Zugl.: Heidelberg, Univ., Diss., 1994

Thesis (M.A.)--Marshall University, 2003. / Title from document title page. Document formatted into pages; contains vi, 101 p. and illustrations. Includes bibliographical references (p. 97-100).

This essay concerns the traditional view of the function of music in film. It’s a study of the existing theories within the research area of modern film music and their applicability on film music in general. Is the function of film music always the same or is it depending on the film itself? The objects of my studies are The Piano, a film written and directed by Jane Campion, and the soundtrack composed by Michael Nyman. The central issue is to determine whether the main characters muteness has an impact on the music’s significance and if so, in which way? The purpose of this essay is foremost to broaden the traditional view of film music as being added to, instead of being a part of, a film as a whole. The intention is also to give film music and all its composers the acknowledgement of being a part of a unique art form.

Encomium celebrates the life and contribution of Pianist and Master Teacher Jane Allen Ritter. She is mine and so many other’s musical mother. / text

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Jane Austen's novels abound with readers "reading" not only texts but also speech, gestures, looks, scenery, events, each other, themselves. Readers in the novels illuminate her assumptions about readers of the novels; unlike eighteenth-century novelists who judged fiction by readers' responses and who tried to manipulate those responses, she accepted that not all readers read alike. / Northanger Abbey, Sense and Sensibility, and Pride and Prejudice explore different styles of reading and suggest some ways are more successful than others. A good reader observes accurately, reflects carefully, and judges candidly, disciplining subjective feelings with "objective" truths of religion and morality; above all, good readers trust their own educated judgments rather than rely upon external monitors. / Readers of the novels share the reading experiences of heroines. In Mansfield Park, Emma, and Persuasion, readers are invited to judge without monitor or narrator to direct them. Readers, like heroines, discover and reveal themselves in the act of reading.

Jane Austen revises the sentimental epistolary tradition by introducing a structural epistolarity that replaces the anatomical vocabulary of female corporeality with the domiciliar terminology of female domesticity. In Austen's novels, the epistolary metaphor of the passport links letter reading, the heroine's education process, and views of domestic space. Epistolary issues aligned with domestic spaces indicate the metaphorical relationship between the structural dialectic of closed and open and the epistolary paradox of writing to dissemble character and reading to reveal character. Letter writing and reading represent the spatial order within prescribed views and tours of houses and grounds. The heroine's critical letter reading allows her to distinguish between character types presented through different domestic contents, and the letter's interpretive authority finalizes her social education by serving as a passport figuratively transferring her between natal and martial households.

Thesis (M.A.)--Carleton University, 2002. / Includes bibliographical references (p. 96-98). Also available in electronic format on the Internet.

Thesis (M. P. A.)--Texas State University-San Marcos, 2006. / "Summer 2006." Includes bibliographical references (leaves 83-86).