This thesis analyzes the interaction of three primordial circular concepts in the formation of the literary identity of Jorge Luis Borges: the English language, intertextuality, and translation. The allegory of concentric circles facilitates the explanation of the complexity of these processes that intertwine and interact expanding to the infinite. This is not only a metaphor but also a metaphysical dilemma which Borges has utilized to explain time not as an absolute progression where a before and after are feasible but rather as a cyclical idea in which the return and the repetition are eternal. The three key concepts will be analyzed, using as an example, a short story by one of the English writers who Borges has cited and translated, Gilbert Keith Chesterton, "The Three Horsemen of Apocalypse." Borges translated Chestertons tale prior to writing "The Garden of Forking Paths," and this thesis demonstrates how we may discern Chesterton's influence on the Argentine's fiction, particularly within the genre of the detective story. / by Susana Beatriz Carlino. / Abstract in English. / Thesis (M.A.)--Florida Atlantic University, 2012. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2012. Mode of access: World Wide Web.

"In Praise of Music": A Motivation for Choral Conductors, is a conductor’s survey of four contemporary works for chorus all titled "In Praise of Music." This study was created in tandem with the recital presentation of two of the works by composers David Conte and David Frank Long and an additional two works by Keith Bissell and Paul Hindemith. Each work is different in style, in the choice of text, in accompaniment, and in the choral forces required. There is no single text titled "In Praise of Music" from which each composer might have begun the creative process. What binds these works together is the concept that music carries emotion and shares it with those who hear it. Bissell requires orchestra, an Orff instrument ensemble, satb mixed chorus and women’s chorus in his music with texts from four different poets: Alfred, Lord Tennyson; John Dryden; William Shakespeare; and Robert Herrick. David Conte’s work is set for chorus, six soloists, semi-chorus, and orchestra. Conte also chose the texts for his work from three poets; Thomas Carew, John Dryden, and Percy Bysshe Shelley. Paul Hindemith’s work, set to a text by Martin Luther, offers many different performance options as it is meant to be performed by non-professional musicians and singers, using whoever might be available. "Our Song (In Praise of Music)" was commissioned by this writer for his D.M.A recital performance. Composer David Frank Long wrote both the text and music for the work. The essay includes biographical information on each composer and poet and the texts used for each work. There is also a structural chart and compositional analysis of each work.

Thesis (M.A.)--Trinity International University, 2003. / Abstract. Includes bibliographical references (leaves 105-110).

In Speaker’s Reference and Semantic Reference, Saul Kripke posited two kinds of reference involved in every use of a designator—a semantic reference, to the object picked out by the meaning of the words used—and a speaker reference, to the object to which the speaker aimed to call attention by deploying the designator. Kripke tentatively defined the notion of the speaker’s referent as the object that (i) the speaker wishes to call attention to, on a given occasion, and (ii) that he believes fulfills the conditions for being the description’s semantic referent. Although offered as a definition, this account is best interpreted as a tentative statement of the normal success conditions of speaker reference. As such, it raises the question of how special a role semantic reference plays in successful speaker reference. This report addresses that question by evaluating Kripke’s tentative account in the light of an extended series of examples in which definite descriptions are used to speaker refer to objects other than the objects to which the descriptions uniquely semantically refer. The report concludes that words’ semantic characteristics are only one of several forms of evidence that audiences regularly rely on to discern what object a speaker intends to call attention to by a particular act of reference. / text

Thesis (M.A.)--Trinity International University, 2003. / Abstract. Includes bibliographical references (leaves 105-110).

Thesis (Ph. D.)--University of Texas at Austin, 2005. / Supervisor: Jill S. Dolan. Vita. Includes bibliographical references.

Thesis (M.A.)--Trinity International University, 2003. / Abstract. Includes bibliographical references (leaves 105-110).

Has the theory of direct reference for general terms ontological consequences or requirements? It has normally been said that general terms should be conceived as rigid designators of natural classes”, but this is a very vague expression. What is a natural class” here? Is it a universal? Is it a class of resembling objects or tropes? It is argued that the theory of direct reference functions better in connection with an ontology of universals. The semantic model actually requires certain type of successful cognitive relation with the referent and it is difficult to explain how such a successful connection could be obtained if there are no universal properties, but only perfect resemblance classes of objects or tropes. / ¿Hay consecuencias o requerimientos ontológicos que puedan desprendersede la teoría de la referencia directa? Se ha dicho frecuentemente quelos términos generales deben ser concebidos como designadores rígidos de clasesnaturales”, pero esta es una expresión demasiado vaga. ¿Qué es aquí una clasenatural”? ¿Es un universal? ¿Una clase de objetos o tropos semejantes entre sí?Se argumenta que la teoría de la referencia directa funciona mejor en conexióncon una ontología de universales. El modelo semántico, en efecto, requiere ciertotipo de relación cognitiva exitosa con el referente, y es difícil explicar cómo podríadarse esa conexión exitosa si no hay propiedades universales, sino solo clasesde objetos o tropos perfectamente semejantes.

Graffiti är en konstform som kan väcka olika associationer beroendepå dess kontext. Graffiti-begreppet är brett men förknippas oftast medvandalism. I olika sammanhang kan bilden av graffiti dock omformasfrån en rebellisk ungdomskultur till något som passar inom deexklusiva finrummen.Inom exempelvis modeindustrin och den postmodernistiska konstenfinns en del uttryck som kan komma att förknippas medgraffiti-estetisk genom dess expressionism och oordning. Genomhistorien har graffitin använts som uttrycksform av etableradekonstnärer vilket skapat nutidens konstbegrepp och gjort att graffitinblivit accepterad ur konstnärliga aspekter och tillgänglig för flermänniskor från olika bakgrunder att förstå sig på.Genom det moderna begreppet postmodernism behandlas i dennauppsats ämnet graffiti ur dess typiska visuella aspekter.Genom en en genomgripande bildanalys kan vi studera hur graffitinshistoriska och moderna element existerar inom dagens grafiska designinom modeindustrin och dess reklamutformning, I många fall går detatt se mönster av kopplingar till stil och tidsepoker.

Uppsatsen behandlar ämnet affären Pop Shop och dess relation till grundaren och konstnären Keith Harings konstnärskap. Studiens syfte är att öka förståelsen för samspelet mellan subkultur, konst och kommers/mode utifrån exemplet Keith Harings butik Pop Shop. Huvudsyftet är att fördjupa förståelsen om butiken Pop Shop som en del av Keith Haringskonstnärskap, och dess relation till gatukonst. Metoden för studien är en kvalitativ analys och Pop Shop studeras utifrån teorier om visuell kultur, hur vi ser och betraktar något, utifrån Martha Stukens & Lisa Cartwrights definition. I studien betraktas mode och gatukonst som uttryck i en visuell kultur. I studien används också den postmodernistiska teori som presenteras av Stuken & Cartwright för att förstå hur Pop Shop kunde vara en del av samtidskonsten och kommers. Uppsatsen är disponerad med en inledning och sedan en analys del. Resultatet visar hur Pop Shop är en del av Keith Harings konstnärskap och hur den är konstruerad och formad utifrån subkultur, gatukonst, mode och kommers.