Anything Like Us is a collection of poems with a critical introduction. In this introduction, I explore modern alternatives to Romantic and Neo-Romantic lyric expression. I conclude that a contemporary lyric that desires to be, in some fashion, about itself, must exhibit an acceptance of the mediating influences of time and language, while cultivating an inter-subjective point-of-view that does not insist too much on the authority of a single, coherent voice. The poems in Anything Like Us reflect, in both form and content, many of the conclusions advanced in the introduction. Nearly all the poems concern the desire for, and failure to find, meaningful connections in an uncertain world .

Contemporary Tibetan art has been internationally exhibited since the year 2000, and it continues to receive increasing recognition among international galleries and collectors. This thesis focuses on three major contributing factors that have affected the rising success of the contemporary Tibetan artists. The factors include ways in which popular stereotypes have influenced Western museum exhibitions of Tibetan art; dealers have marketed the artworks; and artists have created works that are both conceptually and aesthetically appealing to an international audience. Drawing from exhibition catalogs, interviews and art historical scholarship, this thesis looks at how the history of these factors has affected the beginning of the contemporary Tibetan art movement.

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This detailed report of an internship at the Contemporary Arts Center in New Orleans, includes an organizational profile, a description of the activities performed during the internship, and an analysis of an organizational management challenge, a proposed resolution to the management challenge, and a discussion of the short and long range effects of the internship on the organization. Image and branding techniques are important aspects of the analysis and the resolution of the management challenge.

During September through December 1989, I successfully completed an internship in the Performing Arts Department at the Contemporary Arts Center (CAC) in New Orleans, Louisiana. Ms. Elena Ronquillo, Director of Performing Arts at the CAC, acted as my on-site supervisor. She has held this position since August 1988 when the administrative structure of the CAC was reorganized. Previously, she has held the position of Coordinator of the Interdisciplinary/New Genres Department. The Performing Arts Department of the CAC incorporates Theatre, Music and Interdisciplinary Performance. My position as an intern in the Performing Arts Department included the following; 1) interim assistant to Ms. Ronquillo; 2) production coordinator for a major Interdisciplinary Performance, Rachel's Brain by Rachel Rosenthal; 3) pre-production coordinator for a major Theatre production, Brilliant Traces. This report discusses my experiences while I worked with the CAC administration, including specific challenges encountered while I performed assigned duties and tasks in the Performing Arts Department. Recommendations for improvement of specific problems I encountered are discussed. Finally, I discussed my contributions as an intern to the administrative and production aspects of the CAC's Performing Arts Department.

Thesis advisor: Daniel McKaughan / Thesis advisor: Liane Young / The first two-thirds of this project is an in-depth analysis of the contemporary Free Will debate as it revolves around the Libet et al, Soon et al, and Wegner et al (“Helper Hands”) experiments. The last section of the thesis illustrates in detail the following suggestions regarding the future of the Free Will debate: that there be a shift in the fundamental question of the debate, a shift in the analysis of famous neuroscientific experiments, and a shift in the formation of future experiments that test potential elements of free will. / Thesis (BA) — Boston College, 2016. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: Scholar of the College. / Discipline: Philosophy.

While a vast range of works have been written on European identity from historical, cultural, political, sociological, and economic points of view, I am attempting to turn the discourse around and investigate the complex notion of European identity that forms the basis of personal, collective and societal identities represented in literature and a European space imagined and depicted differently by various writers. My thesis explores the diverse interpretations of Europe by creating and investigating a literary dialogue between some works in Hungarian and British contemporary literature and so, in a generalized sense, in some aspects between the Eastern and Western peripheries of Europe. The literary interpretation of Europe and European identity is a neglected research area, just as is the literary dialogue between the Western and the Eastern parts of the European Union. Due to this lack of exemplary methodological routes, the thesis’s comparative nature and the fact that it deals with the cultural positions and literary capitals of two very unequal countries, the methodological background is provided by world literary approaches. Widening the time-scale from the most recent works to ones published in the 1990’s and some even before the fall of the Iron Curtain presented the opportunity for analysing the dynamic character of British and Hungarian perceptions and the changing focus on prevalent themes. Imre Kertész (1929-2016) was primarily concerned by the formulation and articulation of new ethical and philosophical values for Europe emerging on the ethical zero ground of the Holocaust and focused on a detached, theoretical observation of the individual. Brian Aldiss (1925-2017) was more interested in the active and often contradictory aspects of identity and the practical moral dilemmas after the Wars in twentieth-century Europe. Marina Lewycka’s (1946-) novels deal with the European aspects of migration concerning the different generations and the gender dimensions of the Europe concept. László Végel (1941-) writes about the utopia of Europe as a multi-ethnic unity and explores the minority identity in relation to the migrant existence. Tim Parks (1954-) approaches the issues of fate and destiny, and their relevance to European politics and personal choices, while also investigating the possibility of linguistic schizophrenia. Gábor Németh’s (1956-) novels investigate the symbolism inherent in European Jewish identity and cosmopolitanism and the current attitudes on populism and anti-immigration. The perspective and the focus from which the novels are analysed have been influenced by present events, and the political, social and cultural atmosphere of both countries and the EU. I have been trying to spot signs which might have forecast the disillusionment and hostility felt towards the European dream by the majority of both populations. The disappointment over the dissolving vision of a united Europe has emerged as an overall theme connecting the writers’ works; however, the pressing want of free-spirits, the Nietzschean Good Europeans, has also been persistent.

This thesis is structured around three key phases in the process of collaborative music-making - composition, preparation, and performance - examining the function of indeterminacy at each stage, and the way in which musical factors are determined. At what point in the creative process a musical decision is made, the path chosen, and critically, by whom the decision is taken, are all explored in the context of a portfolio of pieces performed and recorded as part of this practice-led research. The portfolio comprises recordings of projects undertaken with composers, as well as pre-existing repertoire, and the written commentary explores my creative role as a performer in relation to that of the composers and the other performers I have worked with. Practical issues faced in collaboration, practice, and performance are dealt with, as are questions of musicality, and the notion of success in musical performance.

L’introduction de la marginalité et de la contre-culture dans le roman contemporain révèle une certaine crise dans la conception même du statut de la littérature à la fin du XXe siècle et à l’aube du XXIe siècle. On proclame souvent la mort de la littérature et du roman, mais aussi la crise de la fiction, de la narration, du sujet. On remarque ainsi des interférences croissantes dans la littérature contemporaine entre les « mauvais genres » et les genres nobles, entre la Littérature et la « sous-littérature ». Cette idée de fin ne va-t-elle pas de pair également avec la croyance aiguë que le monde court à sa perte et que les fondements « modernes » sont morts également ? De nombreuses œuvres contemporaines explorent la violence extrême, le sadisme et la cruauté afin de montrer de façon désenchantée une humanité emplie d’animalité. Mais cette surenchère de violence et cette survalorisation de la marginalité ne sont-elles pas l’expression d’un désenchantement sans précédent ou a contrario d’une écriture résistante, qui use de son langage acide pour refuser ce nouvel état du monde et de l’art ? Cette écriture, qui enthousiasme la critique journalistique, renouvelle-t-elle profondément la littérature ? Est-elle véritablement novatrice et subversive ou n’est-elle qu’une sous-littérature qui exploite les expérimentations des auteurs modernes ? La critique savante semble partagée quant à sa fonction critique et quant à sa littérarité, mais la violence et l’inscription volontaire des auteurs dans le « Tiers-monde linguistique » montre que la littérature n’a plus les mêmes visées et la même place dans le champ littéraire. En effet, quelle est la fonction de la littérature dans un contexte de mondialisation et de médiacratie ? Ces œuvres ne reflètent-elles pas une évolution profonde du champ littéraire et une remise en question des critères esthétiques traditionnels ? / The introduction of marginality and of the counterculture in the contemporary novel reveals a literature crisis at the end of the twentieth century and at the beginning of the millennium. The death of literature is often claimed as the fiction, narrative or identity crisis. There are increasing interferences between the highbrow Literature and “bad-literature”. Is this idea of End on a par with the extreme belief in the End of the World of Western and in the Death of the modernist thesis? Many contemporary novels explore extreme violence, sadism and cruelty to expose, with disappointment, a brutal and animal humanity. But are not these violence excess and overdeveloped marginality the expression of a radical disappointment or a strong writing that use acid language to refuse this new face of the world and of art? This writing, that elate journalistic critic, does it really change literature? Is it really new and subversive or is it popular literature that follows up the modernists experiments? The highbrow critic seems sceptic concerning its literarity; but the inscription in the “linguistic third-world” reveals the changes of the aims of literature. In fact, what is the function of literature in globalisation and mediacraty? Don’t these novels reveal a deep evolution of literature and a critic of the traditional artistic criterions?

In 2005, Dennis Kam completed the Sonata Ibis which the ensemble Ibis Camerata premiered at the Festival Miami at the University of Miami that same year. The composition is the last of five versions of the same work, originally written for piano solo. The work was recorded by the Ibis Camerata, on their CD titled Glisten, and released in 2006 on the Albany Records music label. The composition presents an important addition to the existing repertoire for the ensemble of clarinet, violin, cello, and piano. Sonata Ibis is a single movement work not following traditional forms. The work reflects the composer's conscious aim of making works with different versions. One of the issues that this study takes up is the evolution of the Sonata Ibis through all five versions. Analysis of musical materials and techniques used in the Sonata are also a part of the study. One chapter of this paper deals with Dennis Kam's biography. One chapter discusses the formal structure and musical idiom of the work. Performance-related issues from the ensemble and a pianist perspective are discussed in the remaining two chapters.