Based on a comparative method of enquiry, this thesis analyses the process of self-definition expressed in the work of Gloria Fuertes (Madrid, 1917-1998) and Pilar Paz Pasamar (Jerez de la Frontera, 1933) as individual alternatives to the collective ethos and literary practices promoted within the patriarchal society of Franco’s Spain. Recognizing the poets’ cultural and socio-political context as determining factors in their experiences as women and poets, and therefore in their outlook and poetics, this context and how it is reflected in their poetry provides the starting point (Chapter 1). Both poets acknowledge that writing poetry can provide them with a metaphorical space of freedom that enables them to develop their identity and explore their preoccupations. Therefore, their thoughts about poetry provide an important theme that occurs in the poetry of both (Chapter 2). Closely related to this is the link they establish between poetic inspiration and the divine, which in the case of Pilar Paz Pasamar leads to the attempt to use the special qualities of poetic language to refer to a universal truth that she is aware of and which transcends the capabilities of language, while Gloria Fuertes regards poetry as a divine gift that can provide solace and is ultimately able to improve the world (Chapter 3). The fourth chapter focuses on specific elements of the two poets’ work that reveal the distinctive mechanisms of self-construction they develop. The section on Fuertes considers humour as a survival strategy that enables the poet to reach out to her readership and emphasize her focus on the here and now, while the discussion on Paz’s work looks at how the use of sea imagery allows her to convey abstract experiences based on introspection. Thus, it is argued that their poetry reflects the different strategies the two women develop – based on integration in the case of Fuertes and a more separate position in the case of Paz – to define themselves in relation to their world.

Drawing on relevant theory from memory studies, literary criticism, sociology, reception studies and book history, this thesis examines the prevalence of nostalgia in white South African writing of the post-apartheid period. It identifies the numerous and remarkably conventional texts by white authors that proliferated in this time which might be described as nostalgic, arguing that these constitute a key genre of post-apartheid South African literature. In seeking to offer an explanation for why these nostalgic forms predominated in this period, this study takes into consideration the full "communications circuit" of a book i.e. the life-cycle of a book from production to consumption. Consequently, it employs an interdisciplinary framework to examine nostalgic literature from the perspectives of both the producers and consumers of texts. It is argued, ultimately, that post-apartheid nostalgic writing was particularly involved in the protection of certain formulations and structures of whiteness at individual, collective and institutional levels. The argument unfolds in three phases, each of which explores the value of nostalgia and nostalgic white writing in a different but related sphere: namely, literature, memory, and the market. The first phase of the argument provides a literary critical reading of the generic hallmarks of these novels, considering a range of representative texts, including works by Mark Behr, André Brink, Justin Cartwright, J. M. Coetzee, Lisa Fugard, Christopher Hope, Jo-Anne Richards, and Rachel Zadok. The second examines the allure of nostalgia and nostalgic books for the writers and readers of this literature, drawing on sociological studies of post-apartheid white South African identity and reader-response theory to analyse a selection of online and print reviews by readers. In the third phase, the thesis utilises a book historical approach to investigate the influence of various literary markets and the publishing industry, both local and global, in shaping the nostalgia trend.

This thesis examines James Joyce’s Ulysses (1922) and early cinema (c. 1895-1920) through Merleau-Pontian phenomenology. Instead of arguing for lines of direct influence between specific films and particular parts of Ulysses, I show that Joyce’s text and selected early films and film genres exhibit parallel philosophies. Ulysses and early cinema share similar ideas on the embodied nature of perception, the close relationship between mind and body, the intermingling of the human and the mechanical, intersubjectivity, and the subject’s inherence in the world. All of these shared ideas are inherently phenomenological. My phenomenological position on the Joyce-and-cinema relationship is at odds with a popular strain of scholarship which cites impersonality, neutrality, and automatism as the key linking factors between early cinema and modernist literature (including Joyce). ‘Joyce-and-cinema’ studies is a relatively large, and growing, field; as is ‘modernism-and-cinema’ studies. As well as ploughing my own path through an already crowded area, I analyse the different trends present (both historically and currently) in each area of study. I also add to the scholarship on phenomenological film theory by analysing the work of phenomenologically inflected film-philosophers and suggesting some new ways in which Maurice Merleau-Ponty’s phenomenology might be used in the analysis of films and literature. I provide close analyses of several episodes of Ulysses and pay particular attention to ‘Ithaca’, ‘Circe’, ‘Nausicaa’, and ‘Wandering Rocks’. Several of Charlie Chaplin’s Mutual films are analysed, as are a select number of films by George Méliès. I also look at other trick-films, Irish melodrama, panoramas, ‘phantom rides’, and local actuality films (especially Mitchell and Kenyon’s Living Dublin series). Proto-cinematic devices – the Mutoscope and stereoscope – are also included in my analyses.

The purpose of this survey is to evaluate the contribution that the Westminster Choir movement has made to choral music in the United States today. It is hoped after the contributions have been stated by the investigator that the important position Westminster Choir College is occupying will be better understood.

University of Macau / Faculty of Arts and Humanities. / Department of Chinese

University of Macau / Faculty of Arts and Humanities. / Department of Chinese

University of Macau / Faculty of Arts and Humanities. / Department of Chinese

Paule Maurice (1910-1967) is the little known composer of Tableaux de Provence: Suite for Saxophone and Orchestra, one of the most frequently recorded and studied classical saxophone compositions in history. A more in depth study of Paule Maurice reveals a talented composer and dedicated professor whose career at the Conservatoire National Supérieur de Musique de Paris and l'Ecole Normale de Musique de Paris spanned over twenty-five years until her untimely death at age fifty-seven. Maurice composed for theatre, ballet, French National Radio, orchestra, voice, piano, flute, clarinet, and saxophone. There is question as to the whereabouts of many of her manuscripts. This thesis attempts to bring to bear the life and accomplishments of a talented French composer not well remembered in music history. / by Anthony Jon Moore. / Thesis (M.A.)--Florida Atlantic University, 2009. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2009. Mode of access: World Wide Web.

Young Ada. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2000. / Includes bibliographical references (leaves 134-139). / Abstracts in English and Chinese. / Abstract --- p.i / 摘要 --- p.iii / Acknowledgments --- p.v / Introduction / "Crisis Unveiled: ""All that is Positive Melts Away""" --- p.1 / Chapter Chapter I --- "Crisis in Interpersonal and Intrapsychic Realms: and ""England, My England""" --- p.17 / Chapter Chapter II --- Crisis in Interpersonal and Intrapsychic Realms: Desire and its Perversions in Death in Venice and The Magic Mountain --- p.37 / Chapter Chapter III --- "Crisis at the Societal Level: in Women in Love and ""England, My England""" --- p.64 / Chapter Chapter IV --- Crisis at the Societal Level: From the Corrosions of Meaning in Life to the Dislocations of Societal Order in Death in Venice and The Magic Mountain --- p.94 / Coda / Crisis (Un)ended: The Great War and its Aftermath --- p.122 / Notes --- p.129 / Works Cited --- p.134

Ng, Ka Chai. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2007. / Includes bibliographical references (leaves 199-216). / Abstracts in English and Chinese. / Abstract --- p.i-iii / Acknowledgements --- p.iv-v / List of Plates --- p.vii / List of Examples --- p.viii-x / List of Tables --- p.xi / List of Abbreviations --- p.xii-xvi / Chapter Chapter One --- "Introduction: Mission, Liturgy, Music, and the Study of Catholic Church in China" --- p.1-14 / Chapter Chapter Two --- Overview of the History of Chinese Catholic Church: Evangelization and Indigenization --- p.15-28 / Chapter Chapter Three --- Catholic Liturgy and Music in China: Between Orthodoxy and Participation --- p.29-57 / Chapter Chapter Four --- "Vincent Lebbe's Experiences, and the Formation of his Ideas towards Liturgy, Music and Monasticism" --- p.58-75 / Chapter Chapter Five --- "The Chant Books of Lebbe: Sources, Structures and Liturgical Practices" --- p.76-110 / Chapter Chapter Six --- Stylistic Features of Lebbe's Arrangements of Gregorian Chant for Chinese Language --- p.111-154 / Chapter Chapter Seven --- Conclusion: Receptions and Cultural Representation of Vincent Lebbe's Chinese Gregorian Chant --- p.155-170 / Appendices / Notes to the Appendices --- p.171 / Appendix A - Contents of Lebbe's Chant Book for the Divine Office --- p.172-192 / Appendix B - Contents of Lebbe's Chant Book for Benediction --- p.193-195 / Appendix C - Contents of Lebbe's Chant Book for the Mass --- p.196-198 / Bibliography --- p.199-216