The three recitals consisted of performances of original eighteenth, nineteenth and twentieth century solo works for trombone with the exception of Lyric Suite for Euphonium and Piano by Donald White, Divertimento for Trumpet, Trombone and Piano by Boris Blacher, and Dialogue and Dance for Trombone and Tuba by Newel Kay Brown. The premiere performance of Straight As An Arrow for B-flat-F Trombone and Prepared Tape by Ronn Cox and Dean Crocker was also included. After presenting a brief biography and discussing Gordon Jacob's (1895-1984) stylistic influences, the lecture continues with a Tonal, Motivic and Formal analysis of his three works for solo tenor trombone: Concerto for Trombone and Orchestra, Concertino for Trombone and Wind Orchestra, and the Trombone Sonata. Tonality, modality, polymodality and free association of pitches are elements that are present at one time or another in these compositions. Jacob's inclination for using the folk song style is evident in his writing, especially in the slow movements. Introductions, transition areas, and secondary themes, with tonally ambiguous harmonies and instrumental concepts of melodies, create a tension that is released by the return to tonality in the areas that follow. Treatment of rhythmic and melodic motives helps produce the special quality found in Gordon Jacob's compositions. Over half the themes in the works being investigated are built around motivic development. Neoclassicism results from the use of forms rooted in earlier centuries, but the choice of key centers gives these forms a new life. Jacob's composition of absolute music, as well as his use of the older compositional techniques of parallel harmonies and slow introductions, reflect neoclassical practices. The performance of Jacob's pieces is facilitated by his use of musical materials idiomatic to the instrument.

On July 8th, 1980, Raymond Carver wrote an impassioned letter to his editor, Gordon Lish, begging him to cancel the publication of what would soon become Carver’s minimalist masterpiece, What We Talk About When We Talk About Love. Carver argues in his letter that Lish’s heavily-edited versions of his original stories were bound to cause Carver's death. Despite his anxieties, Carver’s authorial demise didn’t come until 2009, 21 years following his physical death, when the unedited versions of the What We Talk About stories appeared in a posthumous collection called Beginners. Beginners excises Lish’s excisions, exposing a Raymond Carver at odds with his minimalist identity. The “restored” text also displaces Carver as the sole author of his work. We learn from Carver’s effacement that any cultural construction of an author is an erroneous effigy. Beginners exemplifies how textual restorations deflate cultural myths as they work with original texts to enrich our understanding

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal.

[pt] Lembretes desmoralizantes (demoralizing reminders) é uma expressão criada pelo artista para designar grandes áreas habitacionais abandonadas como uma crítica explícita ao discurso arquitetônico e uma denúncia à fragilidade do sistema de produção do espaço capitalista. É também o título deste trabalho que propõe uma leitura dos buildings cuts realizados pelo artista Gordon Matta-Clark (1943-1978) no período compreendido entre 1974-1978, ancorado em seus escritos, cartas, declarações, artcards, entrevistas, fotografias e filmes, desenvolvendo um percurso de leitura que mapeia as constelações de sua pulsão crítica cujo modo de operar baseia-se em uma visão de tempo cíclico, de separação, preparação, consumo e novas semeaduras. A espetacularização produzida pela crítica tratando seus building cuts como produtos, objetos acabados ainda que efêmeros, enquanto uma nova linguagem desenvolvida pelo artista obscureceu a especificidade tratada em cada um deles, as relações com a documentação, com a performance, com o contexto. A tese Lembretes desmoralizantes procura analisa-los à luz do discurso do artista mostrando que há um deslocamento permanente entre ideia, escrita e gesto em um processo de desdobramentos contínuo onde a ação de desfazer promovia uma necessidade permanente de questionar o estado das coisas, nos lembrando da necessidade de colocar tudo em movimento exatamente quando nos sentimos confortáveis. / [en] Demoralizing reminders is an expression created by the artist to designate great abandoned housing areas as an explicit criticism to the architectural discourse and a denouncement of the fragility of the production system of the capitalist space. It is also the title of this work, which proposes a perusal of the buildings cuts made by the artist Gordon Matta-Clark (1943-1978) in the period between 1974 and 1978, based on his writings, letters, declarations, artcards, in his interview, in photographs and films developing a trajectory of perusal that maps the constellations of his critical pulsation, whose way of operating is based in a vision of time as cyclical, of separation, preparation, consumption and new sowings. The spectacularization produced by the critics treating his building cuts as products, objects that were finished, albeit ephemeral, while a new language developed by the artist obscured the specificity treated in each of them, the relationships with the documentation, the performance, the context. The thesis Demoralizing reminders aims to analyze them through the discourse of the artist showing that there is a permanent displacement between idea, writing and gesture in a process of continuous unfolding where the action of undoing promoted a permanent need to question the state of things, reminding us of the need to put everything in motion precisely when we feel comfortable.

Mak Ka Wai Charles. / Thesis submitted in: October 2001. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2002. / Includes bibliographical references (leaves 89-91). / Text in English; abstracts in English and Chinese. / Mak Ka Wai Charles. / Chapter 1 --- Introduction --- p.1 / Chapter 1.1 --- Overview of the Mathematical Framework --- p.2 / Chapter 1.2 --- System of Interest --- p.7 / Chapter 1.2.1 --- Klein-Gordon equation --- p.7 / Chapter 1.2.2 --- QNM boundary conditions --- p.12 / Chapter 1.3 --- Outline of This Thesis --- p.14 / Chapter 2 --- Green's Function --- p.15 / Chapter 2.1 --- "Formal Expression for G(x,y，w)" --- p.16 / Chapter 2.2 --- "Leaver's Series Solution: An Analytic Expression for g(r, w)" --- p.17 / Chapter 2.3 --- Location of the Cut --- p.22 / Chapter 2.4 --- "Jaffe's Series Solution: An Analytic Expression for f(r,w)" --- p.23 / Chapter 2.5 --- QNMs and Their Locations --- p.26 / Chapter 2.5.1 --- Alternative definitions of QNM --- p.26 / Chapter 2.5.2 --- Methods of searching for QNMs --- p.28 / Chapter 2.5.3 --- Locations of QNMs --- p.29 / Chapter 2.6 --- Green's Function and Eigenspectra --- p.30 / Chapter 3 --- Normalization Function: Analytical Treatment --- p.34 / Chapter 3.1 --- Definition and Properties --- p.34 / Chapter 3.2 --- Analytic Approximations for --- p.36 / Chapter 3.3 --- Polar Perturbations --- p.39 / Chapter 4 --- Normalization Function: Numerical Treatment --- p.42 / Chapter 4.1 --- "Numerical Algorithm for g(x,w)" --- p.42 / Chapter 4.1.1 --- Method --- p.42 / Chapter 4.1.2 --- Equation governing R(z) --- p.45 / Chapter 4.1.3 --- "Equations governing A(x, z) and B(x, z)" --- p.45 / Chapter 4.2 --- "Numerical Algorithm for g(x, ´ؤw)" --- p.49 / Chapter 4.3 --- Numerical Result of q(γ) --- p.50 / Chapter 4.4 --- Comparison of Numerical Result with Analytic Approximations --- p.56 / Chapter 5 --- "Branch Cut Strength of G(x, y, w)" --- p.58 / Chapter 5.1 --- "Relation between q(γ) and ΔG(x,y, ´ؤiγ)" --- p.58 / Chapter 5.2 --- Proof of the Power Law --- p.60 / Chapter 5.3 --- "Numerical Results for ΔG(x, y, ´ؤiγ)" --- p.63 / Chapter 5.4 --- Study of a Physically Important Limit --- p.65 / Chapter 5.4.1 --- Limiting x and y --- p.65 / Chapter 5.4.2 --- Poles on the unphysical sheet --- p.69 / Chapter 5.4.3 --- Zerilli potential --- p.77 / Chapter 6 --- Conclusion --- p.81 / Chapter A --- Tortoise Coordinate --- p.84 / Chapter B --- Solution of the Generalized Coulomb Wave Equation --- p.86 / Chapter C --- Derivation of (5.1) --- p.88 / Bibliography --- p.89

Over the past decade British troops have been stationed in Iraq and Afghanistan as part of what was previously called the 'war on terror'. During this period reports have emerged of British soldiers engaging in sexual abuse against local detainees, the killing of innocent Iraqi and Afghan civilians, and the use of banned techniques during interrogations. At the same time, widely televised repatriations of dead and injured soldiers have taken place, and a combination of the proliferation in use of improvised explosive devices by enemy forces and improvements in battlefield medicine has meant increasing numbers of soldiers are returning home with limbs missing and permanent disfigurement. It is unpacking how these specific acts of wartime violence have become possible that this thesis is concerned with. Specifically, this project will ask questions about the relation between contemporary constructions of British militarised masculinity - what I call a 'liberal warrior' - and the enactment of wartime violence. At its core, this thesis will argue that a liberal warrior subjectivity will never be stable or 'complete', and that it is in its precariousness and attempts at stabilisation that specific militarised violences become possible. Building on a burgeoning feminist literature on militarised masculinities and appropriating Avery Gordon's epistemology of ghosts and hauntings, I detail a way of conceptualising a militarised masculine liberal warrior that avoids mapping 'hard' and 'fixed' borders. Constituted through gendered discourses and hierarchical gendered binaries, boundaries are marked around a liberal warrior that excludes traits and characteristics a liberal warrior is not. However, those traits and characteristics that a liberal warrior has attempted to expel remain an integral constituting part of what is included, haunting the subjectivity, and destabilising its attempts at coherent representation. I argue it is through the appearances of ghosts - the concrete materialisation of an aspect of a haunting - that notice can be given to the ever-presence of hauntings. Focusing specifically on attempts at expelling - exorcising - hauntings of (homo)sexual potential, uncontrollability, colonial desires and fears, and the brutality of warfare in the (re)construction of a liberal warrior, the thesis pays attention to the materialisations of ghosts across multiple sites, including basic training, barrack living and during a tour of duty. Emerging as the banal and mundane, and also as spectacular wartime violence, recognising these materialisations as ghosts has several effects. It draws attention to the (im)possibility of a liberal warrior and always already haunting presences, it allows the conceptual space between everyday soldiering 'doings' and the spectacularly violent to be bridged, and it reveals the ways in which attempts at expelling hauntings and (re)articulating the borders of a liberal warrior makes these (sometimes violent) appearances of ghosts possible.

Mak, Ka Yu. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (leaves 122-125). / Abstracts in English and Chinese. / "Introduction: Don Juan: ""the most readable poem of its length""" --- p.1 / Chapter Chapter One: --- Parodying Authorial Presence in Don Juan and Orlando --- p.12 / Don Juan and Orlando as Literary Jokes --- p.13 / Don Juan and Orlando as Cross-Genre Literature --- p.15 / Common Literary Predecessors --- p.18 / The Byronic Biographer --- p.22 / "Fictional Life, Real Life" --- p.28 / Literary Tyrant and Liberal Equivocator --- p.33 / Their Ambiguous Human Portraits --- p.42 / The Parodies' Resolution --- p.51 / Chapter Chapter Two: --- The Modern Artist's Listless Monologue in Don Juan and The Waves --- p.57 / Don Juan as a Modern Man's Monologue --- p.58 / The Waves as Don Juan's Modem Counterpart --- p.63 / "The Wave's Narrative Frame and ""Dramatic Soliloquies""" --- p.66 / The Complication of the Narrative Perspective(s) --- p.70 / Byron's Young Man --- p.74 / Yet Byron never made tea as you do --- p.77 / The Making of Modem Artists --- p.82 / The Infant and the World --- p.86 / "The Wo/Man ""Outside the Thinker""" --- p.96 / The Death of Heroes --- p.103 / Social Alienation --- p.108 / Ennui and Boredom --- p.111 / Yet Life Goes On --- p.115 / Conclusion --- p.118 / Works Cited --- p.122

Writer and critic Caroline Gordon has been a participant on the Southern literary scene since the early 1930s, yet her works have been neither studied nor appreciated as frequently as the works of her male contemporaries. Her novels and short fiction never received the critical acclaim that they merited due to the perpetuation of the erroneous idea that women have little to say. While at the time other female writers were exploring their emancipation, Gordon retreated to the consistent confines of male-dominated tradition and created fiction embodying her conservative philosophy. This thesis will examine five pieces of her short fiction, 'The Petrified Woman," "Tom Rivers," "One More Day," "The Brilliant Leaves," and "The Presence," to explore gender relationships and how Gordon's background and personal beliefs impacted her body of work.

Thesis (Ph. D.)--University of Missouri-Columbia, 2007. / 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 December 17, 2007) Vita. Includes bibliographical references.

This essay is concerned with two explanations of why oppressive social orders persist. According to the first, the so-called gunman theory of oppression (GT), these social orders persist because the oppressed are afraid being punished if they participated in a revolt. According to the second, the so-called ideology theory of oppression (IT), oppression persists because the oppressed are subject to ideology. Traditionally, the former has been associated with rational choice theory, and the latter with Marxism and critical theory. Analytical philosophers have been suspicious of IT since it involves functional claims. This essay shows that it is possible to make sense of both IT and its associated functional claim within the framework of rational choice theory. Chapter one provides an overview of the discussion and a presentation of the general argument against IT. Chapter two specifies the explanandum for the two theories in more detail. The chapter concludes with a description of three real-life persistent oppressive social orders. In chapter three, the basics of rational choice theory are introduced and GT spelled out. Some problems for the theory are identified and then dealt with. It is concluded that GT does a good job at explaining the persistence of tyrannies. Chapter four argues that ideology is necessary to provide satisfactory explanations of the other two cases of oppression described in chapter two. The chapter concludes with a specification of IT where the functional claim is made explicit. Chapter five defends Gerald Cohen's account of functional explanations against a dilemma formulated by Ann Cudd. In chapter six, three mechanisms are provided that indicate how the functional claim of IT can be demystified. Chapter seven concludes by indicating a statistical method for testing IT and describing some policy implications. / EXPLANATIONS OF REPRESSION BY A MINORITY OF THE MAJORITY — A RESEARCH PROGRAM