Thesis (M. Phil.)--University of Hong Kong, 2006. / Title proper from title frame. Also available in printed format.

Thesis (M. Div.)--St. Vladimir's Orthodox Theological Seminary, 1978. / Includes bibliographical references (leaves 68-73).

Thesis (M.A.)--Trinity International University, 2005. / Abstract. Includes bibliographical references (leaves 86-92).

abstract: Public discourse conveys and constructs sophisticated, nuanced and often conflicting notions of place, identity, culture, and religion. Comprehending the significance of place-based discourse is essential to understanding many of the contemporary difficulties facing Native American peoples. This is particularly true of the Western Apache people who constitute their places via discursive engagement. This project examines the Western Apache in their fight to save Dzil nchaa si an (Mount Graham) from a multi-telescope observatory upon its summit. Using discourse and text analysis to examine the public rhetoric, I suggest that the Western Apache understand the mountain as a participatory partner in community viability and Apache identity. I also suggest that the discourse surrounding the Mt. Graham controversy provides a mechanism to understand how Apache discourse links past and present practices and identity as seen through four emerging thematic elements: ethics, relatedness, knowledge, and religious verbiage. Understanding how discourse reveals cultural norms and practices and sustains cultural integrity is important as communicative disjunctures impact the effective responses of Native American and other diverse groups. These issues are framed within the national debate regarding cultural significance and bear directly upon the success of other preservation efforts. / Dissertation/Thesis / Ph.D. Anthropology 2012

The main catalyst of the narrative in The Heart of the Matter (1948) is pity and faith of the main protagonist. This thesis deals with Greene's unique conception of pity and faith. It is particularly faith and pity which represent keystones in number of Greene's novels. In The Heart of the Matter, Greene's personal and religious interests culminate. The theoretical part of the thesis provides a brief and comprehensive overview of Greene's life, his religious and political views, his unrelenting interest in human experience and at the same time, it aims to place him in the context of the 20th century. The central part of the thesis is dedicated to the detailed analysis of the novel along with the interpretation of key concepts and ideas.

Submitted by Diana Alves (ppgdancaufba.adm@gmail.com) on 2013-01-15T14:48:06Z No. of bitstreams: 1 APPALACHIAN SPRING POLÍTICA E PODER NA DANÇA.pdf: 875156 bytes, checksum: cd4249d8679d0d2651da3212dee51fba (MD5) / Made available in DSpace on 2013-01-15T14:48:06Z (GMT). No. of bitstreams: 1 APPALACHIAN SPRING POLÍTICA E PODER NA DANÇA.pdf: 875156 bytes, checksum: cd4249d8679d0d2651da3212dee51fba (MD5) / FAPESB / Relações entre a arte da dança, política e poder são apontadas e discutidas nessa pesquisa. Propõe-se que relação entre trabalhos de dança e política nacionalista, com a narrativa de uma cultura nacional e a (re)afirmação de uma identidade nacional, é uma construção ideológica. Entende-se que um trabalho de dança, que trata do passado da nação, aciona uma estratégia representacional de narrativa da cultura. Isso constitui uma operação que se desdobra em implicações políticas e de poder. Essas afirmações são exemplificadas através do estudo da obra coreográfica intitulada Appalachian Spring, criada em 1944 por Martha Graham, coreógrafa tida como a principal pioneira da chamada Dança Moderna Americana. Analisou-se que aspectos da obra em questão se relacionam com características da identidade nacional americana. A razão para escolha desse trabalho como estudo de caso se baseia no fato de que Appalachian Spring foi encomendado pelo governo americano na década de 1940, quando os Estados Unidos saíam de uma forte crise de ordem social, política e econômica, derivada da chamada “Depressão de 1930”, onde a nação e o poder político necessitavam reafirmar sua identidade nacional. Essa foi a última dança do período Americana (1934-1944) de Graham, fase em que trabalhou com temas nacionalistas. Para realizar esta pesquisa de caráter exploratório, procedeu-se ao tratamento de três etapas: um levantamento de registros videográficos, um levantamento bibliográfico e a análise dos dados. As questões de identidade nacional, política nacionalista e relações de poder foram analisadas a partir dos estudos de Stuart Hall, Louis Althusser, Nestor Garcia Canclini, Zygmunt Bauman, Terry Eagleton, entre outros. Os estudos de Mark Franko, Helen Thomas e Ellen Graff foram importantes referências para entender a produção da dança americana do período estudado e sua relação com questões de política nacionalista e de poder. Sobre Martha Graham, as biografias escritas por Don McDonagh, Agnes de Mille, Trude Garfunkel e a autobiografia da coreógrafa intitulada “Memórias de Sangue” foram utilizadas. Além de documentos como fotos, entrevistas, críticas e outros estudos, escolheu-se o registro videográfico em preto e branco, datado de 1958 – ao invés do registro de 1976, em cores - como base para a análise do caso, por contar com a coreógrafa no elenco, o que faz levar a crer ser um registro mais fidedigno da técnica e do estilo da coreógrafa. A pesquisa revelou que Appalachian Spring apresenta aspectos em sua configuração que auxiliam na narrativa da nação e se relaciona com a identidade nacional americana através da reafirmação de sua cultura nacional. Além disso, apresenta o poder de suscitar sentimentos nacionalistas na platéia pelo poder da interpelação. / ESCOLA DE DANÇA

Numerous studies have pointed to the historiographic and metafictional aspects of Ian McEwan’s and Graham Swift’s fiction, although few have examined the connections between McEwan and Swift. This study develops from that work by proposing that McEwan’s and Swift’s fictions explore similar themes, beyond those of just history and metafiction. By situating McEwan and Swift as postmodern writers who are strikingly intertextual, in the sense initially coined by Julia Kristeva, this study will show that both authors are deeply concerned with the violence of the twentieth and early twenty-first centuries, and the role that violence has played in the failure of metanarratives, as well as the resulting terror subjects face as they seek replacements for the personal authenticity, legitimacy, and meaning once provided by totalizing metanarratives. This study also illustrates that McEwan and Swift recognize the persistence of the metanarrative of science, as well as the psychic violence inherent in trying to replace metanarratives with received literary traditions. By developing on these ideas, this thesis argues that McEwan and Swift are actively engaged not only in exploring the anxiety subjects face as they realize there is nothing left upon which they can base their personal legitimacy, but also that the authors are suggesting there is no easy replacement for the lost, albeit fictitious, authenticity once situated in metanarratives and received genres. Finally, this paper will demonstrate that while these two contemporary novelists significantly problematize narrative and narrative frameworks, McEwan and Swift ultimately convey only one sure method to cope with the mourning and terror of the postmodern condition: continue writing. / Graduate Studies, College of (Okanagan) / Graduate

A renewed merging of art and design accompanied by the inflation of design in relation to art has been increasingly noted by writers since the 1990s. Some critics and artists such as Dan Graham have celebrated this phenomenon as a critical opportunity; others such as art historian and critic Hal Foster have criticized the trend as a catastrophic loss of the limits required for liberal subjectivity. In the first chapter, I consider Graham's position as outlined in "Art as Design/Design as Art" (1986) and contrast it with Hal Foster's argument as presented in "Design and Crime" (2002). While the writers share some points of reference, it becomes clear that the two texts are based on different critical models. My second and third chapters present case studies of works often considered to be part of the "design art" trend. At either end of the 1990s, Dia Center for the Arts realized large-scale projects: Dan Graham's Two-Way Mirror Cylinder Inside Cube and a Video Salon: Rooftop Urban Park Project for Dia Arts Center (1981- 1991) and Jorge Pardo's Project (1998-2000). Both works fit the profile of art projects that make use of the modes and methods of the fields of architecture and design. My study considers how each project related to its art institutional site, to the greater art historical and contemporary context and to changes in social, political and cultural conditions that unfolded during the 1990s. My third chapter considers works by Andrea Zittel, an artist also often discussed in terms of design, architecture and life style. While Zittel's "critical optimism" offers promise, there are some critical failings of her project. I analyze some of the problems presented by Zittel's works in relation to comparable projects by Dan Graham and Jorge Pardo. These projects question, but also contribute to, the overvaluation of design that accompanies the contemporary phenomenon of obsession with styling self. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

This paper examines the speech-based musical realization of "The Surface" and its attempt to assimilate the poem at the structural, sonic, and expressive level. The software and analysis/re-synthesis techniques used to create timbres heard in the composition are discussed in detail. In addition to technical and structural issues, the common elements of the two art forms are considered within the context of the digital domain.

The piano sonata’s prominent position in Western art music is reflected in both its long history and its presence in the oeuvres of composers from across the globe. While some information on piano sonatas by South African composers has been included in academic literature, no comprehensive research has been done in the field. This lacuna is addressed in this thesis of which the main research strategy is analytical, without precluding other data-collection methods such as literature studies, archival research and consultation with composers. The thesis comprises an introductory chapter with background information and an outline of the principal research aim and objectives; a general literature review of scholarly work in the field; a summary of academic literature on solo piano sonatas by South African composers; detailed analyses of two recent and diametrically opposed 21st-century solo piano sonatas, by Hendrik Hofmeyr (1957- ) and Graham Newcater (1941- ) respectively; and a final chapter with concluding remarks. Detailed catalogues of sonatas by South African composers, for piano as well as for other instruments, are included as appendices. Findings show that in correspondence with international trends, the piano sonata has held a prominent role in South African music-making with more than 230 works completed since 1900. A chronological estimation shows a more-or-less gradual increase in the number of sonatas composed up to 1975. 30 works were finalised between 2006 and 2015, suggesting that many contemporary composers continue to reference sonata structures as a guiding principle in largescale forms. The characteristics of the majority of sonatas analysed and those discussed in the literature summary correlate to some extent with 19th- and 20th-century traditions. There are nevertheless also various exceptions and novel explorations of traditional sonata practices. From a stylistic perspective, the works engage with a range of international aesthetic discourses, constantly repositioned within the post-colonial, South African zeitgeist. The sonata’s prominent position in South African art music is not only reflected in the historically high frequency of its use, but also in the ways the sonata paradigm is continuously being reinvented, deconstructed and developed to reflect the country’s idiosyncratic and dynamic cultural identity