李婉薇. / "2003年6月". / 論文(哲學碩士)--香港中文大學, 2003. / 參考文獻(leaves 241-268). / 附中英文摘要. / "2003 nian 6 yue". / Li Wanwei. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2003. / Can kao wen xian (leaves 241-268). / Fu Zhong Ying wen zhai yao. / Chapter 第一章 --- 緒論 --- p.9 / Chapter 第一節 --- 硏究動機 --- p.9 / Chapter 第二節 --- 前人硏究槪述 --- p.11 / Chapter 第三節 --- 硏究目的和意義 --- p.17 / Chapter 第四節 --- 硏究圍範和方法 --- p.20 / Chapter 第二章 --- 釋名與定位 --- p.26 / Chapter 第一節 --- 引言 --- p.26 / Chapter 第二節 --- 槪念辨析：筆記小說和筆記 --- p.27 / Chapter 第三節 --- 文體辨析：筆記體 --- p.31 / Chapter 1. --- 「體」的槪念 / Chapter 2. --- 從「傳奇體」看「筆記體」 / Chapter 第四節 --- 當代筆記體小說定義述評 --- p.39 / Chapter 第五節 --- 當代筆記體小說的敘事方式 --- p.42 / Chapter 1. --- 敘述者的參與度 / Chapter 2. --- 敘述者的客觀度 / Chapter 3. --- 敘述時間 / Chapter 4. --- 場景及心理描寫 / Chapter 第六節 --- 當代筆記體小說的其他特點 --- p.51 / Chapter 1. --- 語言風格 / Chapter 2. --- 紀實精神 / Chapter 第七節 --- 結語 --- p.55 / Chapter 第三章 --- 出現和發展 --- p.57 / Chapter 第一節 --- 引言 --- p.57 / Chapter 第二節 --- 出現的原因 --- p.57 / Chapter 1. --- 老作家的開端和啓發 / Chapter 2. --- 尋根思潮的帶動 / Chapter 3. --- 小說體裁的分化 / Chapter 4. --- 短篇小說的文體自覺 / Chapter 5. --- 現實主義與民族形式 / Chapter 第三節 --- 發展的形態 --- p.80 / Chapter 1. --- 始終的標記 / Chapter 2. --- 非線性的啓示 / Chapter 第四節 --- 結語 --- p.92 / Chapter 第四章 --- 汪曾祺：重鑄筆記精神 --- p.93 / Chapter 第一節 --- 引言 --- p.93 / Chapter 第二節 --- 寫作筆記體小說的原因 --- p.94 / Chapter 1. --- 筆記文學 / Chapter 2. --- 明人小品 / Chapter 3. --- 京派師承 / Chapter 4. --- 創作道路的轉向 / Chapter 第三節 --- 題材思想 --- p.104 / Chapter 1. --- 營生的艱苦 / Chapter 2. --- 美好的消逝 / Chapter 3. --- 越軌的性愛 / Chapter 4. --- 文革的戲謔和反思 / Chapter 5. --- 生命的寂寞和溫暖 / Chapter 第四節 --- 敘事特點 --- p.114 / Chapter 1. --- 存真的樸實 / Chapter 2. --- 紀實的留白 / Chapter 3. --- 簡約和稚拙的語言 / Chapter 4. --- 風俗烘托的手法 / Chapter 5. --- 線性、圓形、網狀的結構 / Chapter 第五節 --- 結語 --- p.126 / Chapter 第五章 --- 孫犁：實錄文革見聞 --- p.128 / Chapter 第一節 --- 引言 --- p.128 / Chapter 第二節 --- 「芸齋小說」及其實錄精神 --- p.130 / Chapter 第三節 --- 寫作筆記體小說的原因 --- p.136 / Chapter 1. --- 信念崩潰和風格突變 / Chapter 2. --- 老年的趣味 / Chapter 3. --- 唐代古文 / Chapter 4. --- 信仰現實主義 / Chapter 第四節 --- 題材思想 --- p.146 / Chapter 1. --- 文革的記錄和反思 / Chapter 2. --- 追憶與悼亡 / Chapter 第五節 --- 敘事特點 --- p.150 / Chapter 1. --- 自我之一：平靜的孫芸夫 / Chapter 2. --- 自我之二：激動的「芸齋主人」 / Chapter 3. --- 簡約筆墨與限制視角 / Chapter 4. --- 清晰的時間標記 / Chapter 第六節 --- 結語 --- p.158 / Chapter 第六章 --- 阿城、李慶西：自覺的文體實驗 --- p.160 / Chapter 第一節 --- 引言 --- p.160 / Chapter 第二節 --- 與筆記體小說的關係 --- p.161 / Chapter 第三節 --- 與汪曾祺的關係 --- p.168 / Chapter 1. --- 關懷世俗 / Chapter 2. --- 抗拒濫情 / Chapter 3. --- 淡化故事 / Chapter 第四節 --- 題材思想 --- p.174 / Chapter 1. --- 尷尬的處境 / Chapter 2. --- 無事的悲哀 / Chapter 3. --- 文革的傷痕 / Chapter 4. --- 文革的主角和看客 / Chapter 第五節 --- 敘事特點 --- p.181 / Chapter 1. --- 諷剌手法 / Chapter 2. --- 簡約筆墨 / Chapter 3. --- 敘述者的冷酷和同情 / Chapter 4. --- 多種語言風格和情調 / Chapter 第六節 --- 結語 --- p.188 / Chapter 第七章 --- 其他作家及作品選析 --- p.189 / Chapter 第一節 --- 引言 --- p.189 / Chapter 第二節 --- 馮驥才：《俗世奇人》 --- p.189 / Chapter 1. --- 題材思想 / Chapter 2. --- 敘事特點 / Chapter 3. --- 發揚津味兒 / Chapter 第三節 --- 個別作品選析 --- p.200 / Chapter 1. --- 韓少功：〈史遺三錄〉 / Chapter 2. --- 賈平凹：〈王滿堂〉 / Chapter 3. --- 王阿成：〈人間俗話〉 / Chapter 4. --- 葉兆言：〈五異人傳〉 / Chapter 第四節 --- 「新世說」專欄 --- p.211 / Chapter 1. --- 背景和目的 / Chapter 2. --- 思想價値 / Chapter 3. --- 文體意識 / Chapter 第五節 --- 結語 --- p.217 / Chapter 第八章 --- 總結 --- p.219 / Chapter 第一節 --- 當代筆記體小說的啓示 --- p.220 / Chapter 1. --- 過去：對古典小說的繼承 / Chapter 2. --- 現在：與當代文學的關係 / Chapter 3. --- 將來：對中國小說的期待 / Chapter 第二節 --- 三地作家的貢獻 --- p.228 / Chapter 1. --- 汪曾祺及其他內地作家 / Chapter 2. --- 張大春、董啓章 / Chapter 第三節 --- 硏究方法反思 --- p.237 / 參考書目 --- p.241 / Chapter 一、 --- 當代筆記體小說 --- p.241 / Chapter 二、 --- 作品及評論 --- p.242 / Chapter 三、 --- 當代文學 --- p.254 / Chapter 四、 --- 古典筆記、筆記小說及其他 --- p.262 / Chapter 五、 --- 文學理論 --- p.265 / 附錄 --- p.269 / Chapter 一、 --- 當代筆記體小說主要篇目 --- p.269 / Chapter 二、 --- 當代筆記體小說敘事分析及統計 --- p.281 / Chapter 三、 --- 兩部《新筆記小說選》比較 --- p.314 / Chapter 四、 --- 汪曾祺《〈聊齋〉新義》剖 析 --- p.319 / Chapter 五、 --- 汪曾祺小說之內在指涉 --- p.341 / 後記 --- p.345

趙麗霞. / "2003年8月". / 論文(哲學碩士)--香港中文大學, 2003. / 參考文獻(leaves 175-195). / 附中英文摘要. / "2003 nian 8 yue". / Zhao Lixia. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2003. / Can kao wen xian (leaves 175-195). / Fu Zhong Ying wen zhai yao. / Chapter 第一章： --- 導論 --- p.5 / Chapter 第一節： --- 硏究動機 --- p.5 / Chapter 第二節： --- 《今天》詩歌硏究現狀 --- p.10 / Chapter 第三節： --- 本文硏究範圍 --- p.11 / Chapter 第四節： --- 材料來源 --- p.14 / Chapter 第二章： --- 《今天》與地下文學 --- p.16 / Chapter 第一節： --- 地下詩歌沙龍的發展階段 --- p.17 / Chapter 第二節： --- 「白洋淀詩群」 --- p.23 / Chapter 第三節： --- 北京各階段地下文學沙龍的關係 --- p.28 / Chapter 第四節： --- 小結 --- p.29 / Chapter 第三章 --- 《今天》簡介 --- p.31 / Chapter 第一節： --- 《今天》創刊的政治背景 --- p.31 / Chapter 第二節： --- 《今天》發展歷程 --- p.34 / Chapter 第三節： --- 《今天》的組織系統 --- p.39 / Chapter 第四節： --- 《今天》各期情況簡介 --- p.43 / Chapter 第五節： --- 《今天》與其他民刊的關係 --- p.47 / Chapter 第六節： --- 《今天》與官方文學刊物的關係 --- p.50 / Chapter 第七節： --- 《今天》的宗旨 --- p.51 / Chapter 第八節： --- 小結 --- p.57 / Chapter 第四章： --- 《今天》詩人群 --- p.58 / Chapter 第一節： --- 食指´ؤ´ؤ《今天》詩人的啓蒙者 --- p.59 / Chapter 第二節： --- 北島´ؤ´ؤ從浪漫抒情到冷酷寫作 --- p.70 / Chapter 第三節： --- 芒克´ؤ´ؤ「自然詩人」 --- p.80 / Chapter 第四節： --- 舒婷´ؤ´ؤ愛的歌者 --- p.85 / Chapter 第五節： --- 顧城´ؤ´ؤ「童話詩人」 --- p.89 / Chapter 第六節： --- 江河、楊煉´ؤ´ؤ現代史詩探索的代表 --- p.97 / Chapter 第七節： --- 《今天》其他詩人 --- p.102 / Chapter 第八節： --- 《今天》佚名詩人 --- p.106 / Chapter 第九節： --- 小結 --- p.109 / Chapter 第五章： --- 《今天》詩歌：一代人的文革經驗 --- p.110 / Chapter 第一節： --- 「文革一代人」 --- p.110 / Chapter 第二節： --- 《今天》詩人的「廢墟文學」意識 --- p.112 / Chapter 第三節： --- 《今天》詩歌中展現的文革經驗 --- p.114 / Chapter 第四節： --- 小結 --- p.131 / Chapter 第六章： --- 《今天》詩歌的價値 --- p.132 / Chapter 第一節： --- 中國大陸新詩發展狀況回顧 --- p.132 / Chapter 第二節： --- 《今天》詩歌整體的藝術成就 --- p.137 / Chapter 第三節： --- 反叛的聲音和懷疑的精神 --- p.153 / Chapter 第四節： --- 《今天》詩歌展現的精神特徵 --- p.157 / Chapter 第五節： --- 《今天》詩歌與「朦朧詩」的關係 --- p.162 / Chapter 第六節： --- 結論 --- p.172 / 參考書目 --- p.175 / 附錄 --- p.196

這份作品集包括三首我在修讀碩士課程時的作品。這三首作品代表了我思索及尋找如何表達中國元素的過程。創作過程中，我特意集中於三方面：中國樂器的獨特音色、小型樂隊中樂手之間的親暱、及樂手自發的創造力。而在探索這三方面的同時，我嘗試保留在中國文學常見的表現力，從而創作出一個充分表達中國元素的作品。 / 在第一首樂曲《亂了殘紅》中，我嘗試探索胡琴的獨特音色，在單一的音色組合當中（四部胡琴）尋找音色上的細微變化。另外，我亦嘗試運用有較大自由的記譜法，在給予樂手空間的同時，令他們有緊密的合作，令團隊中有一種緊密而又自然的合作。 / 在《風刀霜劍》中，我將這記譜法更廣泛地運用，而透過這記譜法，我希望可以解放樂手的創造力，同時有效地運用在中國傳統音樂中常見的即興元素。另外，中國樂器有不少先天的限制，我在尊重這些限制的前提下，嘗試在正常以外的演奏技巧，以加強表現力。 / 此後，我將《風刀霜劍》的成果運用於《殘月葬花》，希望從而可以在西方樂器的組合上體現中國文化的影響。在前作的基礎上，顧及到西方音樂訓練中沒有即興演奏的習慣，在記譜上作出了調整，但仍然保留對音色轉變的敏感以及演奏者的自由與緊密合作。而在這些的技巧上，我希望仍然能夠表達一個屬於中國文化的境象，以此作為我對中國文化的回應。 / The works included in this portfolio represent my continual effort to develop a solution for my search for an expression of my Chinese influences. I focus mainly on three aspects: the unique timbre of Chinese instruments, the intimacy of a small traditional Chinese music ensemble, and the spontaneity of individual performers. I attempt to include these three elements into my work while retaining an expressive quality that I find to be common in Chinese literature. The three works presented in this portfolio are my continual attempts to develop these ideas into a way of expression. / The first work in the portfolio, "Rummage through the Crimson", explores the unique timbre of huqin. The instrumentation (three erhus and one zhonghu) allows me to search for difference within a homogenous texture and thus to discover the timbral nuance available. I also experiment with a notation that at the same time allows freedom and requires cooperation among performers to create a cohesive and natural ensembleship. / The second work, "Slashes of Frost and Wind", extends the experimentation of notation to a greater scale. While using an ensemble of Chinese instruments, I try to utilize the freedom allowed by the notation to unleash the innate creativity of the performers and to evoke the improvisatory nature of their traditional playing. On the other hand, I explore the use of extended techniques while respecting the instrument's natural capabilities. / In "Flower Burial under a Pallid Moon", I attempt to transfer the findings from "Slashes of Frost and Wind" to a purely Western context, in the hopes of creating a piece of music that express Chinese elements while using Western instruments, so as to expand the expressive possibilities of such an ensemble. Many technical elements have been brought over, namely sensitivity to timbral nuance, improvisatory nature of the notation, and close cooperation while in a state of performance freedom. More suggestive descriptions are added to guide the performers in improvisatory passages. Most importantly, I retain a Chinese imagery that runs through the veins of all these three works. In essence, the technical attempts here merely try to approach a succinct expression of my Chinese influence. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Ting, Chung Wai. / Thesis (M.Mus.)--Chinese University of Hong Kong, 2012. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts also in Chinese; includes Chinese. / Abstract --- p.i / Acknowledgement --- p.iii / Rummage through the Crimson --- p.1 / Slashes of Frost and Wind --- p.16 / Flower Burial under a Pallid Moon --- p.27

如果將崔健的專輯《新長征路上的搖滾》視為中國搖滾樂的正式開端，中國搖滾樂儼然已有近三十年的歷史。作為一種西方另類文化產品的追隨者，中國搖滾樂並沒有簡單複製西方搖滾樂史；作為一種流行次文化現象，中國搖滾樂生動地反映和再現着中國社會的面貌及其歷史變遷，而這一在中國文化語境下的反映和再現則正是中國搖滾樂作為一種風格的原創性所在。本文試圖探討中國搖滾樂中的「中國元素」。為了能夠縱觀這三十年的歷史，筆者特意挑選崔健、唐朝樂隊、二手玫瑰樂隊作為三個「十年」的突出代表來進行考察。 / 作為中國搖滾樂的先驅者，在崔健的音樂作品中保留著一種「紅色情結」，一些革命年代的印記依舊會在他的歌曲中顯現；另外，崔健的一句「一無所有」喊出了那一代青年人的心聲，這種直白地表達在當時不自覺地帶有了一種比較嚴肅的政治含意，也因此使中國搖滾樂的命運同西方搖滾樂一樣，最先以一種反叛的不安分子形象示人；唐朝樂隊是中國搖滾樂「黃金時代」的代表，對中國古代輝煌歷史時期的追憶，加之重金屬音樂風格的衝擊力，使其再造了一個理想的中國陽剛之氣──「文武雙全」；創新性地將搖滾和東北二人轉風格元素相結合使二手玫瑰樂隊成為近期中國搖滾樂的一朵奇葩， 他們既娛樂又嚴肅的反諷風格豐富了中國搖滾樂的語匯。通過對這三例的並置對比，本文意在論證三十年間中國搖滾樂中的「中國性」在體現方式上的微妙變化以及其風格演變的過程。 / Having a history of nearly thirty years, Chinese rock is not only a term that indicates a regional genre, but also a specific music style. Its originality lies in its intimate relation with the particular social and economic conditions of China. This thesis focuses on “Chineseness“ in Chinese rock, which covers musical characteristics, political identity, traditional and ancient culture and regional performing arts. In order to demonstrate its historical development, I choose and discuss three musical acts from each decade in Chinese rock history. They are Cui Jian in the 1980s, Tang Dynasty in the 1990s and Second Hand Rose after 2000. / Widely regarded as the forerunner of Chinese rock, Cui Jian’s music has a “red“ ideology; meanwhile, his brave expression of the inner youth voice of that generation also give Chinese rock a rebellious image from the very beginning. Tang Dynasty represents Chinese rock’s “golden age“. Through invoking a glorious period in China’s ancient history, they build an ideal Chinese masculinity in their style of heavy metal. Second Hand Rose innovatively absorbs elements from secular performing art in their music, criticizing new societal conditions in an ironic way. This thesis concludes with the view that the expression of “Chineseness in Chinese rock has been continually transforming throughout the decades, and those Chinese rock musicians’ attitudes toward an “ideal“ conceptualization of China have likewise also gradually changed. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Ren, Shaoren. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references and discographies. / Abstracts also in Chinese. / Abstract --- p.ii / Table of Contents --- p.iv / List of Figures --- p.v / Chapter Chapter I --- Introduction --- p.1 / Initial Research and Methodology --- p.2 / Chinese Rock in Historical Context --- p.5 / The “Chinese in Chinese Rock --- p.6 / Literature Review --- p.9 / Limits of This Study --- p.16 / Thesis Outline --- p.17 / Chapter Chapter II --- Cui Jian and Chinese Rock’s First On the New Long March --- p.19 / Alternative Military Song on the New Long March --- p.20 / “On a Stretch of Exhausted Earth, We Harvest Meager Hopes“ --- p.28 / Chapter Chapter III --- Tang Dynasty and Chinese Masculinity --- p.39 / China Calling for Heavy Metal --- p.40 / Tang Dynasty and Chinese Masculinity --- p.43 / Patriotism and Idealism --- p.57 / Chapter Chapter IV --- Second Hand Rose and Ironic Aesthetic --- p.62 / Spring Festival Gala and Twirling Duet --- p.64 / Twirling Duet Rock --- p.68 / “Big Bro, You’re Playing Rock, But What the Heck For?“ --- p.72 / Chapter Chapter V --- Conclusion --- p.83 / Maintaining Chineseness --- p.83 / Shifting Styles of Chineseness and Understanding “Ideals“ --- p.86 / Bibliography --- p.89

No description available.

This thesis looks at the functions and effects of the ‘second-person’ pronoun in narrative prose fiction, with particular focus on the fluidity and ambiguity of the mode that I will call Protean-'you.' It is a mode in which it is unclear whether the ‘you’ is a character, the narrator, a reader/narratee, or no-one in particular—or a combination of these—so that readers find ‘second-person’ utterances at once familiar and deeply strange. I regard the ‘second person’ as a special case of narrative ‘person’ that, at its most fluid, can produce an experience of reading quite unlike that of reading traditional ‘first-‘ and ‘third-person’ narrative. Essentially, this unique experience comes about because Protean-‘you’ neglects to constitute the stable modes of subjectivity that readers expect to find within narrative textuality. These stable modes of subjectivity, modelled on what I will refer to as Cartesianism’s hegemonic notion of the self, have been thoroughly formalised and naturalised within the practices of ‘first-‘ and ‘third-person’ narrative. The Protean-‘you’ form of ‘second-person’ narrative, conversely, is a mode of narrative discourse that puts readers in a place of doubt and uncertainty, its unsettling equivocations forcefully disrupting accustomed, mimetic explanations of narrative and denying us access to the foundational, authorising subject of classical Cartesian thought. Rather than founding a notion of ‘second-person’ narrative and narrative ‘person’ generally on Cartesianism's ‘self-ish’ logic of unified, privatised identity, I turn to C.S, Peirce's notion of the semiotic self and to developments in post-structuralist thought. Essentially, the conception of subjectivity underpinning my arguments is Peirce's proposition that the self is to be conceived of not as a cogito, but as a sign by which the conscious entity knows itself. It is a sign, moreover, that is constantly being re-read, reinterpreted, so that identity is never self-complete. This reconception of subjectivity is necessary because 1 will argue that the effects of Protean-‘you’ arise in some part from a tension between Cartesianism's hegemony and what philosophical pragmatism and post-structuralism glimpse as the actual condition of the human subject—the subject as dispersed and contingent rather than unified and authoritative. Most discussions of ‘second-person’ narrative conceive of the mode in terms of implicit communicative relations, in some measure instituting Cartesianism's notion of the intentionalist self at the centre of literary meaning. I contrast the paradigmatic address model that arises from this conception against a model that approaches the analysis of ‘second-person’ narrative modality in terms of a referential function, that is, in terms of the object or objects referred to deictically by the ‘second-person’ pronoun. Two principal functions of ‘second-person’ textuality are identified and discussed at length. The first is generalisation, which is rarely dissipated altogether, a situation that contributes to the ambiguities of the pronoun's reference in much ‘second-person’ fiction. The second principal function is that of address, that is, the allocutionary function. Clearly, although stories that continually refer to a ‘you’ can seem quite baffling and unnatural, not all ‘second-person’ narratives unsettle the reader. In order to make the ‘second person's’ outlandish narratives knowable and stable, we bring to bear on them in our habits of reading whatever hermeneutic frames, whatever interpretive keys, come to hand, including a large number of unexceptional forms of literary and ‘natural’ discourse that employ the ‘second-person’ pronoun. These forms include letter writing and internal dialogue (i.e., talking to one's self), the language of the courtroom, the travelogue, the maxim, and so on. In looking at the ways in which the radicalising potentials of ‘second-person’ discourse are contained or recuperated, I focus on issues of vraisemblance and mimesis. Vraisemblance can be described as the ‘system of conventions and expectations which rests on/reinforces that more general system of ‘mutual knowledge’ produced within a community for the realisation and maintenance of a whole social world’. All of the forms of the vraisemblable are already instituted within social, cultural relations, so that what vraisemblance describes is the way we fit the inscriptions we read-that is, the way in which we naturalise what we read-into those given cultural and social forms. I also look at the conventionalising and naturalising work done by notions of mimesis in explaining relations between the world, our being in it, and texts, proposing that mimesis provides a principle buttress by which the good standing of the metaphor of ‘person’ is preserved in traditional and pre-critical modes of analysis. Indeed, the critic’s recourse to ‘person’ is in some measure always an engagement with mimesis. Any discussion that maintains that mimesis is in some way productive of meaning-which this thesis in fact does-must identify mimesis as a merely conventional category within practices of reading and semiosis more generally, and at the very least remove that term from its traditional position of transparent primacy and authority. Some of the most interesting and insightful arguments about ‘second-person’ narrative propose that the ‘second person’s’ most striking effects derive from the constitution of an ‘intersubjective’ experience of reading in which the subject positions of the ‘you’-protagonist, reader-narratee and narrator are combined into a fluid and indeterminate multiple subjectivity. Notions of intersubjectivity frequently position themselves as liberating the reader from Cartesianism's fixed, authoritative modes of subjectivity, Frequently, however, they tend implicitly to reinstate Cartesianism's notion of the self at the centre of textual practice and subjectivity. I look at Daniel Gunn's novel ‘Almost You’, at length in this context, illustrating the constant overdetermination of the ‘you’ and the novel's narrating voice, and demonstrating that this overdetermination leaves the origin of the narrative discourse, the identity of the narrator, and the ontological nature of both principal protagonists utterly ambiguous. The fluidity and ambiguity of Protean-‘you’ in ‘Almost You’ is discussed in terms of ‘second-person’ intersubjectivity, but with a view to demonstrating the indebtedness by the notion of intersubjectivity to Cartesianism's hegemony of ‘person’. I then turn to a discussion of what might be a more ‘old fashioned’ if perhaps ultimately more far-reaching approach to the ‘second person’s’ often startling ambiguities. This is Keats's notion of negative capability, a capacity or quality in which a person ‘is capable of being in uncertainties, Mysteries, doubts, without any irritable reaching after fact and reason.’ I suggest that Protean-‘you’ texts will license all of the readings of ambiguity and fluidity proposed in my discussion of ‘Almost You’, but conclude that the instances of indeterminacy illustrate no more than that: the fluidity and deep ambiguity, and thus, finally, the lack of coherence, of Protean-‘you’ discourse. This has particular implications for how we are to consider readers’ experiences of narrative texts. More fundamentally, it has implications for how we are to consider readers as subjects. I suggest that unstable, ambiguous instances of ‘second-person’ narrative can tear the complex and systematic embroidery of ideological suture that unifies Cretinism’s experience or sense of subjectivity, leaving the reader in a condition of epistemological and ontological havoc. I go on to argue that much of the deeply unsettling effect of Protean-‘you’ discourse anises because its utterances explicitly gesture towards Cretinism’s notion of self. Protean-‘you’ involves a sense of address that is much more pronounced than we are accustomed to facing when reading literary narrative, alerting us to the presence of inscribed anthropomorphic subjects. At the very same time, protean-‘you’ leaves its inscribed subjects indeterminate, ambiguous. This conflict generates a tension between the anticipation of the emergence of speaking and listening selves and our inability to find them. I go on to propose that Protean-‘you’ narrative's lack of coherence is also to be understood as the condition of narrative actuality generally, but a condition that is vigorously mediated against by dominant practices of reading and writing, hocusing my discussion in this respect on the issue of narrative ‘person,’ I argue that narrative ‘person’ is constituted within texts as an apparent unity, but that it is in fact, produced as unitary solely within the practice of making sense, that is, Within our habits of reading, and so is never finally unified. I propose that this is the case for ‘first-‘ and ‘third-person’ modes no less than for the ‘second.’ Where ‘second-person’ narrative at its most radical and Protean differs from conventional ‘first-‘ and ‘third-person’ narratives is the degree to which each has been circumscribed by practices of tantalization, containment and limit, and, in particular, Cretinism’s hegemony of ‘person.’ It may be that the most significant insights ‘second-person’ narrative has to offer are to be found within its capacity to reveal to the engaged reader the underlying condition of narrative discourse, and more generally, its capacity to reveal the actual condition of the human subject-a condition in which, exactly like its textual corollary of narrative ‘person,’ the self is glimpsed as thoroughly dispersed and contingent.

As solo vocal repertoire continues to develop with current trends, institutional settings, including the private studio, continue to gravitate toward standard art songs and arias familiar to the classical-western tradition. In a rapidly changing world, it is important for 21st century studio teachers to realize the need to connect with students on a global platform rather than focus solely on an established curriculum. As a modem educator and performer, it is important to make connections between the cross-disciplinary relationships of history, domestic/foreign affairs, politics, civil rights, racism, patriotism, social injustice, peace, and socialism through music. War-related repertoire challenges students, teachers, and performers to think beyond the confines of standard repertoire and fosters universal connections. Even with the cross-disciplinary benefits war-related music has to offer, this genre continues to be overlooked in studio teaching. It is the purpose of this study to introduce select classically oriented war-related repertoire, which reflects various war perspectives. Each chapter includes concise historical infonnation concerning the specific war, poet, and composer of the work under review. Equally important is the inclusion of selected musical analyses, interpretive textual guidelines, and a discussion of vocal aspects that pemlit the singer to more fully comprehend the emotional and musical possibilities of the piece. Additionally, suggested songs for further study and sample war-related vocal recital programs are presented as appendices. The culmination of these efforts manifests itself into a study of thirteen pieces for singers representing the American Civil War, World War I, World War II, and the Vietnam War. / Ethiopa saluting the colors by H.T. Burleigh -- Four Walt Whitman songs by Kurt Weill -- War scenes by Ned Rorem -- Face of war by Elie Siegmeister -- Three songs of the war by Charles Ives -- i never saw another butterfly ... by Srul Irving Glick -- We happy few by Richard Cumming. / Access to thesis permanently restricted to Ball State community only / School of Music

published_or_final_version / Chinese / Master / Master of Arts

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