Texte remanié de: Dissertation--Leipzig--Universität, 2003. / Bibliogr. p. 112-115.

Thesis (Ph.D.)--Boston University / How Emy Lyon became Emma Hamilton (1765-1815) through the creation, display, and circulation of painted portraits, portrait prints, letters, and architectural imagery is the focus of this dissertation. In it, I make four main claims. First, Emma's introduction to the rituals and rewards of genteel female behavior began in George Romney's studio, and sitting for portraits was an educational process that continued throughout her life. Second, Emma's education continued during her residency in Naples under the care and direction of Sir William Hamilton, and the imagery from this period participates in Emma's transformation from Sir William's mistress to his wife. Portraits and letters after the 1791 marriage advertised traits that Sir William's social circle would find desirable and helped to justify her elevated position. Third, Emma's relationships with powerful women were as essential to her self-fashioning as her relationships with men. Elisabeth Vigée-Lebrun, Angelica Kauffman, and Queen Maria Carolina of Naples served as important role models for Emma, and opportunities for fame and power resulted from her association with them. Finally, upon her return to England in 1800, Emma sought to manipulate the architecture, decoration, and visual representations of Nelson's country home to showcase her virtuous conduct. Throughout the dissertation, I aim to suggest that Emma contributed to the fashioning of her identity and show the ways in which her involvement increased during her lifetime. The other people who contributed to such fashioning of her identity--from artists to lovers to royalty--necessarily play a part in this study. How Emma adapted and responded to the situations that others created is central to my analysis and understanding of self-fashioning. The dissertation ultimately proposes that becoming Emma Hamilton was a complex, life-long process with both constructive and destructive consequences.

Thesis (Ph. D.)--Catholic University of America, 1939. / Includes bibliographical references (p. 151-157).

Thesis (Ph. D.)--Catholic University of America, 1939. / Includes bibliographical references (p. 151-157).

Thesis (M.S.) -- Brigham Young University. Dept. of Religion, 1952. / Electronic thesis. Also available in print ed.

Thesis (M.S.) -- Brigham Young University. Dept. of Religion, 1952.

I en närläsning av Gustave Flauberts Madame Bovary fokuserar denna studie på huvudkaraktären, Emma Bovary, och hennes brytningar från de förväntningar som finns på henne som kvinna, hustru och moder. Förväntningar som bestämmer hur hon bör vara och agera. Emma jämförs dessutom med romanens andra kvinnor då även de analyseras. Studien utförs med stöd i feministiska teorier men även ett socialhistoriskt perspektiv används. Det resultat som går att finna består av Emmas ovilja till anpassning i sina kvinnliga roller. Hon vägrar vara enbart kvinnlig, sätter sig själv i första hand, frånsäger sig ansvaret för hem och hushåll och stöter bort sin dotter. Emma varken kan eller vill vara den kvinna som det förväntas av henne, istället vill hon vara den hon drömmer om och det i en annan verklighet än sin egen.

Chapter I. Emma Lou Diemer, currently Professor of Composition at the University of California at Santa Barbara, is an excellent representative of the mainstream of twentieth- century American music. Born in 1927 in Kansas City, Missouri, she began composing at an early age, motivated by her improvisations at the piano. She received a Bachelor of Music and a Master of Music from Yale and a Doctor of Philosophy from Eastman, all in composition.Diemer's career has encompassed teaching in the public schools and at the university level, working as a church organist, and performing publically on all of her keyboard instruments. Her compositional output reflects this diversity. In 1959, she was the only woman in the first group of young composers to be awarded Ford Foundation Grants, for which she was assigned to the secondary schools of Arlington, Virginia. During this time, the simpler works for the bands and choirs resulted in requests from publishers and commissions from many sources, for choral works in particular. These have since become her largest category of compositions. However, she has also written some twenty-six chamber and solo works for piano. This body of music, which reflects both her many influences and her unique style, constitutes an outstanding contributionto her art.Chapter II. Her earliest works reflected her stated models, Rachmaninoff, Debussy, and Gershwin, in their programmatic titles, energetic rhythms, and full keyboard sound. In them one can see her affection for low sustained resonant tones and for Prokofiev-like brilliant high register sounds. She frequently used chord structures in thirds, but employed a deliberately atonal harmonic framework.Chapter III. At Yale, she fell under the neoclassic influence of Hindemith. Her forms tightened and her harmonic language centered on tonics and key schemes resembling traditional modes. Features seen in the early works became pervasive: motivic melodic construction, ametric and syncopated rhythms in a strongly metric context, ostinatos in all registers, imitative textures, structured fugues, and a Bartokian control of harmony by intervals, particularly the fourth and fifth.Chapter IV. With the solo piano works, she melded the neoclassic structured language with her earlier romantic style. Ideas once again flowed directly from improvisations, while she also wrote her first large twelve-tone work.Chapter V. In the 1970's, she combined the sonorities of the electronic world with intrinsically pianistic techniques, including the new sounds of the avant-garde. Rhythm returned as pulsing beats, contrasted with free and aleatoric sections. Neoclassic motivic development generated dramatic forms.Chapter VI. Diemer integrates many techniques, new and old, into a highly successful and personal style, one which places ultimate value on expression and communication. Retaining a strong tie to the past, she is a cautious explorer, rarely breaking new ground, but eventually encompassing even the most advanced trends into wonderfully effective works.

Thesis (M.S.)--Wisconsin State University (La Crosse), 1970. / Includes bibliographical references (leaves [69]-77).

Thesis (M.A.)--University of Missouri-Columbia, 2008. / The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on September 19, 2008) Includes bibliographical references.