This thesis redefines the Sixth Generation of Chinese film by examining the characteristics of some young directors’ films from the perspective of theme, form and production mode, essentially, from the perspective of the relationship between these directors and their times. I suggest that the most important condition in the construction of the concept of the Sixth Generation and the Sixth Generation film is the ideological rebellion against the government after the events of 1989. I hold the opinion that the Sixth Generation has adopted a more commercial outlook after the end of the 1990s, and explore reasons of this change from the perspectives of economy, culture and individual existence.

xxii, 272 p. : ill. (some col.), maps (some col.) / Historic campgrounds on National Forest Service lands are a key location where the public experiences the intersection of natural and cultural resources. In the Pacific Northwest Region, the majority of historic Forest Service campgrounds date from the Civilian Conservation Corps/New Deal era of the 1930s; however, some existed previous to this period. Overall, these campgrounds were envisioned, designed, and evolved in an era of rapid technological change, when increasing industrialization, urbanization, and rural accessibility facilitated a cultural need for both preservation of and accessibility to natural resources. In order to understand how these campgrounds evolved over time, existing campground conditions were documented using a case-study approach, based on historic integrity, range of geographic accessibility, and historical data availability. In order to understand what changes have occurred over time, existing and historic conditions were compared. Based on the results, broad cultural landscape stewardship recommendations are made. / Committee in charge: Robert Z. Melnick, FASLA Chairperson; Donald Peting, Member

xv, 198 p. : music / Music has meaning. But what is the nature and source of meaning, what tools can we use to illuminate meaning in musical analysis, and how can we relate aspects of musical structure to our embodied experience? This dissertation provides some possible answers to these questions by examining the role that metaphors and models play in creating musical meaning. By applying Mark Johnson and Steve Larson's conceptual metaphors for musical motion, Larson's theory of musical forces, perspectives on musical gesture, and a wide variety of models in music analysis, I show how meaning is constructed in selected works by Bach and Schubert. My approach focuses on our experience of musical motion as a source of expressive meaning. The analysis of two gigue subjects by Bach shows how we create expressive meaning by mapping musical gestures onto physical gestures, and five detailed case studies from Schubert's Winterreise show how the same basic underlying pulse leads to different expressive meanings based on how that pulse maps onto walking motion. One thread that runs through this dissertation is that models play a significant role in creating meaning; this idea is central to my analysis of the prelude from Bach's fourth cello suite. Questions of meaning are not new to musical discourse; however, claims about meaning often lurk below the surface in many musical analyses. I aim to make the discussion of meaning explicit by laying bare the mechanisms by which meaning is enacted when we engage with music. The view of musical meaning adopted in this study is based on several complementary ideas about meaning in general: meaning is something our minds create, meaning is not fixed, meaning is synonymous with understanding, and meaning emerges from our embodied experience. Other scholars who address musical meaning (for example, Hatten and Larson) typically adopt a singular approach. Although I do not create a new theory of meaning, I employ numerous converging viewpoints. By using a multi-faceted approach, we are able to choose the best available tools to discuss aspects of our musical experience and relate the expressive meaning of that experience to details of musical structure. / Committee in charge: Stephen Rodgers, Chairperson; Jack Boss, Member; Lori Kruckenberg, Member; Steven Larson, Member; Mark Johnson, Outside Member

xxv, 492 p. ： music / This study applies Schenkerian theory to Chet Baker's jazz improvisations in order to uncover the melodic, harmonic, and contrapuntal hallmarks of his style. Analyses of short excerpts taken from multiple recorded improvisations reveal Baker's improvisational vocabulary, which includes recurring underlying structures that Baker embellishes in a wide variety of ways and places in a wide variety of harmonic contexts. These analyses also explore other traits (rhythmic, timbral, etc.) that appear in Baker's improvisations throughout his career. The dissertation culminates in three illustrative analyses that demonstrate the ways in which Baker constructs single, unified improvisations by masterfully controlling the long-range voice-leading tendencies of his improvised lines. As he weaves his vocabulary into these lines, he creates improvisations that unfold in a way that is logical, satisfying in the fulfillment of expectations, and motivically cohesive on multiple levels of structure. / Committee in charge: Steve Larson， Co-Chair； Jack Boss， Co-Chair； Stephen Rodgers， Member Anne Dhu McLucas Member； George Rowe， Outside Member； Timothy Clarke， External Contributing Member

viii, 59 p. : col. ill. / In 1599, in commemoration of the remarkable discovery of the incorrupt remains of the early Christian martyr St. Cecilia, Cardinal Paolo Emilio Sfondrato commissioned Stefano Maderno to create a memorial sculpture which dramatically departed from earlier and contemporary monuments. While previous scholars have considered the influence of the historical setting on the conception of Maderno's Santa Cecilia , none have studied how this historical moment affected the beholder of the work. In 1600, the Church's Holy Year of Jubilee drew hundreds of thousands of pilgrims to Rome to take part in Church rites and rituals. This thesis employs anthropological theories of performance as a means of analyzing how this context influenced the interaction of Jubilee pilgrims with Maderno's Santa Cecilia. The work's innovative form and the context of the Jubilee composed a dynamic relationship between sculpture and viewer and resulted in a profound intercessory experience. / Committee in charge: Dr. James Harper， Chairperson； Dr. Nicola Camerlenghi， Member； Dr. Jessica Maier， Member

abstract: Several contemporary clarinet works use Chinese folk music elements from different regions in new compositions to entice listener's and performer's appreciation of Chinese culture. However, to date, limited academic research on this topic exists. This research paper introduces six contemporary clarinet works by six Chinese composers: Qigang Chen's Morning Song, Yan Wang's Mu ma zhi ge (The Song of Grazing Horses), An-lun Huang's Capriccio for Clarinet and Strings Op. 41, Bijing Hu's The Sound of Pamir Clarinet Concerto, Mei-Mi Lan's Concerto for Clarinet and String Orchestra with Harp and Percussion, and Yu-Hui Chang's Three Fantasias for Solo Clarinet in B-flat. They are examined from different perspectives, including general structure, style, and rejuvenated folk music use. The focus of this research paper is to investigate the use of Chinese folk music in several works in collaboration with the composers. The author found that although contemporary composers use Chinese folk music differently in their works (i.e., some use melodies, others use harmony, while others use modes), each work celebrates the music and culture of the folk music on which the pieces are based. It is the author's hope to stimulate people's interest in music using Chinese folk music elements, and bring these lesser known works into the common clarinet repertoire. / Dissertation/Thesis / Morning Song / Mu ma zhi ge (The Song of Grazing Horses) / Capriccio for Clarinet and Strings Op. 41 / The Sound of Pamir Clarinet Concerto movement I / The Sound of Pamir Clarinet Concerto movement II / The Sound of Pamir Clarinet Concerto movement III / Concerto for Clarinet and String Orchestra movement I / Concerto for Clarinet and String Orchestra movement II / Three Fantasias for Solo Clarinet in B-flat movement I / Three Fantasias for Solo Clarinet in B-flat movement II / Three Fantasias for Solo Clarinet in B-flat movement III / D.M.A. Music 2013

For the past three centuries, historians have speculated and argued over the dating, patronage and provenance of the Bayeux Tapestry. Researchers have pondered the Latin inscriptions; reflected on the techniques of production and the use of narrative devices; mined the Tapestry for information on a number of subjects, including architectural styles, costumes, modes of navigation, nascent heraldry, and weaponry; and focused on areas of special interest, especially on scenes such as the so-called "Aelfgyva episode." Additionally, the Tapestry has been described as an epic and/or a panegyric; it has even been compared to a chanson de geste, a Shakespearian play, a film, and a cartoon; it has been "deconstructed," and finally turned into a "hypertext" accessible via the internet. Yet, in spite of many promises, the borders of the Bayeux Tapestry remain largely unexplored to date. This apparent neglect may be due to the difficulty one encounters when attempting to retrieve the symbolism and the meanings of the pictographs, which, even at the time of production, may have been multiple and may have depended on the cultural level, social awareness and political leanings of the beholders. The purpose of this dissertation is to acquaint the reader with a novel approach to the reading of the Bayeux Tapestry, based on the premise that the border pictographs are charged with symbolic meaning; that their meaning(s) inflect(s), reflect(s) and even alter(s) the images in the center field; and that this synergic interplay helps in the discovery, and stimulates the generation of a new understanding and integrated interpretation of the Bayeux Tapestry. For my research to be comprehensive and in order to uncover and decode some of the latent symbolic meanings, it was fundamental to take into account the social, cultural and political history of eleventh-century Northwestern Europe, and to acquire an appreciable knowledge of the lives of the important individuals illustrated in the Bayeux Tapestry. It was also necessary to be aware that, since the shaping of minds and the rewriting of history was already practiced in the eleventh century, the possibility existed that the Bayeux Tapestry was more than objective history recorded on cloth, but was someone's -- perhaps the patron's -- interpretation of historical events. Thus, this dissertation takes the reader on a journey inside and outside the frame to achieve an integrated reading of the Bayeux Tapestry and its borders.

Although well-respected as a pianist, teacher, and theorist, Ferruccio Busoni is overlooked as a composer. His works are viewed as being old-fashioned and conservative, especially in light of his avant-garde ideas. However, his ideas and music, especially his operas, reflect early twentieth-century Modernist aesthetics. This thesis examines Busoni's objective approach, eclecticism, and anti-realist stance in his opera Turandot. Busoni's libretto and his use of the commedia dell'arte and exoticism encourage critical, active participation from the audience. The conscious theatricality in Turandot is remarkably similar to Bertolt Brecht's very Modernist idea of the Verfremdungseffekt. The parallels between Busoni and Brecht demonstrate that Busoni's Turandot mirrors contemporary interests, and even anticipates future developments.

Using the focus group methodology, this thesis investigated Instagram’s impact on Knapp’s (1978) relational model, which conceptualized romantic relationships as occurring in stages. In particular, the purpose of this thesis was to gain insight on the ways that young adults (18–25) utilized Instagram’s affordances during the stages of romantic relationships. The focus groups elicited eight themes that provided insights on the motivations and behaviors of individuals who use Instagram’s affordances during romantic relationship processes. These themes included: 1) information seeking, 2) reciprocal idiosyncratic “Like,” 3) unequivocal comment, 4) significant first picture, 5) expected profile engagement, 6) reciprocal photo sharing, 7) jealousy provoking behaviors, and 8) supplemental termination behavior. The first four themes showed that Instagram’s affordances play a large role in the coming together stages of romantic relationships. The next two themes indicated that Instagram’s affordances play a large role in relationship maintenance. Finally, the last two themes indicated that Instagram’s affordances play a moderate role in the coming apart stages of relationships. The uses and gratifications theory was used to explain the findings.

This study investigated self-regulated learning in online learning environments and how well students adapt learning strategies from face-to-face courses to online courses. This study examined student perceptions of self-regulated learning skills, instructor immediacy behaviors and curricular design in online learning environments. Data was collected from three focus groups of college students from a mid-sized private university in California who had completed online college courses. The results indicated that students sought to manage their learning in online courses through intrinsic, interpersonal and/or regulated motivational strategies. Students also provided useful suggestions for instructors to enhance immediacy behaviors when teaching through online platforms. In addition, the students emphasized models and feedback as effective instructional strategies for online courses.