No description available.

Le but de ce document est d’offrir une analyse détaillée de trois fugues et d’une pièce pour orchestre de chambre, pièces composées entre 2013 et 2014 et qui constituent le sommet d’une démarche compositionnelle visant la gradation de difficulté d’écriture et d’exécution. Leur analyse comprend : une explication détaillée de leur position dans l’album, une explication du ou des concepts qui les sous-tendent en plus d’une analyse des différentes sections de toutes les pièces. / The purpose of this document is to offer a detailed analysis of three fugues and a piece for orchestra, all of which were composed between 2013 and 2014, and who constitutes the summit of a compositionnal approach that was based on a gradation of difficulty in performance and writing. This analysis includes : A detailed explanation of the place these pieces occupy among the album, an explanation of the concept or concepts that underlayed these compositions and a detailed analyses of every section of every composition. / The purpose of this document is to offer a detailed analysis of three fugues and a piece for orchestra, all of which were composed between 2013 and 2014, and who constitutes the summit of a compositionnal approach that was based on a gradation of difficulty in performance and writing. This analysis includes : A detailed explanation of the place these pieces occupy among the album, an explanation of the concept or concepts that underlayed these compositions and a detailed analyses of every section of every composition.

No description available.

The thesis consists of five chapters. Chapter One is the discussion of background, including the development of keyboard music after 17th century in France, and famous composers with their styles of creation. Chapter Two focuses on César Franck¡¦s developmental track of music and his creation of masterpieces. Chapter Three depends on compositional style, dividing into two periods to discuss Franck¡¦s piano music. Chapter Four mainly introduces Franck¡¦s unique creative technique of piano music, featuring the traditional influence from polyphonic and contrapuntal music in Baroque era, cyclic form, phrasing structure and harmonic language. Chapter Five separately discusses formal structure and characteristic features in Prélude, Chorale et Fugue and Prélude, Aria et Final. Finally, we make a conclusion for the whole research. In 19th century, Franck was one of the most important piano composers in France. Prélude, Chorale et Fugue and Prélude, Aria et Final were his most important works, sufficiently presenting Franck¡¦s distinguished compositional style. They opened not only a new field for his composite of piano music, but also brought deep influence on many following composers.

As a postmodern director, David Lynch makes films which are innovative, evocative, and uniquely his own. The theme of twinning, in particular, is recapitulated throughout the director's oeuvre; however, it is with Lost Highway that the thematic element he addresses takes center stage. The film's main character Fred Madison (Bill Pullman) is unable to cope with the trauma in his life. After killing his wife and finding himself on death row, he has a parallel identity crisis; he manages a metamorphosis into a younger, virile Pete Dayton (Balthazar Getty). The method which allows this transformation is the psychogenic fugue: a fantasy which creates an alternate reality caused by the subject's refusal to see objective truth(s). As the plot progresses, there are several more characters who develop alter egos. These other important twinnings include Fred's wife Renee/Alice (Patricia Arquette), Mr. Eddy/Dick Laurant (Robert Loggia), and the Mystery Man played by Robert Blake. Of all the doppelgangers, the Mystery Man is vital to the unraveling of the story; he is an abstraction and can exist in several places at one time. He is a symbolic function of the superego which allows Fred to carry out the mission. Lynch also uses the Moebius Strip as another tool to interweave reality and fantasy into the plot. The story can have a litany of meanings because of the twist in the strip. It allows overlap in the space/time continuum. The use of this concept is invaluable in applying certain types of analysis to the film. Among others, Jacques Lacan , Sigmund Freud, and Slavoj Zizek are central to defining the film. Lynch shows the audience that fantasy cannot subvert reality. It is only a temporary fix. Fred Madison's twinning is unsuccessful in the end. He is forced to continue riding his own lost highway until another new reality is created.

Not available / text

Not available / text

Not available

Philosophiae Doctor - PhD / In this thesis, I will argue that one of the ways to think about the concept of homelessness and its relationship to violence is to trace the concept as it emerges in key theoretical texts of critical intellectuals who find themselves both in and outside the Western homeland. In attempting to do so, I limit this thesis to three key theoretical articulations from which the concept of homelessness can be extracted: the works of Sigmund Freud, Franz Fanon and Michael Foucault. In bringing to bear the life and work of these individuals, the hope is to conceive of the relationship between violence and homelessness in new and unforeseen ways. I propose to bring an informed interdisciplinary and gender perspective to bear on the concept of homelessness. Accepting the supposition that the body can be seen as a site of homecoming,I explore the question of who owns the body. This exploration is undertaken through an examination of the advocacy slogan, ‘my body, my business’, and the placement of the Afrikan sex worker alongside Freud, Fanon and Foucault. The Afrikan sex worker in this work is a new feminist potentiality in much the same way that homelessness offers new postcolonial possibilities. While much of postcolonial criticism has centred on the problem of the colonized subject’s relation to the home, there has not yet been a sustained undertaking of the history and meaning of the concept of homelessness and, more importantly, its relationship to the experience of violence in the contemporary world. The history of homeless people tends to be recorded through surveillance and documentation by those institutions responsible for providing discipline, punishment, shelter and cure so as to ‘save’ and ‘rescue’ them. These responses, particularly when done systematically, can become frameworks that hold the homeless person ransom to a particular language game of ‘truth’, thereby restricting the homeless person’s movement and possibility of finding a voice. Deriving a concept of homelessness from the life and work of Freud, Fanon and Foucault allows for new insights. These thinkers offer a view of homelessness that is productive for thinking against the grain of dominant orthodoxies. This contrasts with the implication of pathologization of homelessness which arises in the frameworks of dominant political,therapeutic and social work approaches.The creation of homelessness also recalls the attendant violence of its experience. I argue that the space of homelessness needs to be contextualized. When homelessness is imposed, as with torture or a tsunami, there is a closing down of space; but when chosen, as with the transgendered sex worker who leaves her home and community due to threats, impositions and judgements, homelessness may paradoxically open up space. Drawing on the insights from these theorists, I also suggest that the concept of homelessness may at a symbolic level serve rather as a powerful space of resistance to hegemonic practices of belonging, offering a way of destabilising dominant patriarchal, heteronormative and Western constructions of home.The thesis concludes that homelessness cannot be kept outside the boundaries of the home; and neither can the homeless be fully assimilated into the homeland, as something within the home is irreducible to any ordering of things. The border, boundary and intersections of home and homelessness are blurred, forever incomplete, as the home finds itself ceaselessly stained and crossed with the uncanny, that is, the ‘unhomely’. Home, as noted by Delia Vekony (2010), is a site of hospitality. It is a space to think, play, and dream, eat, make love and raise children. But it is also a stage upon which the state apparatus, global economy, monotheistic religions and patriarchal order assert control over the body. Homelessness has been constructed as a material experience for many: a site of terror, abandonment and lack of direction. It is often experience it as free falling or as the mental foreclosure of space. Yet I underline another dimension of homelessness: as an experience of liberation. This ‘camping on the borders’ allows for a disruption of identification, a state of refuge from the demands of others and a form of nomadic thinking. Within any home setting lurks the uncanny, what cannot be housed, likewise within any homeless setting a becoming-at-home is possible. Both home and homelessness hold the possibility of terror as well as a comforting, exciting retreat and escape.

No description available.