Thesis (Ph. D.)--University of Wisconsin--Madison, 1966. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1969. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1962. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 317-320).

No description available.

Thesis (M.A. (English)) - Rhodes University, 2008.

Meredith Monk's multi-modal work incorporates theatre, dance, film and music. Her claim is that music and specifically the voice lie at the heart of all her work. At this core, she uses auditory gesture in wordless vocal lines to express her meaning, usually the hidden narrative of emotion, to enable universal intelligibility. This thesis uses the concept of gestus in the sense of Brecht and Weill as an instrument to examine vocal gesture in three scenes in Monk's opera ATLAS, and then relates it to her compositional process. It also studies gestus in connection with Monk's biography and the influences on her especially Emile Jaques-Dalcroze and Antonin Artaud.

The scope and nature of this Thesis excludes at once the possibility of dealing exhaustively with so towering and complex a genius as George Meredith. He is so wholly sui generis that neglect of him involves neglect of nothing else, implies no deficiency of taste, no literary limitation. He cannot be placed. He has no derivation and no tendency; and yet he bridges the gap between the eighteenth and twentieth centuries as though the Victorian era had never been. It has, therefore, been natural to concentrate attention of the man's work itself rather than on its relation to that of contemporary or succeeding craftsmen. Considerations of space have made it necessary to isolate certain of his essential conceptions and salient characteristics. These have been considered analytically. While not claiming real novelty for many of the views set forward, there is a considerable degree, especially in the last two chapters. Needless to say, the portions of Meredith about which the critics are agreed, are much more important than anything "new" that can be said about him. For this reason the aim has been to go to the man's work so far as it was compatible with a moderate array of authority. Originality has been sought by going to origins rather than in eccentricity of opinion.

The scope and nature of this Thesis excludes at once the possibility of dealing exhaustively with so towering and complex a genius as George Meredith. He is so wholly sui generis that neglect of him involves neglect of nothing else, implies no deficiency of taste, no literary limitation. He cannot be placed. He has no derivation and no tendency; and yet he bridges the gap between the eighteenth and twentieth centuries as though the Victorian era had never been. It has, therefore, been natural to concentrate attention of the man's work itself rather than on its relation to that of contemporary or succeeding craftsmen. Considerations of space have made it necessary to isolate certain of his essential conceptions and salient characteristics. These have been considered analytically. While not claiming real novelty for many of the views set forward, there is a considerable degree, especially in the last two chapters. Needless to say, the portions of Meredith about which the critics are agreed, are much more important than anything "new" that can be said about him. For this reason the aim has been to go to the man's work so far as it was compatible with a moderate array of authority. Originality has been sought by going to origins rather than in eccentricity of opinion.

Doct. Diss.: Philosophy: Uppsala: 1971. _ Bibliogr. p. 106-110.

Inaug.-Diss.--Freiburg i. Br. / Lebenslauf. "Bibliographie": p. 53-54.