This thesis examines the connection between Dominican history, the influence of American material culture, and the mythic American Dream as catalysts for migration. The two U.S. occupations and American propaganda through media had a great effect on the deceptive perception of an American life as an effortless method for attaining wealth. Let it Rain Coffee by Angie Cruz, will focus on the character, Esperanza Colon, and her obsession with the lavish lifestyle she views on the television show, Dallas. Material objects, as argued by Daniel Miller in his book, Stuff, work in subtle yet significant ways and determine our function, identification, and experience in society. If the ideal purpose of material culture is to presuppose our roles as individuals, one can conclude that the novel showcases the issues of a subordinate class struggling to attain the material goods that represent economic wealth while maintaining a sense of self-identification and self-agency.

This thesis explores the relationship between differing interpretation of the California Dream and the narrative strategies through while [sic] they are expressed in three California labor novels during three different decades of California literature.

Orchestral excerpt books have become a staple in instrumental study for those pursuing a career in the orchestra. Many of these books, especially those for clarinet, are catered towards the popular and prolific clarinet solos found in principal clarinet parts. However, there is a lack of quality resources geared towards those pursuing second clarinet positions. Former materials might be outdated or are filled with inconsistencies or mistakes. The purpose of this document is to provide a resource and guide for select second clarinet orchestral excerpts. In this guide, certain aspects of playing second clarinet will be discussed as a whole and as it pertains to selected excerpts. The excerpts included in this document are: Bartók Concerto for Orchestra, Mendelssohn The Hebrides and Scherzo from A Midsummer Night's Dream, Ravel Daphis et Chloé and Rapsodie Espagnole, and Tchaikovsky Symphony No. 5.

The purpose of this study as been to contribute to the emerging interdisciplinary field of historical sleep studies, which spans the biological and social sciences, legal studies, and the humanities. As an interdisciplinary scholar based primarily in the humanities, my goals have been twofold: to develop a critical archive for the use of scholars in this emerging field; and to demonstrate how that archive might be used to productive effect in literary studies. To that end, this project begins with a critical introduction to the field of sleep studies and its relationship to eighteenth- and nineteenth-century thought and follows with two distinct but connected sections: the archive itself and a short series of literary case-studies drawn from across the eighteenth and nineteenth centuries. My hope is that these case studies will show how the materials in the archive allow literary scholars to produce new insights about familiar, canonical texts. <br>

MARTINA SUMICHRASTOVA 10.5.18 The Fading Face of the Chinese Dragon? The Dispute Over the Senkaku/Diaoyu Islands ABSTRACT Keywords: the Senkaku/Diaoyu Islands, China vs Japan, The face of nation, two level game theory, Chinese Dream The emergence of the global-economic crisis of 2008 helped the People's Republic of China to acquire the status of the world's second-largest economy. Not only did it open the doors for more significant opportunities for China in the sphere of commerce, but it allowed the People's Republic of China to be seen differently in the matters of military, diplomacy as well as on their level of domestic politics. This thesis aims to provide an insight into a smouldering territorial dispute over the Senkaku/ Diaoyu Islands concerning the deeply enrooted concept of the face. The concept of the face is essential mainly for Confucian societies as well as the East- Asian societies. However, slipping of the Chinese Dream, the People's Republic of China seems to be challenged in socio-political terms. Is the face of Chinese Dragon fading away? As it is well known, both sides involved in the conflict, China, and Japan have had a turbulent history of disputes and quarrels. What makes the Chinese Officials to get involved in the territorial dispute, to strengthen the face of Chinese Dragon? The...

Den surrealistiska thrillern I´m thinking of ending things av Charlie Kaufman hade premiär på Netflix hösten 2020. Långfilmens narrativ är en utspelad fantasi och innehåller flera inslag som framställs och kan betraktas som verklighetsfrånvända. Syftet med uppsatsen var att undersöka hur overkligheten framställs genom filmklippning och hur kamerapositionering används för att skapa ett fantasi-perspektiv. Klipp-metoder diskuterade av bland annat Bordwell och Thompson, Karen Pearlman och Walter Murch ligger till grund för en audiovisuell analys. Resultatet visar att några av valda sekvenser bryter mot konventionella klippmetoder för att generera konflikt i betraktarens förväntningar. Temporala förvrängningar används för att skapa illusion och fungerar även väl för att skildra fantasi/dröm. / I´m thinking of ending things by Charlie Kaufman premiered on Netflix in the fall of 2020. The featurefilm is a surrealistic thriller who´s narrative is played out like a fantasy containing several elements deviating from reality. The purpose of the essay was to investigate how unreality is portrayled trough the film editing and how camera work is used to create a fantasy perspective. Editing methods discussed by Bordwell and Thompson, Karen Pearlman and Walter Murch, among others, form the basis for an audiovisual analysis. The result shows that several of the selected sequences violate conventional editing to generate conflict of expectations. The use of temporal distortions works as a tool for illusion and to portray dream/fantasy.

The thesis deals with critical views of the post-war American society as found in three literary works: Arthur Miller's Death of a Salesman, J.D. Salinger's The Catcher in the Rye and Jack Kerouac's On the Road. The thesis's aim is to introduce briefly the post-war society and then, on basis of text analysis, to provide criticism expressed by each book mentioned above. Divided into four main parts, it describes the post-war situation in the United States (political, social and cultural) and thereafter it focuses on the books itself. It provides a short biographical summary of each author's life but it mainly targets the criticism the book contains. The post-war period was significant because of the change it brought. The society of the 1950s was characterized by many "booms" that contributed to its development. The main features of this period were consumerism and materialism; these were also the principal things subjected to criticism. The question the thesis wants to answer is whether this criticism was justified or not. This objective is realized in the conclusion. Based on all facts provided by the thesis, the answer is that the criticism was justified; however, it is not so easy and it is necessary to read the whole thesis to understand all reasons that led to this conclusion and to think over...

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À partir d’un corpus ouvert de photographes et de cinéastes coloristes qui ont une fascination pour le nocturne, cette thèse explore les différentes gradations et significations de celui-ci, des plus évidentes aux plus abstraites. La thèse s’attache alors à démontrer que le régime nocturne transforme l’obscurité en valeurs chromatiques et qu’il éclaire, avec une subtilité qu’occulte la vision diurne, les aspects les plus complexes de la société et de l’esprit humain. La confrontation des analyses de séquences filmiques et de photographies dans une perspective articulant esthétique, philosophie et histoire de l’art, a permis de construire la thèse autour de trois grandes notions, Distorsion, Sublimation, Transfiguration, qui fondent le nocturne comme catégorie esthétique de l’image.Le corpus principal organisé sur des critères externes (nocturne, couleur post-années 1960-70) et internes (processus esthétiques conjoints) est composé de séquences de films en couleurs de Stanley Kubrick (1928-1999), de David Lynch (1946), de Brian de Palma (1940), de Francis Ford Coppola (1939) et de séries photographiques de Gregory Crewdson (1962), Bill Henson (1955), Rut Blees Luxemburg (1967) et Daniel Boudinet (1945-1990).Le corpus secondaire est constitué de séries photographiques de Darren Almond (1971), Jean-Christian Bourcart (1960), Nicolas Dhervillers (1981), Laurent Hopp (1974), Chrystel Lebas (1966), d’extraits d’un court métrage d’Antoine Barraud (1973) et d’une série TV de Nic Pizzolatto (1975) et Justin Lin (1973), nécessaire pour finaliser la démonstration. / Based on a large corpus of colorist film directors and photographers who share a fascination for the nocturne, this thesis explores the different gradations and meanings of this one, from the more obvious to the more abstracts. The thesis endeavours to demonstrate how the nocturne reasserts the darkness values to turn them into colors, and how it illuminates, with a subtlety absent in diurnal vision, the more complex aspects of society as well as the human mind.The confrontation between picture and film sequences analysis, with a perspective articulating aesthetic, philosophy and art history, leads to three main concepts: Distortion, Sublimation and Transfiguration. Thereby it establishes the nocturne as an image’s aesthetic category in cinema and photography.The main corpus in cinema and photography, organised by externals criteria (nocturne, post-1960-1970 years color) and internals criteria (similar operating processes aesthetic), is established with the movie extracts of Stanley Kubrick (1928-1999), David Lynch (1946), Brian de Palma (1940), Francis Ford Coppola (1939) as well as the photographic series of Gregory Crewdson (1962), Bill Henson (1955), Rut Blees Luxemburg (1967) and Daniel Boudinet (1945-1990).The second is based on the photographic series of Darren Almond (1971), Jean-Christian Bourcart (1960), Nicolas Dhervillers (1981), Laurent Hopp (1974) and Chrystel Lebas (1966), as well as Antoine Barraud’s (1973) movie extracts. Finally, for the requirement of the demonstration, a Nic Pizzolatto (1975) and Justin Lin (1973) TV show.

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