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博士(アメリカ研究) / Doctor of Philosophy in American Studies / 同志社大学 / Doshisha University

The purpose of this essay is to explore how the application of the Alexander Technique, as taught from the point of view of the Interactive Teaching Method (ITM), can be of benefit in performance preparation as well as in the enhancement of the musician’s practice and performance in general. Although the specific performance described in this paper was for violin, the argument is made that the exploration and methods of practice would be of benefit to any musician. This paper describes the experience of a study of the Alexander Technique. Information is provided about the Alexander Technique, its origins, principles and practices. The application of Alexander’s work to violin playing in general is discussed, and specifically to the preparation for the performance of Sonata Duodecima by Isabella Leonarda. / <p>Isabella Leonarda: Sonata Duodecima Opus 16</p><p>Elizabeth Jackquet De La Guerre: Sonata No 1 in D minor for Violin &amp; Cembalo</p><p>Antonio Bonparti: Invention No 1 in A major (from 12 Inventions for Violin)</p><p>Baroque Violin: Aingeala De Búrca</p><p>Cembalo: Mayumi Kamata</p><p>The sounding part has been archived.</p><p></p>

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Adaptation studies has recently turned an eye towards translation theory for valuable discussion on the role of movie makers as translators. Such discussion notes the difficulties inherent in adapting a medium such as a book, a play, or even a theme park ride into film. These difficulties have interesting parallels to the translation of one language into another. Translation theory, in fact, can shed important light on the adaptation process. Intrinsic to translation theory is the dichotomy between domesticating translation and foreignizing translation, the two major styles of translation. Translation scholar Lawrence Venuti, the author of these two terms, argues that while the former is an "ethnocentric reduction of the foreign text to receiving cultural values, bringing the author back home," the latter is "an ethnodeviant pressure on those values to register the linguistic and cultural differences of the foreign text, sending the reader abroad" (15). Venuti suggests that foreignizing translations, ones that maintain distinct cultural difference within the translated target text, are more desirable and ultimately commit less violence on the source text and language. This paper analyzes the 1940 film The Thief of Bagdad, a British remake of a 1924 Hollywood film by the same name, for its elements of foreignizing translation. Producer Alexander Korda, acting as a kind of translator, made this film during the height of the British national film movement. Supported by this movement, and inspired by his own personal vendetta against Hollywood, Korda took an American blockbuster and re-vised it with distinctly British thematic elements. Because his ultimate audience was an American one, however, I argue that his film took an American source text, The Thief of Bagdad (1924), and foreignized it, hoping, in the process, to establish British cinema as a major player in the international film world.

In July of 1863 the photographs A Harvest of Death, Field Where General Reynolds Fell, A Sharpshooter's Last Sleep, and The Home of a Rebel Sharpshooter were taken after the battle at Gettysburg by a team of photographers led by Alexander Gardner. In the decades that followed these images of the dead of the battlefield became some of the most iconic representations of the American Civil War. Today, Gardner's Gettysburg photographs can be found in almost every contemporary history text, documentary, or collection of images from the war, yet their journey to this iconic status has been little discussed. The goal of this thesis is to expand the general understanding of these Civil War photographs and their legacy by considering their use beyond the early 1860s. Although part of a larger scope of influence, the discussion of the photographs presented here will focus particularly on the years between 1894 and 1911. Between those years they were made available to the public through large photographic histories and other history texts as well. The aim of these texts, which framed and manipulated Gardner's images, were to disseminate a propagandistic history of the war in a way that outlined it as a nationally unifying experience, rather than one of division. These texts mark the beginning of the influence the Gettysburg photographs would have on American memory of the war. Within these books the four photographs became part of a larger effort to reconnect with the past and shape the war into a source for a unified American identity.

The purpose of this paper is to discover the environmental characteristics of the "Mystic Chord" in the first four Sonatas for Piano by Alexander Scriabine. This paper explores the manner of approach, manner of resolution, harmonic function, position, melodic function, and rhythmic position of the "Mystic Chord".

Die Unterschiede zwischen der Klavierfassung von Zemlinskys Opus 13 Nr. 1 nach einem Gedicht Maurice Maeterlincks und der Fassung für Orchester sind darauf zurückführbar, dass der Komponist in extremer Weise auf die klangfarblichen und ästhetischen Ansprüche der jeweiligen Genres reagiert. In diesem Beitrag wird untersucht, welche Eigenschaften des Orchestersatzes ein emphatisches Gattungsverständnis transportieren. Mit seiner Orchestration gehört das Lied einer Gattung an, die, als die Lieder Nr. 1–4 des Zyklus’ in dem ›Wiener Skandalkonzert‹ 1913 uraufgeführt wurden, auf der Höhe der Zeit stand. Nach 1918, mit den in ihrer Existenz bedrohten Riesenorchestern der Vorkriegszeit, ging das ästhetische Interesse an Orchesterliedern mehr und mehr verloren (vgl. Bork 2004). Zemlinsky vertrat mit der Orchesterfassung dezidiert die Position symbolistischen Komponierens am Fin de Siècle. Bevor Ähnliches in Besetzungen der Wiener Schule üblich wurde, fügte er der gewöhnlichen Orchesterbesetzung Instrumente wie das Harmonium und das Klavier hinzu. Mit der Harfe bilden diese einen eigenen Strang akkordfähiger Orchesterinstrumente. Dieser Strang offeriert drei unterschiedliche Einzelfarben und drei Weisen ihrer Kombination: Sämtliche oder je zwei von ihnen lassen sich verbinden. Die Koloristik bietet neue dramaturgische Möglichkeiten. Die drei Orte des Textes – Wald, Meer und Stadt – werden als drei Zeiten gefärbt: Mit jeweils anderem Instrumentarium schreibt Zemlinsky der Zukunft eine relative Nähe, der Vergangenheit Ferne und der Gegenwart vieldeutigen Rausch zu. Untersucht werden im Detail die Begleittexturen, die Zemlinsky für die Orchesterfassung des Liedes neu erfand, warum er Abschnitte der Singstimme oktavierte und ergänzte und welchen Sinn die mehrtaktigen Passagen erzeugen, die er hinzufügte. So vermittelt das neue Vorspiel mit den leeren Flageoletten der hohen Streicher eine Ahnung davon, wie exquisit der Tod ist, dem Maeterlincks drei Schwestern zustreben. / The differences between the piano version of Zemlinsky’s Opus 13 No. 1, based on a poem by Maurice Maeterlinck, and the orchestral version can be traced back to the fact that the composer responded in an extreme way to the timbral and aesthetic demands of the respective genres. This contribution examines which properties of the orchestral set convey an emphatic understanding of the genre. With its orchestration, the song belongs to a genre which was at its peak as the songs nos. 1–4 of the cycle were premiered in ›Vienna’s Skandalkonzert‹ in 1913 but lost its aesthetic interests with the existence of gigantic orchestras of the pre-war period after 1918 being at stake (cf. Bork 2004). Zemlinsky, with his orchestral composition, determined the position of symbolistic composing at fin-de-siècle. Before similar things even became customary in the orchestral settings of the Viennese school, he added the usual scoring instruments such as the harmonium and the piano. With the harp, they form an individual strand of orchestral instruments capable of playing chords. This strand offers three different individual colors and three modes of their combination: all or two of them can be connected. The colorfulness offers new dramatic possibilities. Three places in the text – the forest, the sea and the city – are colored as three times: with different settings in each case, Zemlinsky gives the future a relative closeness, the past a distance, and the present an ambiguous intoxication. This paper will explore in detail the accompaniment textures, which Zemlinsky reinvented for the orchestral version of the song: specifically, why he octavated and supplemented some sections of the singing voice and what the sense is of the multiple bars of passages he added. Thus, the new prelude with the empty harmonics of the high strings conveys an inkling of how exquisite death is to which Maeterlinck’s three sisters strive.

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