / Chapter 肆、 --- 鄭觀應及其時勢 --- p.171

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Orientadora: Ilse Maria Beuren. / Dissertação (mestrado) - Universidade Regional de Blumenau, Centro de Ciências Sociais Aplicadas, Programa de Pós-Graduação em Ciências Contábeis.