The accidental, or maybe not so accidental, equation of the Long $ rm lbrack TE rbrack$ with the dragon is a minor, yet in many ways symbolic, incident in Western European reinvention of China. This reinvention can be found in a wide variety of discourses, the authors of which range from Enlightenment philosophes to nineteenth-century political economists, to the recent Derrida, and from the even earlier Sir John Mandeville, Oliver Goldsmith, to Coleridge, to W. S. Landor and De Quincey. It covers all aspects of Chinese culture, including philosophy, religion, government, language, poetry, and folklore. This dissertation argues that the divergent, even contradictory, accounts of China as a culture Other, on the one hand reflect divergent or conflicting domestic agenda and, on the other, converge as products of an inherent epistemological ethnocentrism. As such, they can offer no substantial alternatives to "Orientalism," which is an ideology that functions in a cross-cultural context. However, Edward Said's delineation of Orientalism has the weakness of vacillating between the incompatible notions of "truth" and of discourse. And Dennis Porter's corrective, based on the "generic heterogeneity" within the West's cultural tradition, has a theoretical problem of traversing contextual boundaries. To contribute to the on-going debate, this dissertation proposes a distinction between internal and external perspectives, on the criteria of material, objective, and standard, in the representation of a cultural identity. With each perspective conscious of its own specific values, a cross-cultural textual dialogue may be pursued.

Includes bibliographical references. / Papers presented at the 8th and 9th Conference on Medieval Studies sponsored by the Medieval Institute of Western Michigan University ... held May 2-5, 1976 respectively.

Abstract of thesis (Ph. D.)--University of Iowa, 1923. / Cover-title. Bibliography: p. 20-22.

Thesis (Ph. D.)--University of Texas at Austin, 2006. / Vita. Includes bibliographical references.

Includes bibliographical references. / This dissertation sets out to investigate the history of Yiddish theatre in South Africa. Yiddish theatre first emerged in Jassy in Rumania in 1876. However with Czarist persecution and the great Jewish migration from Eastern Europe, the 1880s it had spread to Western Europe, the Americas, and South Africa. This dissertation attempts to answer the question as to why of all Eastern Europe's diasporas, Yiddish theatre at no stage put down permanent roots in South Africa. It aims to prove that the survival of Yiddish theatre was entirely dependent on the survival of the Yiddish language. Thus the fate of Yiddish theatre in South Africa was influenced by the early timing of the formative immigration, between 1890 and 1914, the common origins of the immigrants in Lithuania and White Russia, and their educational and cultural poverty. These factors were reinforced by the exclusive adherence of the Anglo-German Jewish establishment and the vast majority of the immigrants, to Zionism and the Hebrew revival. Yiddish was unequivocally rejected, so that it never featured in the construction of South African Jewish identity. Finally the Quota Act of 1930, reinforced by the Alien's Act of 1937, put a total halt to Eastern European Jewish immigration, the lifeblood of Yiddish theatre.

This thesis examines staged performances of traditional music in Addis Ababa, the capital city of Ethiopia. It includes the history of traditional performing groups in Ethiopia and their purposes, the continuities and changes in performance practices from the early twentieth century to the present day, and audience perceptions of these performances. Particular attention is given to the relationships between traditional musics and Ethiopian nationalism. In response to the rise of ethno-nationalism in the latter part of the twentieth century, the new government regime that came to power in 1994 employed ethnicity as an organizing principle of the state. The new constitution divided the nation into ethnically-based regions, and the current government promulgates a distinct brand of national rhetoric that attempts to appeal to Ethiopia's diverse people groups and promote peaceful interethnic relations. Traditional music groups have played a role in this project. This thesis will examine how these groups reflect and shape ideas of the ideal Ethiopia and interact with state discourse. This research is based on fieldwork that I undertook from May 22 to July 1, 2015, during which I attended traditional music performances and interviewed musicians, administrators, and audience members. The opinions and sentiments of my interlocutors provide insights into some current perceptions of the government and ethnic allegiances as well as how traditional musics play a role in cultivating national pride and conceptualizing the Ethiopian nation. All audio recordings referred to in this document have been made by the author and are included as supplementary files. They are listed as follows: • Track 1 - Oromo Songs, Dimma: a medley of three Oromo songs from Shewa and Kamise regions, performed by the band at Dimma Cultural Restaurant. • Track 2 - Instrumental, Hager Fikir at Cultural Festival: an instrumental arrangement performed by the Hager Fikir Theatre cultural music team in Meskel Square, Addis Ababa. • Track 3 - Welayta and SNNPR Songs, YOD: a medley of songs from southern Ethiopian ethnic groups, performed by the band at YOD Abyssinia Cultural Restaurant. • Track 4 - Instrumental, Songs in Tizita Major K'inyit, YOD: a demonstration of tizita major, one of the indigenous Ethiopian scales, by the band at YOD Abyssinia Cultural Restaurant. • Track 5 - Instrumental, Songs in Anchihoye K'inyit, YOD: a demonstration of anchihoye, one of the indigenous Ethiopian scales, by the band at YOD Abyssinia Cultural Restaurant. • Track 6 - Instrumental, Songs in Ambassel K'inyit, YOD: a demonstration of ambassel, one of the indigenous Ethiopian scales, by the band at YOD Abyssinia Cultural Restaurant. • Track 7 - Instrumental, Songs in Bati K'inyit, YOD: a demonstration of bati, one of the indigenous Ethiopian scales, by the band at YOD Abyssinia Cultural Restaurant. • Track 8 - Instrumental, Songs in Tizita Minor K'inyit, YOD: a demonstration of tizita minor, one of the indigenous Ethiopian scales, by the band at YOD Abyssinia Cultural Restaurant. • Track 9 - Oromo Songs, Hager Fikir at Cultural Festival: songs from the Oromo ethnic group, performed by the Hager Fikir Theatre music team during a festival at Meskel Square, Addis Ababa. • Track 10 - Tigray Song by Alem, Dimma: songs from the Tigray region, performed by Alem Kassa on vocals and krar at Dimma Cultural Restaurant. • Track 11 - Gondar War Song, YOD: a war song from Gondar, Ethiopia, performed by YOD Abyssinia Cultural Restaurant's band and featuring Melaku Terraken. • Track 12 - Instrumental, Dimma: an opening instrumental medley by the band at Dimma Cultural Restaurant. • Track 13 - Tilahun Gessesse Medley, Dimma: a medley of two songs, the first admonishing Ethiopians to love one another and the second a love song, performed by the band at Dimma Cultural Restaurant. • Track 14 - Song Medley with Welayta, Tigray, and Other Ethnic Groups, Yared School: a medley of songs from several Ethiopian ethnic groups performed in concert by students at the Yared School of Music. • Track 15 - Nationalist Songs, Hager Fikir at Beverage Festival: a medley of Ethiopian patriotic songs, performed by the Hager Fikir Theatre group at Meskel Square, Addis Ababa, during the First Annual Beverage Festival. / A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music. / Spring Semester 2016. / April 7, 2016. / Ethiopia, ethnomusicology, music, musicology, nationalism, traditional / Includes bibliographical references. / Frank Gunderson, Professor Directing Thesis; Margaret Jackson, Committee Member; Jonathan Grant, Committee Member.

Thesis (Ph. D.)--Carleton University, 2005. / Includes bibliographical references (p. 431-448). Also available in electronic format on the Internet.

Thesis--Göttingen. / Lebenslauf. Bibliography, p. [v-]x.

In the 2003 excavation season at Cetamura del Chianti, a mortarium was unearthed which has undergone cleaning, restoration and residue analysis. A mortarium is a vessel used for grinding or mashing food items in conjunction with a grinding implement(pestle).This study will review the mortarium from several aspects: a review of the circumstances of its discovery, a study of the mortarium in Greek and Roman literature to help determine its possible use, a review of mortars in art, and a brief discussion of grinding tools. A discussion of the mortar and its circumstances will help to illuminate the use of this mortarium at Cetamura del Chianti. / A Thesis submitted to the Department of Classics in partial fulfillment of the requirements for the degree of Master of Art. / Fall Semester, 2007. / April 23, 2007. / Mortar, Mortarium, Etruscan, Ceramics, Cetamura, Pestle / Includes bibliographical references. / Nancy T. de Grummond, Professor Directing Thesis; Daniel J. Pullen, Committee Member; David Stone, Committee Member.

Epicurean philosophy is perhaps best known for its ethical system, which places an emphasis on the pursuit of pleasure and avoidance of pain, and for its removal of the gods from the physical world. While many approaches have been made to interpret Epicureanism through its ethics, I believe that the whole of the Epicurean system of philosophy can be comprehended by a thorough understanding of its epistemology. Using Lucretius' De Rerum Natura, I hope to show that Epicurean thought is based not on ethics but rather on the epistemological claim that the senses cannot be rebutted. In doing so, I will also resolve some of the inherent contradictions that arise from the Epicureans' empirical understanding of the world, such as how the senses can be deceived, and how the world can be comprised of imperceptible atoms. / A Thesis submitted to the Department of Classics in partial fulfillment of the requirements for the degree of Master of Arts. / Spring Semester, 2012. / March 26, 2012. / Epicurean, Epicurus, epistemology, ethics, Lucretius / Includes bibliographical references. / Svetla Slaveva-Griffin, Professor Directing Thesis; Timothy Stover, Committee Member; Nathanael Stein, Committee Member.