Thesis (Ph. D.)--University of Washington, 1998. / Vita. Includes bibliographical references (leaves [206]-211).

Thesis (M.A.)--University of Missouri-Columbia, 2004. / Typescript. Includes bibliographical references (leaves 103-106). Also available on the Internet.

Thesis--University of Zurich. / Vita. Includes bibliographical references (p. 161-164).

Thesis (M.A.) -- Memorial University of Newfoundland. / Typescript. Bibliography : leaves 137-142. Also available online.

Thesis (Ph.D.)--Indiana University, Dept. of English, 2005. / Title from PDF t.p. (viewed Dec. 3, 2008). Source: Dissertation Abstracts International, Volume: 66-03, Section: A, page: 1010. Chair: Nicholas Mark Williams.

Thesis (Senior Honors)--University of Wisconsin-Madison, 1992.

Thesis (Ph. D.)--University of California, Santa Cruz, 1984. / Typescript. Includes bibliographical references.

Thesis (M.A.)--University of Missouri-Columbia, 2004. / Typescript. Includes bibliographical references (leaves 103-106). Also available on the Internet.

Orientador: Luiz Carlos da Silva Dantas / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-07-27T10:35:57Z (GMT). No. of bitstreams: 1 Alves_AndreaLima_M.pdf: 34609800 bytes, checksum: 9df9aa22c9a8021367e3252e5f96430a (MD5) Previous issue date: 2001 / Resumo: Averiguar o caráter da interação entre ilustrações e texto literário no livro O Matrimônio do Céu e do Inferno de William Blake constituiu o principal intuito da presente dissertação de mestrado. Para que tal intento fosse alcançado fez-se necessário uma análise detalhada da obra: buscou-se a literatura crítica sobre esta, livros e artigos de especialistas americanos e ingleses dos quais pode-se afirmar serem quase que a totalidade daqueles existentes até o presente momento. A primeira parte do estudo é dedicada a essa tarefa por se tratar de um livro muito significativo dentro do conjunto da obra literária de Blake (toda ela ilustrada pelo próprio artista), considerado unanimemente pela crítica como a melhor introdução para o complexo universo blakeano - visto o artista inglês ter criado uma cosmogonia e mitologia peculiares, de difícil acesso a seus leitores. Apesar de O Matrimônio não apresentar referências explícitas a essa mitologia por ser um de seus primeiros livros, nele já estão presentes as principais idéias e a estética que marcaria toda sua obra. A segunda parte da dissertação contém uma apresentação sucinta das reflexões teóricas ocidentais sobre arte que se valeram da comparação entre a pintura e a poesia, utilizanda-a como fio condutor para a exposição das características dessas duas linguagens na "arte composta" criada por Blake / Abstract: The present dissertation inquires into the nature of the relationship between text and illustration in William Blake's The Marriage of Heaven and Hell. In order to realise this it was necessary to do a minute analysis of the work, based almost entirely on books and articles of american and english experts written up until now. The first part of the study is dedicated to this task because this book of Blake's is very significant within his literary work (all of it illustrated by himself). It is thought of as the best introduction to the complex blakean universe, in which the artist created a particular cosmogony and mythology. Although The Marriage does not present an explicit allusion to this mythology, being one of his first books, it already presents the main ideas and the aesthetic that will mark the rest of his work. The second part of the dissertation includes a brief presentation of the theoretical reflections on art by comparing picture and poetry (the ut pictura poesis tradition). This study is then used as a guide to explore the two languages characteristic in the "composite art" created by Blake / Mestrado / Mestre em Teoria e História Literária

Swallow, Egg, Chrysanthemum is a sixteen minute work for piano and orchestra. The title refers to symbols from Greek, Western and Asian cultures, with all of the symbols being associated with life, death, or resurrection. Over the course of the piece the interaction of the piano with the orchestra creates a metaphor for the journey of the human soul through the three states of existence. Each of the three contiguous movements carries the name of one of the symbols, whose physical aspects influence the internal form of the movement. In recognition of the conflict between an acceptance of life and death, and a belief in life, death and resurrection, the work contains coexisting two- and three- part forms. At the temporal level, “Swallow” is balanced by “Egg” and “Chrysanthemum”, and this balance is aided by a blurring of the boundary between the last two movements. The musical language of the work is based in part on the use of cyclical, diminishing permutations of pitch collections, which are themselves derived from a master pitch group. The permutations reduce the number of pitches in each collection, creating an apparent “zeroing in” on a single pitch or “tonic goal”. As a result, moving backwards or forwards through the reductive process can increase or decrease the musical tension of a particular passage, by altering the number of pitches present. Twelve harmonic areas are created using this technique, and over the course of the work each of them is touched upon, with certain ones being of greater importance. Foreshadowing has been used in the form of the work as a unifying device and is present at the micro and macro levels. The form of the Introduction can be mapped onto the first two movements, and onto the piece as a whole. In the last movement a process of postshadowing occurs, whereby earlier material is reinterpreted and transformed in a summation of the work. / Arts, Faculty of / Music, School of / Graduate