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The Global ETD Search service is a free service for researchers
to find electronic theses and dissertations. This service is
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Networked Digital Library of Theses and Dissertations.
Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
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Showing 311 to 320 of 320 (0.01 seconds)| 311 |
Malinconia, degenerazione e abitudine in Herman Melville, Joseph Conrad e Samuel Beckett. Tre figure di rifiuto del lavoroBELLINI, FEDERICO ALBERTO 12 March 2013 (has links)
Questo studio riguarda le rappresentazioni letterarie del rifiuto del lavoro nei testi di Herman Melville, Joseph Conrad e Samuel Beckett. Nell'introduzione mi occupo della definizione del rifiuto del lavoro quale tema letterario e delle questioni metodologiche connesse a tale problema. Al fine di situare l'analisi del tema in un più ampio contesto, i tre capitoli successivi si concentrano ciascuno su un autore in relazione a un 'sottotema': rispettivamente malinconia, degenerazione e abitudine. Il rifiuto del lavoro in Herman Melville, e in particolare in "Bartleby", emerge come una reazione contro la malinconia e il Romanticismo. "The Nigger of the 'Narcissus'" di Joseph Conrad appare invece quale un modo di affrontare degenerazione e decadenza. Infine, l'abitudine si rivela un tema centrale dell'opera di Samuel Beckett: un'analisi delle fonti e dell'evoluzione di esso nelle sue opere offre una prospettiva d'interpretazione della sua produzione letteraria. L'ultimo capitolo affronta infine il modo in cui queste diverse traiettorie creative costituiscono diversi aspetti o fasi dello stesso fenomeno, e rappresentano manifestazioni di simili processi creativi. / This study concerns the literary representations of the refusal of work in the works of Herman Melville, Joseph Conrad, and Samuel Beckett. In the introduction I deal with the definition of refusal of work as a literary theme and with the methodological issues of the chosen approach to the topic. In order to situate the analysis of the main theme in a broader context, each of the following three chapters focuses on one of the authors in relation to a sub-theme: melancholia, degeneration, and habit, respectively. The refusal of work in Herman Melville, and particularly in Bartleby, emerges as a reaction against melancholy and Romanticism. I read Joseph Conrad's The Nigger of the "Narcissus" as a way of approaching a theory of degeneration and decadence. Finally, I identify the centrality of habit to Samuel Beckett's oeuvre: an examination of the sources and evolution of this theme in his oeuvre, provides a more nuanced understanding of his aesthetic project. My final chapter addresses how these very different aesthetic trajectories function as different facets, or stages, of the same phenomenon, and as manifestations of very similar creative processes.
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Crusading in Medieval Europe: its idea, reception, and the experience in Poland (1102–1194). [Thesis abstract]von Guettner, Darius January 2007 (has links) (PDF)
This thesis examines the transmission of the idea of crusade to Poland and the subsequent Polish response to the idea of crusade in the twelfth century. It determines the key mechanisms by which the idea of crusade was transmitted to Poland and through an analysis of primary contemporary sources the thesis provides compelling evidence that the Polish elites were highly familiar with, and receptive to, the idea of crusade. Moreover, this thesis argues that the Poles were conscious participants in the crusades and undertook various crusading activities during the twelfth century. These findings are contrary to the established position in Polish historiography, and bring many sources to an English-speaking audience for the first time. / Through an examination of narrative sources this thesis demonstrates that the Polish elites were enthusiastic supporters of the idea of crusade within a decade of the First Crusade. This thesis shows that under the leadership of the Piast dynasty the Poles engaged in Christian holy war (proto-crusading): the conquest of Pomerania (1102–1128), contributed armies to three theatres of the Second Crusade (1147–1148), and launched major expeditions against the Prussian apostates (1166 and 1192). / This thesis identifies the influence of the idea of crusade on the actions of the Piasts and in particular, Boleslaw III’s sons (the Piast Juniors), and the importance of family traditions. The thesis presents new propositions in regards to the crusades in Prussia and key Polish crusader participants: the involvement of the Polish crusader army under the command of Mieszko III in the Wendish Crusade (July–August 1147); previously unreported in English historiography, the first known example of crusading in Prussia led by Boleslaw IV (November–December 1147); and Henry of Sandomierz’s leadership of the Polish crusader contingent to the Holy Land (1147–1148).
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Hermann Kretzschmars KompositionenSchröder, Gesine 31 August 2010 (has links)
Die Beschäftigung mit Hermann Kretzschmars Kompositionen bereichert das Gesamtbild dieser musikschriftstellerisch und musikpolitisch wirkungsmächtigen Persönlichkeit. In dem Beitrag werden Kretzschmars Bearbeitungen für Männerchor und deren Bezug zu seinen Schriften untersucht; seine Originalkompositionen für dieselbe Besetzung werden mit Rücksicht auf die Leipziger Harmonielehre der Mitte des 19. Jahrhunderts betrachtet, seine Chorsätze für gemischten Chor dienen als Dokument für Kretzschmars formale Ambitionen und für seine Arbeitsweise.
Für die Geschichte der musiktheoretischen Unterweisung am Leipziger Konservatorium in der zweiten Hälfte des 19. Jahrhunderts kann Kretzschmars einseitig nur bestimmte Genres bedienendes Werk eine Quelle darstellen.
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Det filmiska ögat : En undersökning av konstbetraktandets natur i tunnelbanan genom fotomontaget ”Den dagen, den sorgen” på Karlaplans stationLjung, Bo January 2018 (has links)
Uppsatsen undersöker konstbetraktandets natur i tunnelbanan genom en närstudie av fotomontaget ”Den dagen, den sorgen på Karlaplans tunnelbanestation i Stockholm. Uppsatsens huvudsakliga frågeställning är: Hur spelar ”Den dagen den sorgen” upp sin mening och hur tas denna emot av betraktaren i tunnelbanekontexten vid Karlaplan? Två underfrågor kompletterar frågeställningen: 1.Vilken är fotomontagets konstnärliga särart och hur är det organiserat narrativt? 2.Hur är tunnelbanans ”genius loci” och hur samverkar konstverket med platsen och rummet? Impetus för uppsatsen är konstverkets säregna och unika karaktär som konstverk. Det finns inget liknande verk i Stockholms tunnelbana. Det lockar, väcker frågor och involverar betraktaren på ett direkt sätt. Syftet med uppsatsen är därför att undersöka mekanismerna för denna betraktaraktiverande rörelse. En fråga som ofta saknas i den omfattande litteraturen om konsten i Stockholms tunnelbana är hur tunnelbanekonsten kommunicerar och tas emot av sina betraktarresenärer. Denna brist motiverar en undersökning av relationen mellan konstverk, betraktare och miljö. Uppsatsen är utförd med hjälp av en deduktiv och systematiskt tolkande arbetsmetod utifrån en receptionsteoretisk och semiotisk teoribildning. De valda frågeställningarna har riktat analysen och fotomontaget har studerats som konstnärligt och språkligt fenomen. Receptionsteorin utgår från Wolfgang Kemps begreppsanalys, vilken är strukturerad i interna och externa faktorer. Peter Gillgren kompletterar Kemp och visar hur betydelsefulla verkets interartiella referenser och den litterära meningen är för den receptionsteoretiska tolkningen. Roland Barthes semiotiska teckenanalys, där denoterande tecken omvandlas till konoterande i betraktarens medvetande, ligger också till grund för tolkningen Texten är uppbyggd av fem delar. De består av inledning, bakgrund, interna faktorer, externa faktorer samt avslutande diskussion med slutsatser och sammanfattning. Genom verkets många interartiella referenser framträder en samhällskritisk litterär mening. För att förmedla denna litterära mening har upphovsmannen medvetet sökt motverka en riskerad polysemi. Kompletterande performativa textremsor, det hyperrealistiska fotografiska bildmediet samt en återhållsamhet med fragment stramar åt och riktar bildens ”betydelse”. Bildens komposition och perspektiv samt en frekvent användning av vakanser och fokaliserande gestalter bjuder in betraktaren i bildens ”spel” och sätter dennes öga i rörelse. Verk, betraktare och miljö möts och förstår varandra i hastiga filmiska ögonblick. Sådan är konstbetraktandets natur på Karlaplans tunnelbanestation.
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A Population Demographic of Midland Painted Turtles (<i>Chrysemys picta marginata</i>) in Conrad Balliet Family Nature Preserve PondVogt, Leah 03 August 2023 (has links)
No description available.
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Det omättliga ögatLjung, Bo January 2020 (has links)
This is a master thesis dealing with reception-theoretical aspects of the 96 meter long photomontage called That day and that grief, created by the Swedish photographer and artist Larseric Vänerlöf. The artwork is situated in the Karlaplan metro-station in Stockholm. The text is an extension of the master thesis that I wrote in 2017-2018, entitled The Cinematic eye. This new essay aims to deepen the understanding of how the photomontage reveals it´s meaning and how it is received by the viewer in the metro context at Karlaplan. Main questions: 1/ What is it in this big photomontage, that makes the viewing travellers, wanting to stay and watch it, even though they are in a hurry towards another place, in another matter? 2/ How does this artwork speak to me and how does it want me to watch it? 3/ What does the photomontage want to tell me? 4/ What does the work represents? Since my study focuses on the imagery and communication-act of the artwork, I find semiotics and reception-theory as the obvious theoretical tools. Part of the interpretation of the image relates to the semiotics of Roland Barthes and his statement that all images are polysemic and ambiguous and that they are culturally and historically conditioned. In my conclusion I discuss and to some extent challenge the mechanism and interaction between literal, denoting information and symbolic connotation in the viewer’s reception. The reception analysis is based on Wofgang Kemps conceptual apparatus formulated in The work of Art and its Beholder (1998), and Peter Gillgrens concept of interartial references. Hans Georg Gadamers view of art as a performative game complements the essays theoretical construction. I use a deductive and systematic interpretive working method. Based on the chosen semiotic and reception theoretical formation and through my questions, I have studied the phenomenology of the photomontage, i.e. as an artistic and linguistic phenomenon. Empathy in site/location, beholder and zeitgeist form the basis of the methodological work.The conclusions of the thesis are radically different from that of my former text from 2017-18. Imagery and symbolic ambiguities and focalics that refuse to reveal the "meaning" and content of the photomontage, activate the viewer in a performative way and creates a highly communicative work, which involves the viewer in the theatrical course. Through a deeper study of the “zeitgeist”, I have also concluded that the collective and political symbols from the 1970s in the work, have lost power and content at the time of the dismantling in 1982. The character that I previously perceived as "Art as weapon" has in this essay been transformed to "Art as visuality". The art of photography appears as the real subject matter for the photomontage at Karlaplan subwaystation.
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Wie die ersten Stickmaschinen aus der Schweiz nach Sachsen kamen: Die historisch authentische Rekonstruktion aus PrimärquellenStrobel, Heino 03 May 2024 (has links)
Nachdem man in Deutschland und Sachsen im Speziellen den eigenen Nachbau von Handstickmaschinen »verschlief«, die 1828 in Mulhouse erfunden wurden, versuchte ab 1855 eine Stickereifirma in Plauen im Vogtland die Beschaffung von Stickmaschinen aus der Ostschweiz. Dort gab es Mitte der 1850er-Jahre drei Hersteller. Zum Ablauf haben sich viele Legenden gebildet, die bis in die jüngste Zeit nur ungeprüft kolportiert werden. Aus Primärbelegen konnte authentisch diese Beschaffung mit heimlicher Ausfuhr über den Bodensee rekonstruiert werden. Ein Gewerbelehrer aus Plauen brachte 1855 von einer Studienreise aus der Ostschweiz vier Maschinenstickmuster mit, die in dieser Studie mit besprochen und gezeigt werden. Zur Bedienung und zum Anlernen weiterer Mitarbeiter wurde in der Schweiz auch ein Stickmeister angeworben, der mit seiner Familie 1858 nach Plauen übersiedelte. Ab 1860 wurden in Sachsen diese Stickmaschinen nachgebaut und verbessert. Von diesen ist in einem Erfindungspatent für Österreich das älteste erhaltene Foto einer Handstickmaschine aus dem Jahr 1861 oder 1862 in den Beitrag ebenso aufgenommen wie ein Blick zum weiteren Stickmaschinenbau in Sachsen im 19. Jahrhundert. Im Anhang sind die in vier Ländern noch museal zugänglichen Handstickmaschinen aufgelistet. / After Germany, and Saxony in particular, had 'slept through' building its own replica of the hand embroidery machines invented in Mulhouse in 1828, an embroidery company in Plauen in the Vogtland attempted to purchase embroidery machines from eastern Switzerland from 1855. In the mid-1850s, there were three manufacturers there. Many legends have grown up about the process, which have circulated unchecked until recently. This procurement with clandestine export via Lake Constance could be authentically reconstructed from primary documents. A trades teacher from Plauen brought back four machine embroidery patterns from a study trip to Eastern Switzerland in 1855, which are discussed and shown in this study. To operate the machines and train additional employees was recruited a master embroiderer from Switzerland, who moved to Plauen with his family in 1858. From 1860, these embroidery machines were copied and improved in Saxony. The oldest surviving photo of a hand embroidery machine from 1861 or 1862 in an invention patent for Austria is included in the article, as well as a look at other embroidery machine construction in Saxony in the 19th century. The appendix lists the hand embroidery machines still accessible to museums in four countries.
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Are We There Yet? Gay Representation in Contemporary Canadian DramaBerto, Tony 16 August 2013 (has links)
This study acknowledges that historical antipathies towards gay men have marginalised their theatrical representation in the past. However, over the last century a change has occurred in the social location of gay men in Canada (from being marginalised to being included). Given these changes, questions arise as to whether staged representations of gay men are still marginalised today. Given antipathies towards homosexuality and homophobia may contribute to the how theatres determine the riskiness of productions, my investigation sought a correlation between financial risk in theatrical production and the marginalisation of gay representations on stage. Furthermore, given that gay sex itself, and its representation on stage, have been theorised as loci of antipathies to gayness, I investigate the relationship between the visibility and overtness of gay sex in a given play and the production of that play’s proximity to the mainstream.
The study located four plays from across the spectrum of production conditions (from high to low financial risk) in BC. Analysis of these four plays shows general trends, not only in the plays’ constructions but also in the material conditions of their productions that indicate that gay representations become more overt, visible and sexually explicit when less financial risk was at stake. Various factors are identified – including the development of the script, the producing theatre, venue, and promotion of the production – that shape gay representation. The analysis reveals that historical theatrical practices, that have had the effect of marginalizing the representations of gays in the past, are still in place. These practices appear more prevalent the higher the financial risk of the production. / The author would like to sincerely thank Ann Wilson, Ric Knowles, Matthew Hayday, Alan Shepard, Sky Gilbert, Daniel MacIvor, Michael Lewis MacLennan, Conrad Alexandrowicz, Chris Grignard, Edward Roy, Brad Fraser, Cole J. Alvis, Jonathan Seinan, David Oiye, Clinton Walker, Sean Cummings, Darrin Hagin, and Chris Galatchian. / SSHRC, The Heather McCallum Scholarship, Lambda Prize for achievement in lesbian, gay, bisexual and trans-gendered studies.
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The lightscape of literary London, 1880-1950Ludtke, Laura Elizabeth January 2015 (has links)
From the first electric lights in London along Pall Mall, and in the Holborn Viaduct in 1878 to the nationalisation of National Grid in 1947, the narrative of the simple ascendency of a new technology over its outdated predecessor is essential to the way we have imagined electric light in London at the end of the nineteenth century. However, as this thesis will demonstrate, the interplay between gas and electric light - two co-existing and competing illuminary technologies - created a particular and peculiar landscape of light, a 'lightscape', setting London apart from its contemporaries throughout the late nineteenth and early twentieth centuries. Indeed, this narrative forms the basis of many assertions made in critical discussions of artificial illumination and technology in the late-twentieth century; however, this was not how electric light was understood at the time nor does it capture how electric light both captivated and eluded the imagination of contemporary Londoners. The influence of the electric light in the representations of London is certainly a literary question, as many of those writing during this period of electrification are particularly attentive to the city's rich and diverse lightscape. Though this has yet to be made explicit in existing scholarship, electric lights are the nexus of several important and ongoing discourses in the study of Victorian, Post-Victorian, Modernist, and twentieth-century literature. This thesis will address how the literary influence of the electric light and its relationship with its illuminary predecessors transcends the widespread electrification of London to engage with an imaginary London, providing not only a connection with our past experiences and conceptions of the city, modernity, and technology but also an understanding of what Frank Mort describes as the 'long cultural reach of the nineteenth century into the post-war period'.
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Johann Friedrich von Uffenbach. Sammler – Stifter – Wissenschaftler / Johann Friedrich von Uffenbach. Collector - Donor - ScientistMeyerhöfer, Dietrich 28 January 2020 (has links)
No description available.
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