Thesis (Ph. D.)--Indiana University of Pennsylvania. / Includes bibliographical references.

Texte remanié de : Dissertation : Neuphilologie : Universität Heidelberg : 1978.

Thesis (Ph. D.)--Ohio State University, 2003. / Title from first page of PDF file. Document formatted into pages; contains viii, 194 p.; also includes music. Includes abstract and vita. Advisor: James Akins, School of Music. Includes bibliographical references (p. 191-194).

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.

This Master's thesis aims to demonstrate that the history of the suburb happened in two phases, creating two kinds of suburbs: "countryside-suburbs" and "new generation suburbs," which can be found in literary texts. The first chapter traces the social history ofthe suburb. The second chapter analyzes texts by Jacques Ferron in which he describesthe countryside-suburb. The third chapter takes a look at Dee by Michel Delisle, whichnot only portrays the countryside-suburb (like Ferron), but also evokes the newgeneration suburb. The countryside-suburb has a natural, rural aspect, and it has a certainin stability due its bordering the city. The new generation suburb is a place where the rural aspect is vanishing, and where the sense of instability seems more ideological than material. It is a place where the American Dream has been realized according to the script, but has generated a feeling of emptiness. / Ce mémoire vise a demontrer qu'il existe deux types de banlieues dans la littérature québecoise: les "banlieues-campagnes" et les "banlieues nouvelle generation". Le premier chapitre considère la socio-histoire de la banlieue québecoise. Le deuxième explore quelques textes de Jacques Ferron ou des traces de la banlieue campagne peuvent etre observées. Le troisième chapitre fait ressortir, dans le roman Deede Michael Delisle, des éléments définitionnels de la banlieue-campagne semblables à ceux décelés chez Ferron: un aspect natural, une certaine ruralité et une instabilité attribuable au caractère limitrophe de ce lieu par rapport a la ville. Ce chapitre traite aussi des aspects de la banlieue nouvelle génération, une nature domptée, un lieu ou la ruralité n'a plus préseance, une instabilité moins materielle qu'ideologique. Ce mémoire conclut que la banlieue nouvelle génération est le résultat d'un American Dream consommé ou un grand vide s'est immiscé.

Criticism of Michael Ondaatje's prose emphasizes the author's deconstruction of familiar binary oppositions as he challenges history and authority. The criticism, however, neglects the opposition between men and women. This omission is surprising, considering the remarkable transition in the representation of women throughout Ondaatje's prose. Women in The Collected Works of Billy the Kid (1970) and Coming Through Slaughter (1976) are objectified: lacking the tools for self-representation, the women are framed as sites of sexuality, negativity, and darkness. In Running in the Family (1982), however, the narrator finds community with female family members, recognizing in himself the penchant for storytelling of his female relatives. Running bridges the earlier texts with the later In the Skin of a Lion (1987), where the narrator grants a more complex subjectivity to the women, empowering them with ability equal to that of men to take "responsibility for the story"(Skin 157).

This thesis builds on Michael Dutton‘s work on the policing of the political in China. It explores the role of the friend/enemy dialectic in Xinjiang. The analysis centers on the Uyghurs and argues that ethnicity has played a central role in shaping the excision of enemy from the category of friend since the construction of the People‘s Republic of China. This identification of enmity is undergirded by the particular ethnic vicissitudes that have produced both a horizontally inclusive and vertically hierarchical Chinese nation. This ethnic component of Chinese nationalism situates the ethnic Han majority as the core of the nation. Beginning with the peaceful liberation of Xinjiang and its incorporation into the PRC and extending to the ―7.5‖ race riots and hypodermic needle attacks in the summer of 2009 the thesis contends that the categories of ethnicity have been at the heart of the elimination of the enemy in China and can be linked directly to many of the Chinese state‘s colonial practices. / Graduate

No description available.

Norzoanthamine is a complex heptacyclic marine alkaloid isolated from colonial zoanthids. It potently inhibits loss of bone weight and strength in a postmenopausal osteoporosis mouse model, but its mode-of-action remains unknown. The scarcity of this natural product from its natural source and the need to access analogs for structure-activity relationship (SAR) study make it necessary to chemically synthesize this compound. However, the complex molecular skeleton, especially the highly functionalized and stereochemically complex ABC core structure of the natural product poses a significant challenge. As part of our efforts to develop a practical synthetic route to norzoanthamine, we systematically explored a transannular Michael reaction cascade in the context of the synthesis of angular 6-6-6 tricyclic ring system, a mimic of the ABC core structure of norzoanthamine. Using 1,7-bis-enones in the form of 14-membered macrocyclic lactone as model substrates, we demonstrated that both E,Z- and E,E-macrocycles underwent facile transannular reactions to give cis-syn-cis and trans-anti-trans ring systems, respectively. However, Z,E- and Z,Z- macrocycles did not cyclize under similar reactions. The similarities and differences between transannular Diels-Alder reactions and this transannular cyclization process were also disclosed. Building upon these preliminary studies, we developed a 12-linear step synthesis of the ABC carbocyclic core of norzoanthamine. It features an organocatalytic asymmetric intramolecular aldolization to set the stereochemistry of the entire molecule, a fragment coupling based on selective alkylation of a bis-enolate, and a transannular Michael reaction cascade for rapid and stereoselective synthesis of the polycyclic core. Subsequent Claisen rearrangement enabled installation of a handle for introduction of the bottom piece to complete the total synthesis. Other efforts toward the total synthesis have also been discussed.

Most inquiries into the nature of literary value have focused on how the academy shapes literary taste and determines the reputation of individual authors. This thesis examines how ideas of literary canon can impact a writer at the creative level. Michael Ondaatje's interest in the cultural significance of authorship makes him ideal for this topic of study. The first essay discusses how Ondaatje's repeated quotation of his own texts can be viewed as a metafictional commentary on the anxieties of literary innovation. It shows how the idea of literary influence and the author's relationship to the canon can be embodied as a formal and thematic characteristic of the literary text. The second essay shows how Ondaatje responds to traditional conceptions of the English-Canadian canon as an editor of a national anthology of short fiction. Early national anthologists beginning with E. H. Dewart in his Selections from Canadian Poets (1864) consolidated a set of evaluative criteria that reflected aspects of nineteenth-century English-Canadian nationalism. This essay examines two national anthologies that represent an alternative to this tradition. John Simpson's The Canadian Forget Me Not for MDCCCXXXVII (1837) is a representation of popular nineteenth-century bourgeois literary taste that predates this legitimating rhetoric. Michael Ondaatje's From Ink Lake (1990) renders an ironic commentary on this hundred-year-old legacy of canon formation.