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For more than fifty years, the Independent (indie) Music Scene has existed as an evolving business model, allowing indie artists to develop a wealth of progressive musical ideas while creating a sustainable audience base. American Musical Theatre has an already-established rich history of adapting styles to fit concurrent trends in popular music while maintaining the story as the core of a show. While some indie artists (The Lisps, The Mountain Goats, Stephin Merritt, and Stew) and some musical theatre composers (David Yazbek, Doug Crossley, and Michael Friedman) have created crossover works, there is currently an overall dearth of musical theatre pieces infused with the indie style and a lack of indie albums with an actable musical theatre storyline. The intent of this thesis is to prove that although American Musical Theatre and the Independent Music Scene are two vastly different art forms, they can be combined to create a viable and unique form that appeals to both audiences. The indie-rock monologue ...and then, Claire was composed, recorded, and performed to test the viability of this thesis. In addition to presenting research on the history of American Musical Theatre and the Independent Music Scene, an analysis of the already-successful artists mentioned above is presented to provide context for ...and then, Claire. This context along with the original indie-rock monologue proves successful combinations of American Musical Theatre and the Independent Music Scene as well as the potential for more attempts in the future.

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Narrative Bonds: Female Friendship, Affect, and Politics in Novels by 20th-century Francophone Women Writers examines the link between friendship and politics in novels by the Algerian writers Assia Djebar and Taos Amrouche, the Haitian writer Marie Chauvet, and the French writer Claire Etcherelli. In fiction, Francophone women writers develop their own definitions of female friendship, departing from the idealized notions in classical philosophy. I argue that the desire for dyadic friendship between women is an organizing force in women’s writing of the 1940s-1960s, although it may initially appear to be a minor concern. Historically not included in philosophical treatises on friendship, women are excluded from the category of “friends,” and must imagine a form of friendship that they can participate in before making and becoming friends. My dissertation analyzes the literary affect of negation, in which women must feel an absence or impossibility of friendship before they can then define female friendships on their own terms. I argue that female friendship is a form of relations that is new, troubling, and exciting for these women. In the works of my corpus, friendship is inextricable from political awakening and anti-colonial and anti-patriarchal resistance. As women’s political status changed in France, Haiti, and Algeria, women became more fully able to imagine themselves as both subjects and friends.

Cette recherche porte sur l'étude paléoécologique d'une tourbière à palses, située à l'intérieur des terres, au-delà de la limite marine de la mer de Tyrrell, sur la rive nord du lac à l'Eau-Claire (Wiyâshâkimî en langue crie). L'objectif principal est de retracer l'impact des changements climatiques sur l'évolution temporelle de cet écosystème. L'analyse de macrorestes végétaux extraits de la tourbe accumulée depuis la déglaciation nous a permis de reconstituer l'évolution des conditions trophiques de la tourbière depuis sa formation. L'accumulation de la matière organique a débuté vers 6290 ans BP (années étalonnées). Par la suite l'évolution de la tourbière a suivi trois étapes successives: une étape d'étang (de 6290 à 5790 ans étal. BP), une étape de tourbière minérotrophe (de 5790 à 4350 ans étal. BP) et une étape de tourbière ombrotrophe (à partir de 4350 ans étal. BP). L'installation du pergélisol menant à la formation de la palse est survenue vers 160 ans étal. BP. La dégradation des palses et la formation subséquente d'une mare de thermokarst auraient été engendrées par le réchauffement climatique qui a commencé au début du siècle. Ainsi, l'étude de l'évolution de la mare de thermokarst située en marge de la tourbière à palse indique la succession de trois phases distinctes, subaquatique, minérotrophe et ombrotrophe. La comparaison de nos résultats avec ceux portant sur les tourbières à palses situées près de la baie d'Hudson et de la baie de James suggère que la continentalité n'a pas influencé d'une façon significative l'évolution de la tourbière du Lac à l'Eau-Claire.

Adapting literature from a cultural context to another is the main theme of my master's thesis. The aim is to determine how publishing houses adapt a book from a different cultural context to their own, and if there are any specific marketing choices being made during the publishing process.The thesis highlights two authors, Sara Stridsberg from Sweden and Silke Scheuermann from Germany. Interviews have been made with the publishers, editors and translators of the translated novels. One of the main themes is to be able to showcase differences between the Swedish and the German publishing business and their particular cultural characteristics in working with translated novels. I have found that the brand of a publishing house is important when making publishing decisions. For larger publishing houses, the economical capital is of importance, and for smaller publishing houses the cultural capital tends to be of a higher value. The book market is becoming more defined by the economy of attention and economization of culture, which is showing in all different aspects of the business; publishing houses, newspapers and agents are all adapting towards a more economic focus.

Thesis (MA)--Stellenbosch University, 2013. / ENGLISH ABSTRACT: This thesis aims to make a contribution to the field of literature study in foreign language teaching. It investigates the practical implications of theories such as Michael Dobstadt‟s Didaktik der Literarizität and Claire Kramsch‟s symbolic competence. It specifically looks at how these approaches to literature can be implemented in the elementary levels (A1 and A2) of foreign language teaching. Furthermore, the range of possibilities that mobile phones offer for the foreign language learning environment are explored. Suggestions are proffered as to how the inclusion of mobile phones, as educational tools, can support the successful implementation of Dobstadt and Kramsch‟s theories in the foreign language classroom. On the basis of the theory, two sets of lesson plans are developed for high school beginner level German classes in South Africa; the lesson plans serve as examples of how the theories of Dobstadt and Kramsch can, on beginner level and in conjunction with the use of mobile phones, be implemented in practice. / AFRIKAANSE OPSOMMING: Hierdie tesis poog om ʼn bydrae te maak tot die literatuur van vreemdetaal-onderrig. Die praktiese implikasies van teorieë soos dié van Michael Dobstadt se Didaktik der Literarizität en Claire Kramsch se symbolic competence word ondersoek. Daar word spesifiek gekyk na hoe sulke benaderings tot literatuur op beginnervlak (A1 en A2) van vreemdetaal-onderrig geïmplementeer kan word. Verder word die trefwydte van moontlikhede wat selfone vir vreemdetaal-onderrig bied, ondersoek. Voorstelle word gemaak oor hoe die gebruik va n selfone, as opvoedkundige hulpmiddels, die implementering van Dobstadt en Kramsch se teorieë in die vreemdetaal-klaskamer kan ondersteun. Vanuit „n teoretiese uitgangspunt word twee stelle lesplanne vir Duitse klasse op hoërskool-beginnervlak in Suid-Afrika ontwikkel as voorbeelde van hoe die teorieë van Dobstadt en Kramsch, op beginnervlak en in samewerking met die gebruik van selfone, in die praktyk geïmplementeer kan word.

À ses débuts au XIXe siècle et jusque dans la première moitié du XXe, le roman social français a accordé une place de choix au travail. Si l’objet littéraire est relégué à l’arrière-plan après la Deuxième Guerre mondiale, il connaît un important regain dans les textes actuels, alors que ses référents empiriques ont considérablement changé. Il en résulte que les représentations contemporaines, pour notables que soient les différences formelles qui les démarquent des antécédentes, ont en commun avec elles d’être structurées par les mêmes thèmes fondamentaux : la mort est l’un d’eux, cependant qu’elle affecte désormais autant l’individu au travail que le travail lui-même. Cette thèse prend acte d’une telle continuité disruptive. La lecture des textes contemporains qu’elle propose est soucieuse de leur inscription à la fois dans l’histoire sociale, dans l’histoire des formes littéraires et dans un ensemble de représentations nouvelles. Elle cherche à décrire les mises en texte du travail en interaction avec un imaginaire social conjoncturel, ce qui indique qu’elle se situe sur le terrain de la sociocritique. Dans cette perspective sociocriticienne, elle mobilise divers outils critiques et théoriques des études littéraires, pour décortiquer l’organisation interne des textes, et engage un dialogue avec la sociologie du travail et la philosophie moderne, pour les interpréter. Son objectif est de comprendre ce que les textes disent du travail et de la société, mais aussi de montrer en quoi « représenter le travail » affecte les modalités de l’acte de « représenter » tout court. Les concepts mis en relation avec le travail pour évaluer sa trajectoire narrative sont d’abord dégagés par l’analyse des codes naturalistes et réalistes « classiques » (dans _Germinal_ d’Émile Zola, 1885, et _Élise ou la vraie vie_ de Claire Etcherelli, 1967). Ces concepts sont la mort, l’ensauvagement et le non-travail. L’étude porte ensuite sur les déplacements et les réagencements qu’ils subissent dans les textes récents. Une comparaison entre les modes principaux de traitement qu’ils appliquent au travail permet de mettre en valeur les traits définitoires de sa représentation actuelle et les particularités de ses variantes. La littérature de recherche, campée par l’œuvre de François Bon, est mise en rapport avec le témoignage (_L’établi_ de Robert Linhart, 1978) et le roman noir (_Lorraine Connection_ de Dominique Manotti, 2006), tandis qu’une discussion autour de la notion de roman d’entreprise (_Nous étions des êtres vivants_ de Nathalie Kuperman, 2010) introduit une distinction thématique au sein du corpus essentiellement industriel. Le parcours complet fait apparaître, par recoupements et par dissonances, les contours d’une catégorie esthétique à la fois plus englobante et légèrement décalée : le « roman sans projet » du travail contemporain. Ce roman accuse autant qu’il met en forme une idée de perte généralisée, dont l’aboutissement est la précarité grandissante – du travail et de l’expérience humaine qu’il génère – évoquée dans _Composants_ de Thierry Beinstingel (2002). / From its beginnings in the nineteenth century to the 1950s, the French social novel ("roman social") gave a prominent place to labour. After World War II, the topic is relegated to the background, but current texts show a significant revival, whilst the empirical referents of "work" have changed considerably. Though notably different in their form from the previous ones, contemporary representations of labour are structured according to the same basic themes. Death is one of them; however, it now affects the working individual as well as work itself. This dissertation acts upon such a disruptive continuity. Its reading of contemporary texts is aware of the role these texts play in both social and literary history as well as in the elaboration of new representations. Following the methods of sociocriticism ("sociocritique"), it seeks to describe the way work is thematised in interaction with a social imaginary ("imaginaire social"). In this perspective, the dissertation borrows various critical and theoretical tools from literary studies, to analyse the texts’ internal organisation, and engages a dialogue with the sociology of work and modern philosophy, in order to interpret them. Its goal is to understand what those texts say about work and about society, but also to show how "representing work" affects the act of "representing". The concepts used to assess the narrative trajectory of work are derived from the analysis of naturalistic and realistic codes (in Émile Zola’s _Germinal_, 1885, and Claire Etcherelli’s _Élise ou la vraie vie_, 1967). These concepts are death, "ensauvagement" and non-work. The study then focuses on how these concepts are rearranged in recent texts. A comparison between the modes of literary treatment they apply to work allows to define the features of current representations as well as to identify the specificity of variants. "Literature of research", embodied by the writings of François Bon, is examined in its relationship to testimony (_L’établi_ by Robert Linhart, 1978) and to the roman noir (_Lorraine Connection_ by Dominique Manotti, 2006). A discussion around the notion of "business novel" (_Nous étions des êtres vivants_ by Nathalie Kuperman, 2010) introduces a thematic distinction within the mainly industrial corpus. Through various subtractions and parallels, the dissertation reveals the outlines of a larger aesthetic category: the "novel without a project" of contemporary work. As much as it expresses an idea of widespread loss, this novel is shaped by that very loss, which culminates in the growing precariousness – of work and of the human experience it generates – described in _Composants_ by Thierry Beinstingel (2002).

No description available.

Lesbian Detective Fiction: the outsider within is a creative writing thesis in two parts: a draft lesbian detective novel, titled Fatal Development (75%) and an exegesis containing a critical appraisal of the sub-genre of lesbian detective fiction, and of my own writing process (25%). Creative work: Fatal Development -- It wasn’t the first time I’d seen a dead body, but it didn’t seem to get any easier. -- When Dirk and Stacey discover a body in the courtyard of their Brisbane woolstore apartment, it is close friend and neighbour, Kersten Heller, they turn to for support. The police assume Stuart’s death was an accident, but when it emerges that he was about to take legal action against the woolstore’s developers, Bovine, Kersten decides there must be more to it. Her own apartment has flooded twice in a month and the builders are still in and out repairing defects. She discovers Stuart was not alone on the roof when he fell to his death and the evidence he had collected for his case against Bovine has gone missing. Armed with this knowledge, and fed up with the developer’s ongoing resistance to addressing the building’s structural issues, Kersten organises a class action against Bovine. Kersten draws on her past training as a spy to investigate Stuart’s death, hiding her activities, and details of her past, from her partner, Toni. Her actions bring her under increasing threat as her apartment is defaced, searched and bugged, and she is involved in a car chase across New Farm. Forced to fall back on old skills, old habits and memories return to the surface. When Toni discovers that Kersten has broken her promise to leave the investigation to the police, she walks out. The neighbouring – and heritage-listed – Riverside Coal development site burns to the ground, and Kersten and Dirk uncover evidence of a network of corruption involving developers and local government officials. After she is kidnapped in broad daylight, narrowly escaping from the boot of a moving car, Kersten is confident she is right, but with Toni not returning her calls, and many of the other residents selling up, including Dirk and Stacey, Kersten begins to question her judgment. In a desperate attempt to turn things around, Kersten calls on an old Agency contact to help prove Bovine was involved in Stuart’s death, her kidnapping, and ongoing corruption. To get the evidence she needs, Kersten plays a dangerous game: letting Bovine know she has uncovered their illegal operations in order to draw them into revealing themselves on tape. Hiding alone in a hotel room, Kersten is finally forced to confront her past: When Mirin didn’t come home that night, I was ready to go out and find her myself, disappear, and start a new life together somewhere far away. Instead they pulled me in before I could finish making arrangements, questioned me for hours, turned everything around. It was golden child to problem child in the space of a day. This time, she’s determined, things will turn out differently. Exegesis: The exegesis traces the development of lesbian detective fiction, including its dual origins in detective and lesbian fiction, to compare the current state of the sub-genre with the early texts and to establish the dominant themes and tropes. I focus particularly on Australian examples of the sub-genre, examining in detail Claire McNab’s Denise Cleever series and Jan McKemmish’s A Gap in the Records, in order to position my own lesbian detective novel between these two works. In drafting Fatal Development, I have attempted to include some of the political content and complexity of McKemmish’s work, but with a plot-driven narrative. I examine the dominant tropes and conventions of the sub-genre, such as: lesbian politics; the nature of the crime; method of investigation; sex and romance; and setting. In the final section, I explain the ways in which I have worked within and against the subgenre’s conventions in drafting a contemporary lesbian detective novel: drawing on tradition and subverting reader expectations. Throughout the thesis, I explore in detail the tradition of the fictional lesbian detective as an outsider on the margins of society, disrupting notions of power and gender. While the lesbian detective’s outsider status grants her moral agency and the capacity to achieve justice and generate change, she is never fully accepted. The lesbian detective remains an outsider within. For the lesbian detective, working within a system that ultimately discriminates against her involves conflict and compromise, and a sense of double-play in being part of two worlds but belonging to neither. I explore how this double-consciousness can be applied to the lesbian writer in choosing whether to write for a mainstream or lesbian audience.