published_or_final_version / abstract / Humanities / Master / Master of Philosophy

published_or_final_version / English / Master / Master of Philosophy

Mas allá de la realidad objetiva y de los hechos históricos verificables que su nombre denota, la nueva poesía socio-política se estudia aquí como un extenso sistema literario que genera su propia coherencia y su inagotable red de posibilidades significativas. Nuestro enfoque es asimismo una manera de concebir histórica y analíticamente la trayectoria del discurso hispanoamericano. El hecho de que la nueva poesía socio-política sea comprensible en su totalidad al considerar el sustrato ideológico del cual surge, nos conduce a la formulación de un modelo analítico ideológico-semiótico que se adecúe a la realidad de esta poesía. Tal modelo manifiesta la interrelación dinámica que existe entre la estructura de coherencia y la estructura de significación verificando así la funcion normativa que ejerce la ideología sobre el texto. Más que nada, este proyecto se ha fundado en la necesidad de esclarecer el proceso de construcción de un nuevo sistema poetico. El juego de relaciones intertextuales y contextuales apuntan a una revisión de valores estético-ideológicos que fundamentan literariamente un nuevo sistema de prioridades. De aquí el repaso de la historia de la poesía; una historia en construcción que ha empezado a negar el criterio positivista, evolucionista y oficialista utilizado hasta ahora. El nuestro es un enfoque que surge desde una perspectiva crítica distinta, la cual considera los factores socio-económicos y además intenta responder tanto al rigor analítico como a las exigencias culturales del presente. La creciente conciencia de las relaciones de dependencia generan una politización de la conciencia, que en el plano cultural, configura una nueva estetica cuya caracterización se establece en el tercer capítulo. Las nuevas técnicas representacionales se esclarecen al analizar la obra de tres poetas. En la poesía de Roberto Fernández Retamar y Pedro Shimose es posible estudiar la cualidad "conversacional" del código utilizando el concepto de intertextualidad como principio constructor y como principio de intercalación y además la relación de contigüidad entre el lenguaje literario y el natural. Finalmente, se estudia el concepto de la patria, utilizando la categoría espacial, para ejemplificar el impulso ideológico revolucionario y su plasmación en la interioridad textual.

Musical study of The Butterfly Lovers violin concerto by He Zhanhao and Chen Gang. Tracing its cultural background in China, analyzing in terms of the concerto's form, melody, scale, mode, harmony, and orchestration and discussing the more unusual technical demands of violin playing made by this concerto.

This document presents the most salient features of Jolivet's mature musical style as exemplified in two of his major solo works for trumpet. The two works which serve as the musical focus of the document are one of his latest works, Arioso Barocco (1968) for trumpet and organ, and a work situated near the center of his compositional output, the Second Concerto (1954) for trumpet and a thirteen-member chamber ensemble. Following an exposition of Jolivet's life and musical development, we begin by examining five technical principles of harmony, texture, melody, and rhythm, which Jolivet set forth in a 1946 article. His aesthetic principles as stated in this and other articles by the composer are also examined. The most important of these aesthetic principles holds that music is by nature incantatory or has an incantatory mission--that is, it has the power to connect man with the cosmos, eternity, or that which is greater than man himself. At the heart of this incantatory aesthetic ideal is Jolivet's belief in the primacy of expressive melody, free of the harmonic restraints of traditional tonality. The musical analysis proceeds by identifying in Arioso Barocco the specific application of Jolivet's technical and aesthetic principles to the music, as well as considering formal structure and thematic process. The Second Concerto is then examined in the same way, and a stylistic and technical comparison is drawn between the two works. The study concludes that while both works serve the same underlying atonal and incantatory musical aesthetic, they are markedly different in many significant technical characteristics and stylistic traits. In view of the fact that both works come from what is considered Jolivet's third and final creative period, these findings give cause for further research into Jolivet's compositions from this period to determine whether they do in fact constitute one creative period or two separate and distinct periods.

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

Thesis argument: There is a Culture of Violent Reductivism in Representing Warsaw, which means that: Warsaw is reduced to a symbol of heroism in the hands of God/History or the Expert; imagining is reduced to historic imaginary and by the same token futuristic imaginary; both based on a positivist-romanticist system of thought; the reductivism deploys philosemiotic violence (acts of offering with expectations attached); the reductivism/violence is a symptom of a ‘neurosis’ of the social national/imaginary; the reductivism stops Warsaw/Poland from imagining present and future more openly. An alternative is to represent Warsaw as a series of post-historical objects that: are discrete texts, singular images, drawings, physical objects; are paradigmatic and analogical; they move from specificity to specificity; offer different forms, where ‘form’ is non-objective and means relationship; are a series of critiques, reflections, descriptions that work as architectural hypotheses; represent three exemplar imaginaries of Warsaw (the Birth, the Rebirth, the Second Rebirth); together form a ‘distracted’ architectural archive of Warsaw’s imaginaries. In this way, the thesis posits an example of a methodology of representing Warsaw that opens the possibility for Warsaw/Poland to imagine itself differently. Key themes: Culture of violent reductivism in representing Warsaw, reduction of Warsaw to a symbol of heroism, domination of the historic futuristic imaginary, philosemi(o)tic violence, neurosis of the social imaginary (guilt), positivist romanticism, post-historical object, paradigmatic knowledge, non-objective form, seriality of representation, architectural hypothesis, three imaginaries of Warsaw, ‘distracted’ archive of imaginaries.

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published_or_final_version / Chinese / Doctoral / Doctor of Philosophy