Thesis (Th. M.)--Regent College, Vancouver, BC, 2002. / Abstract and vita. Includes bibliographical references (leaves 148-163).

Thesis (D. Min.)--Gordon-Conwell Theological Seminary, South Hamilton, MA, 2003. / Abstract and vita. Includes bibliographical references (leaves 312-328).

Thesis (M.A.)--University of Mobile, 2005. / Abstract. Includes bibliographical references (leaves 109-121).

Thesis (Ph. D.) -- University of Maryland, College Park, 2003. / Thesis research directed by: English Language and Literature. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

Thesis (D Phil(Psychology))--University of Pretoria, 2004. / Includes bibliographical references. Mode of access :World Wide Web.

Thesis (D. Min.)--Northern Baptist Theological Seminary, Lombard, Ill., 1999. / Abstract. Includes bibliographical references (leaves 57-58).

Thesis (Ph. D.)--West Virginia University, 2001. / Title from document title page. Document formatted into pages; contains iv, 241 p. Includes abstract. Includes bibliographical references (p. 235-241).

Thesis (M.A.)--Western Kentucky University, 2008. / Includes bibliographical references (p.56-57).

This thesis explores the ways in which gender and contemporary anthropology interact, with the special emphasis on the areas frequently referred to as "poststructuralist" or "postmodern." More specifically, I look at one aspect which postmodern approaches and feminist theories have in common: questioning of the dominant narratives. This questioning then leads through a series of constructed realities (or hyperrealities) to the realization of the importance of the concept of difference(s) in all its aspects. The ethnographic examples are from the Republics of Slovenia (primarily concerning feminist groups and scholars) and Macedonia (the region of Prespa, in the southwestern part of the country). In both countries the fall of communism has created a sort of a power hiatus, filled with questions about identity, the future and ways to organize the newly emerging societies (since both countries became independent in 1991). In that regard, both countries are hyper real. After the Introduction, I outline the debates surrounding "postmodern" approaches in anthropology, different theoretical assumptions, as well as the area(s) where these approaches can inform anthropological research. I start with the overview of the working definitions of "postmodernism" and the attitudes towards it that characterize current anthropological theory, continuing with what I regard to be the most illustrative examples of it being misunderstood and misrepresented, and concluding with the meeting point of postmodern anthropology and the study of gender. In the following chapters I present the results of my field research in Macedonia and in Slovenia, concluding with the theoretical implications of contemporary anthropological approaches to the study of gender, as well as the reasons for presenting it as basically a social construct. In Conclusion, I point out at the fact that gender studies seem to be the only area where postmodernism and anthropology interact in the most positive way, primarily through the full exploration of the concept of difference(s).

La musique est art du temps, puisque celui-ci lui donne sa matière. Elle le stylise et recrée les effets de son déroulement circonscrits dans une durée close. Pourtant, les représentations associent fréquemment l’art des sons à une tentative d’oubli voire de négation de l’écoulement temporel. Elles s’inscrivent alors dans une perspective idéaliste qui fait de la musique une utopie consolante, un baume apaisant sur un sujet en proie aux déchirements intérieurs et à la rupture avec le monde – ainsi que l’on peut le lire chez Schopenhauer et Proust à sa suite ou, plus tard, chez Lévi-Strauss. Cette étude a pour but d’examiner le devenir de cette conception du temps musical à l’aune de trois romans contemporains qui semblent l’illustrer mais aussi la mettre en procès : Melodien, de l’allemand Helmut Krausser (1993), Prajs, du russe Léonid Guirchovitch (1998), et The Time of Our Singing, de l’américain Richard Powers (2003). Certains éléments du langage musical, reposant essentiellement sur les principes de polyphonie et d’organicité, dessinent ainsi les contours d’un modèle esthétique (nommé ici « idéal éternitaire ») que ces trois auteurs, marqués par la tentation « compositionnelle », mettent à l’épreuve des transpositions intersémiotiques. L’analyse se porte ensuite sur ce que Paul Ricœur définit comme l’« expérience temporelle fictive », afin de voir comment le rêve d’abolition du temps associé à un sujet musical affecte à la fois le temps intime des personnages et les vastes chronosophies du temps collectif. L’idéal éternitaire, enfin, est à son tour plongé dans le temps : discrédité par les faillites historiques du XXe siècle, il se pense désormais à l’heure postmoderne, sommé de désigner ironiquement sa part anachronique et de confronter la Kultur germanique dont il est issu à la diversité des modèles musicaux. / Music is an art of time, since it gives it its matter. It gives it style and recreates the effects of its process confined in a closed period. However, representations commonly associate the art of sound with an attempt to neglect or even to deny the temporal flow. Accordingly, they fit into an idealistic perspective that makes music a consoling utopia, a soothing balm on a subject beset by internal rifts and rupture with the world – as can be seen in Schopenhauer and Proust after him or, later, in Levi-Strauss. This study aims to examine the future of this conception of musical time in the light of three contemporary novels that seem to illustrate it but also challenge it: Melodien (1993), by the German writer Helmut Krausser, Prajs (1998), the work of Leonid Guirchovitch, a Russian writer, and The Time of Our Singing (2003), by the American novelist Richard Powers (2003). Some elements of the musical language, based primarily on the principles of polyphony and organicity, delineate an aesthetic model (here called “ideal éternitaire”) that these three authors, marked by “compositional” temptation, challenge through intersemiotic transpositions. The analysis then turns into what Paul Ricœur defines as the “fictive temporal experience” to see how the dream of abolishing time associated with a musical subject affects both the intimate time of characters and vast chronosophies of the collective time. Finally the “ideal éternitaire” is in turn immersed in time: discredited by the historical bankruptcies of the twentieth century, it now looks upon itself in the light of postmodern times, ironically bound to refer to its anachronistic share and to confront the German Kultur it comes from with the diversity of musical styles.