The history of music in Germany in the first half of the eighteenth century is best understood within the context of the social, cultural and intellectual history of the German people during this period.The intellectual coming of age of the middle classes during the first decades of the century occurred as a result of growing confidence in the establishment of a national spoken and literary language. In a gradual progression of liberation and purification, the German language broke away from the dominant voices and cultures of its closest neighbours, leading to the crystalization of a clearly indigenous culture later in the century. Few other art forms followed this development more closely and indeed benefitted more from it than music.At the beginning of the century German music, and German culture in general, was still very much subjected to vassalage to foreign powers. Only in its church music, however, could a small but distinctly native voice be detected. With the growth of literary confidence, in particular in devotional poetry, music received considerable creative impetus. The figure who most closely followed these linguistic and literary developments is Georg Philipp Telemann (1681-1767).The object of this thesis is to place in its proper context the highly influential musical personality of Telemann, in particular through a study of his relationship to a younger generation of composers and theorists: the 'Berlin Circle'. In a detailed study of the composer's relationship to Carl Heinrich Graun(1703 or 1704-1759), the court Capellmeister at Berlin, the association between words and music, between musical and literary languages, will be discussed and, furthermore, they will be seen to be interdependent

No description available.

T. S. Eliot consistently maintained that there was a close relation between his poetics and his poetry; that his poetic theory was the "by-product" of his "poetry-workshop" and best applied to his literary works, rather than regarded as general aesthetic principles to be applied to all poetry. This is the basis on which this study is undertaken. The study itself has two major aims.The first is to approach Eliot's creative works through the perspective of his poetics. I have attempted to identify certain of Eliot's major aesthetic theories and to relate them to those poems contemporary with them. I have also examined some of Eliot's poetic theories which may be seen in a more general way as illuminating and relevant to all his creative works. My study also identifies certain of Eliot's theories concerning drama and demonstrates how each of these is closely related to a particular play.My second aim is to show how all Eliot's poetry may be regarded as one great work of art. This developed in three stages which chart the poet's spiritual progress from the despair of the early poems through the confession and contrition of "The Hollow Men" and "Ash Wednesday" , to the sense of illumination and beatitude in Four Quartets. This progression, which reflects the pattern of the three stages in the Christian drama of salvation, is also evident in Eliot's plays. I have tried to show that his poetry, his poetics, and his life all fall into a common pattern and that there is a close interrelationship between the three.

This thesis shows how the notion of androgyny works in the fiction of Violet Trefusis. It also posits her writing in connection to some novels by Vita Sackville-West and Virginia Woolf. Working within a theoretical framework provided by Julia Kristeva's psychoanalytical theory this thesis focusses on and seeks to redress the traditional conceptualization of androgyny providing a notion of the androgyne more in accordance to Woolf's androgynous ideal. The androgyne is understood in this thesis as a carnivalesque figure that disrupts the patriarchal system of hierarchical binary oppositions. Chapter Two provides a historical framework to Woolf's androgynous ideal. The research focuses, in Chapter Three, on the literary relationship sustained by Sackville-West, Woolf, and Trefusis which produced an, up to now unexplored, intertextual space where Challenge (1919), Orlando (1928) and Broderie Anglaise (1935) are interwoven. The apprehension of androgyny is an attempt on the part of these three women writers to find a different type of sentence whose construction has been theorised by Kristeva as Poetic language. This literary practice is an uncomfortable and dangerous one since it implies the avowal of the maternal serniotic in symbolic language. The difficulties in achieving the symbolic positionality of the subject of poetic language are addressed in Chapter Four in the analysis of Trefusis's Echo (1931) and Woolf's Between the Acts (1941). Chapter Five concentrates on Trefusis's discomforting sense of outsiderness. In Pirates at Play (1952) Trefusis explores the dialectics of foreignerness. Through the transubstantiation of her self into an armchair in Memoirs of an Armchair (1960) Trefusis acknowledges her abject in an attempt to relax the boundaries that separate self from other. Finally Chapter Six examines the search of a feminine Jowssance and its connections to death, or rather undeath, in two novels: Sackville-West's All Passion Spent (1931) and Trefusis's Hunt the Slipper (1937).

<p>This research aimed to give an account of the development of concepts of text and discourse and the various approaches to analysis of texts and discourses, as this is reflected in core linguistic literature since the late 1960s. The idea was to focus specifically on literature that notes the development stimulated by a proliferation of electronic media. Secondly, this research aimed to describe the nature of electronic news texts found on the internet in comparison to an equivalent printed version, namely texts printed in newspapers and simultaneously on the newspaper website.</p>

Thesis (MPsy(Specialisation))--University of South Australia, 2003.

The presentation of the thesis comprises the Dissertation component (66%) along with the Practice Component and the Practice Report (33%). In this Video Chaos dissertation, through an examination of current video practices, I note an emerging trend towards disseminating audio-visual content simultaneously in the form of poly-sequential narrative structures. I argue that this is a significant development within the video medium, and that this is an effect of video new media artist-practitioners' engagement with the relationships between art and technology. Two extensive case studies are investigated and, whilst a number of issues come to the fore in this research, exploring the issue of narrative structuration is the primary focus and exploration of this dissertation. The presentation of the thesis comprises the Dissertation component (66%) along with the Practice Component and the Practice Report (33%). The Practice Report documents the nature and development of the research undertaken during the course of the study. The culmination of the Practice Component takes the form of an exhibition and archiving of video works from June 2003 to the date of submission, January 2005. The Practice Component has been based in the following locations and used resources from Central Queensland University (Bundaberg campus), and The Australian National University, Centre for New Media Arts in Canberra. The practice has examined the topic through the production of the audio-video installation Sugartown and three video works The Hazzards, Nodal Dialectics 1 and boomsplatbangwhack. While these video works exist as discrete media artworks, they also operate as a type of practice process diary for working through the ideas explored in the written dissertation. Even though the video works are not meant to literally 'illustrate' those ideas, they nevertheless explore ways of integrating the theoretical concepts into my own research practice. In this Video Chaos dissertation, through an examination of current video practices, I note an emerging trend towards disseminating audio-visual content simultaneously in the form of poly-sequential narrative structures. I argue that this is a significant development within the video medium, and that this is an effect of video new media artist-practitioners' engagement with the relationships between art and technology. Two extensive case studies are investigated and, whilst a number of issues come to the fore in this research, exploring the issue of narrative structuration is the primary focus and exploration of this dissertation.

Thesis (Ph.D.)--Ohio University, August, 2007. / Title from PDF t.p. Includes bibliographical references.

Thesis (M.A.)--University of Missouri-Columbia, 2007. / The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on January 15, 2008) Includes bibliographical references.

Thesis (M.A.)--Georgia State University, 2007. / Title from file title page. Mary Stuckey, committee chair; Greg Lisby, David Cheshier, committee members. Electronic text (112 p. : col. ill.) : digital, PDF file. Description based on contents viewed Jan. 31, 2008. Includes bibliographical references (p. 84-87).