M.A., Faculty of Arts, University of the Witwatersrand, 1983

Thesis (Ph. D.)--Ohio State University, 1976. / Includes bibliographical references (leaves 153-157). Available online via OhioLINK's ETD Center.

Denna uppsats behandlar utförandet av drillarna i Alexander Skrjabins nionde pianosonat Black Mass. Teorier om flow tillämpas under instuderingsprocessen av verket, vilket skapar nya alternativa tillvägagångssätt mot en mer effektiv övningsmetodik. Introspektion genom metakognitiv loggbok ger en psykologisk inblick i skapandeprocessen. Tre frågor besvaras skriftligt efter varje övningstillfälle under en månads tid. Dessa frågor är: Vad hände? Vad lärde jag mig? Hur lärde jag mig det? Det insamlade materialet används för att analysera påverkan av flow-teorier och användandet av loggboksanteckningar. En fördel med en kvalitativ studie är att den enskilda individen kan få en tydligare bild av vad hen upplever av undersökningen. I resultatet tydliggörs detta genom att påvisa effekter av förändring både mentalt och rent pianotekniskt i loggboksanteckningarna. Därmed vittnar resultatet om introspektionens fördelar i strävan efter mer flow i pianospelet.

A large number of Li-ion batteries used today will reach their End-Of-Life (EOL) in a few years. After their EOL, the recovery of their precious elements is required. By applying physical separation, a fraction with fine particle size is left behind which is known as Black Mass (BM). BM is rich in LIB precious materials, including Li metal oxides and graphite. In this study, pyrometallurgical recycling of BM is investigated. In the first step, the BM high-temperature transformations are being studied, focusing on reducing Li metal oxides, Li evaporation, and F removal. In the second step, Fe and Cu oxides are added to the BM to investigate how the graphite remaining in the BM can be used as a reducing agent and form alloys with Co and Ni. The use of mechanical activation as a mean to improve the kinetics of the reactions and the efficiency of the reduction reaction was also studied. To model the experiments in this study, thermodynamic softwares (FactSage and HSC) were also employed.

Using the sankofa archival praxis, this thesis seeks to recover the unknown periodicals of Quebec’s largest urban area and Canada’s second largest. This qualitative research examines 196 Black periodicals published in Greater Montreal, from 1934 to the present. As a case study of Black-controlled serialized literature it includes: journals, newspapers, magazines, directories, bulletins, and newsletters. This thesis seeks to capture, organize, and catalogue a comprehensive checklist of Montreal’s Black serials. Despite the scores of Black publications produced in the last seventy years, the vast majority of the 196 titles located are unknown to Black readers within Montreal, Quebec. While this thesis assumes that the silence of these documents is intricately linked to the marginalized status of Blacks within Canada as a whole, and Quebec in particular, it focuses upon the context of the serials’ evolution, their concomitant invisibility within the Black community of Montreal and the national and urban context of these documents. The research does not ask why this body of literature is unknown to the general populace, but rather, why Blacks themselves, as creators, that is, the Black owners, journalists, and editors of the serials, are unaware of the existence of these serials. This dissertation explores the extent to which four factors may have contributed to the invisibility of these serials in Canada and in particular in the unique setting of Montreal: language, ethnicity, orality and the treatment of documents. / À l’aide de la praxis archivistique sankofa, cette thèse a pour but de retracer les périodiques inconnus dans la plus grande zone urbaine du Québec. Ma recherche qualitative examine 196 périodiques destinés aux Noirs et publiés dans la région métropolitaine de Montréal, de 1934 à ce jour. Cette étude de cas portant sur des documents sérialisés contrôlés par des Noirs comprend des revues, des journaux, des magazines, des annuaires, des bulletins et des nouvelles. Cette thèse tente de saisir, d’organiser et de cataloguer une liste exhaustive de contrôle des séries d’imprimés puliés par des noirs dans la région de Montréal. Malgré la foule de publications pour Noirs produites au cours des soixantedix dernières années, la vaste majorité des 196 titres que j’ai répertoriés sont inconnus des lecteurs noirs à Montréal, au Québec. Bien que cette thèse assume que le silence de ces documents est étroitement relié au statut marginalisé des Noirs dans l’ensemble du Canada, plus particulièrement au Québec, je mettrai l’emphase sur le contexte de l’évolution des séries, leur invisibilité concomitante au sein de la communauté noire de Montréal, ainsi que le contexte national et urbain de ces documents. La recherche n’explique pas pourquoi cet ensemble de documents est inconnu du grand public, mais plutôt pourquoi les Noirs eux-mêmes, en tant que créateurs, soit les propriétaires, les journalistes et les éditeurs noirs des séries, ne soupçonnent pas l’existence de ces séries. Cette dissertation explore l’étendue des quatre facteurs qui ont contribué à l’invisibilité de ces séries au Canada et particulièrement dans le milieu unique de Montréal: la langue, l’ethnicité, l’oralité et le traitement des documents. fr

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This study regards the influence of ’modern’ satanism on performative art in the nineteen sixties- and seventies. The methodological framework consists of performativity theory, religious visual culture and aesthetics of experimental film. The material consists mainly of cinematic work by Kenneth Anger and Alejandro Jodorowsky, as well as musical performances by the likes of Mick Jagger, the Rolling Stones and David Bowie. In addition to this material I also use academic texts, dissertations and books written about the subjects themselves as a foundation for my own further analysis and discussions. By looking closely at a selection of cinnematic work of foremost Kenneth Anger, I try to show how his own esoteric and occult interests are present as a fundamental part of his creative process and the following filmworks/artworks themselves. This is also put into relationship with Anton Szandor Lavey, founder of the Church of Satan, and their common thoughts concerning ritually performed magic. By using performativity theory I trie to emphasise the interlocking structures of these two worlds in the artwork of Kenneth Anger and other artists active in the culturual ’milieu’ of the sixties- and seventies. The results indicate that the religious sphere of satanism, occultism and esotericism (and alternative modes of religion in general) was closeley inflicted with counterculture-infused film and music (as represented by the selection of material).