Hamburg, Universiẗat, Diss., 1999. / Dateiformat: zip, Dateien im PDF-Format.

Thesis (D.M.A.)--University of North Texas, 2006. / System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded June 28, 1999, Jan. 24, 2000, Jan. 29, 2001, and Apr. 10, 2006. Includes bibliographical references and discography (p. 66-70).

Thesis supervisor: Russell S. Valentino. Includes bibliographical references (p. 86).

Emerging from an early association with street art during the 1980s, the artist Jean-Michel Basquiat was largely regarded within the New York avant-garde, as ‘an exotic other,’ a token Black artist in the world of American modern art; a perception which forced him to examine and seek to define his sense of identity within art and within society. Drawing upon what he described as his ‘cultural memory,’ Basquiat deftly mixed together fragments of past and present, creating a unique style of painting, based upon his own experiences of contemporary American life blended with a remembering of an African past. This study will examine the work of Basquiat during the period 1978 – 1988, tracing his progression from obscure graffiti writer SAMO© to successful gallery artist. Situating my study of Basquiat’s oeuvre in relationship to Paul Gilroy’s concept of the Black Atlantic, I will analyse Basquiat’s exploration of his cultural heritage and depiction of a narrative of Black history, which confronts issues of racism and social inequality, and challenges the constraints of traditional binary oppositions. I will examine Basquiat’s representation of the icon of the griot; narrator of African history and mythical talisman, shedding new light on the artist’s reclamation of this powerful totem. Traversing the perimeters of the Black Atlantic I show how Basquiat’s work has influenced both fine art and urban cultural practice in Britain. Through analysis of Basquiat’s self-portraits I will examine his repositioning the black subject, literally and historically, within the tradition of painting, and argue that through this relocation, Basquiat’s work contributes to models of reparative histories. I will consider Basquiat’s processes of identification and his refusal to be labelled ‘a black artist,’ situating his visual construction of self identity in relation to a post-black aesthetic. Analysis of Basquiat’s paintings lies at the heart of my research, and I conclude my study with an in-depth consideration of three paintings created by the artist during the final year of his life which characterise the enduring themes within his expansive body of work. My research contributes to existing scholarship into the work of Jean-Michel Basquiat, providing original insight into the work of this important artist.

À la Manière de Stravinsky is one piece in a series of works composed by Jean-Michel Defaye that written emulating the compositional styles of significant composers of the past. This dissertation compares Defaye’s work to common compositional practices of Igor Stravinsky (1882 – 1971). There is currently limited study of Defaye’s set of À la Manière pieces and their imitative characteristics. The first section of this dissertation presents the significance of the project, current literature, and methods of examination. The next section provides critical information on Jean-Michel Defaye and Igor Stravinsky. The following three chapters contain a compositional comparison of À la Manière de Stravinsky to Stravinsky’s use of rhythm, articulation, and harmony. The final section draws a conclusion of the piece’s significance in the solo trombone repertoire. This study will add to the published material on Jean-Michel Defaye and this influential series of pieces and is intended to further the interest of research into the works of this important composer.

Auteur de nombreux recueils poétiques depuis 1978, Jean-Michel Maulpoix apparaît comme l’un des poètes majeurs de sa génération, dont il est également un défenseur et un théoricien. Si sa poésie se veut pleinement de son temps, dont elle partage les doutes, les inquiétudes et les malaises, elle tente cependant, sans pour autant effacer toute marque personnelle, de porter ceux-ci à une dimension universelle, tout en se montrant tendue vers un idéal d’apaisement. Cette étude, qui conjugue une analyse thématique à des commentaires stylistiques parfois appuyés sur des décomptes statistiques, tente ainsi de montrer que cette tension entre dissonance et apaisement travaille profondément l’écriture des différents recueils, dans leurs thèmes comme dans leur forme, leur énonciation et leur rythme. Elle emprunte à la musique les notions de « basse obstinée » et de « basse continue », non pour suggérer que la poésie soit analysable en termes musicaux, mais en tant que métaphores d’une écriture elle-même obstinée, qui privilégie la continuité plutôt que les ruptures, et une continuité qui n’exclut pas la variation, jusque dans le rythme des phrases et des poèmes. / Author of many collections of poems since 1978, Jean-Michel Maulpoix is one of the most important poets of his generation. He is also known as a theoretician. His poetry is influenced by our times, and it shares its doubts and uneasiness. But the poet also gives an universal dimension to his poems, even if all marks of subjectivity are not erased. The poems often seem to search an ideal of appeasement. This dissertation analyses both themes and style : it aims at showing that this tension between uneasiness and appeasement is very important in many collections of poems by Jean-Michel Maulpoix, in their themes, form, enunciation, and rhythm. It uses the musical concepts of “basso ostinato” and “basso continuo”, not to suggest a confusion between poetry and music, but as metaphors of the obstinacy of the writing itself. The poems by Jean-Michel Maulpoix prefer continuity to ruptures, a kind of continuity that does not exclude variation, even into the rhythm of sentences and poems.

The purpose of this dissertation is to investigate and document the compositional components and innovations in the compositional style of Jean-Michel Defaye as they relate to two of his works for solo trombone, Deux Danses (1953, trombone and piano) and Fluctuations (1980, trombone solo, six trombones and two percussionists.) This document investigates the circumstances surrounding the creation of each piece as well as the compositional processes of Monsieur Defaye. Jean-Michel Defaye is an important composer for his commitment to the quality and challenge of the trombone literature he creates. The importance of Deux Danses is in the fact that it was this piece that put Defaye in the international spotlight. Solo works with chamber ensemble, such as Fluctuations, must be more seriously considered for performance if the standard solo repertoire for trombone is to be further expanded. Jazz style is an integral part of both of these important works and a necessary component to fully realize the composer's intent. Monsieur Defaye has demonstrated a commitment to composing for the instrument over the long term and has a sustained interest in participating in the further development of serious literature for all brass instruments. This study will add to the limited published material on Defaye and is intended to further the cause of research into the works of this important composer.

The diploma thesis deals with textual analysis, their methods and subsequent aplication of these mehods within the methods of newspapers´ editorials of journals Le Monde and Lidové noviny. The aim of the thesis is the analysis of editovals from the point of view of their structure and argumentation and specification and functioning of means used for argumentation. The thesis is divided into the part practical and theoretical. The first part deals with the general characteristics of newspaper´s editorial, as the type of communication and methods of textual analysis. The practical part is dedicated to its own analysis of editovals from the point of view of their structure and functioning of individual means of argumentation.

Thesis (M.A.)--Ohio University, August, 2008. / Title from PDF t.p. Includes bibliographical references.

The thesis focuses on the textual analysis of discourse and its methods. The goal of this thesis is to carry out comparative analysis of selected presidential discourses of Nicolas Sarkozy and Václav Klaus pronounced from 2007 to 2010 and to deduce general rules for the structure of the discourses in question. The thesis is divided into a theoretical part, which defines the subject of study, methodology and individual approaches of textual analysis of discourse, and practical part including the analysis of presidential discourses focused especially on the sequential and argumentation structure, the function of connectors, the use of lexical connotations and on the hierarchy of speech acts.