楊春薇. / 論文(哲學博士)--香港中文大學, 2002. / 參考文獻 (p. 1-12 (2nd group)). / 中英文摘要. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. Ann Arbor, MI : ProQuest Information and Learning Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Mode of access: World Wide Web. / Yang Chunwei. / Zhong Ying wen zhai yao. / Lun wen (zhe xue bo shi)--Xianggang Zhong wen da xue, 2002. / Can kao wen xian (p. 1-12 (2nd group)).

The purpose of this thesis is to show through the presentation and analysis of authoritative information, and opinions drawn from the information and analysis, the development of violin technique from its basic rudiments as an accompanying instrument to the plane of a brilliant solo instrument, a position it still maintains today. This thesis aims to deal exclusively with the technical evolution of the violin. Many books on the history of the violin have been written, but none have dealt exclusively with the technical evolution of this instrument, and it is hoped that the materials in this thesis will constitute a contribution to this field.

There are no figures available, but if a survey were made, possibly more people would be found engaged in the study and teaching of piano than any other musical instrument. It is much to be desired for both teachers and students to have an intimate acquaintance with the principles underlying the structure of modern piano technique. The situation as it generally exists contrasts sharply with the ideal situation. The ignorance of this important phase of piano study causes an enormous annual waste of time and money on the part of students. With an adequate technical knowledge, teachers, instead of allowing their pupils to practice blindly and mechanically, would be able to explain the reason for each movement they ask them to perform. Many failures in both classes occur because of the lack of understanding of what piano playing requires.

Since the 1970s, the work of Los Angeles-based artist Paul McCarthy (b. 1945) has included live performance, video, sculpture, kinetic tableaux, and installation. Tracing the development of McCarthy’s work between 1974 and 2013, I undertake a critical discussion of the development of performance in relation to visual art practices. Using one artist’s work as a guide through a number of key discussions in the history of performance art, I argue that performance has influenced every aspect of McCarthy’s artistic practice, and continues to inform critical readings of his work. My thesis follows the trajectory of McCarthy’s performance practice as it has developed through different contexts. I begin with the early documentation and dissemination of performance in the Los Angeles-based magazine High Performance (1978-83), which established a context for the reception of performance art, and for McCarthy’s early work. I then examine specific examples of McCarthy’s practice in relation to his critical reception: live performances and videos from the 1970s are discussed alongside critical readings of his work influenced by psychoanalysis; and the wider public recognition of McCarthy’s object-based art in the 1980s and early 1990s. I then look more broadly at the recent trend of re-enacting historical performances in the Getty’s Pacific Standard Time project (2011-12), as a mode of engaging with performance history and exploring how histories of ephemeral art are re-iterated over time. Finally, I discuss a number of McCarthy’s recent exhibitions and installations that mobilises a wider consideration of the histories of performance and ephemeral practices in art institutions. McCarthy’s work is firmly established in the art world, and I argue that his work also provides a significant touchstone for histories of performance. I look historically at how McCarthy’s work has been documented, disseminated, curated, and re-performed, and open wider discussions about ways of engaging with performance history. In turn, I complicate the relationship between performance and the art world; between ephemeral art and object-based art practices; and between scholarly engagements with performance history, and the public presentation of performance in curatorial practices and institutional contexts.

This thesis explores the potential fruitfulness of drama for Christian theology through a close analysis of particular dramatic works by Dorothy L. Sayers (1893-1957). This project contends that to determine the extent to which drama can be more than a mere metaphor in theological writing, it is vitally important for theologians to attend to specific instances of dramatic performance. The approach of this project is, therefore, one of taking time over particular plays, examined with sensitivity to the circumstances of the original productions of these works. Through such close study of Sayers’ plays, a case is made for drama’s capacity to show forth God’s action in history. At the heart of the theology which emerges from the plays is an incarnational and participatory dynamic: a movement which brings embodied, time-bound specificities into an intimate relationship with the excessive, uncontainable, superabundance of divine being. This thesis aims to contribute to the growing body of work which is discovering deep resonances between drama and theology. It also makes a significant contribution to the study of Sayers’ writings. Whilst Sayers’ detective fiction and other prose, in particular her book The Mind of the Maker, has received attention from scholars interested in theology, the theological significance of her plays has been overlooked. The thesis examines in detail four of Sayers’ dramatic works. Chapters Two and Three each treat works written for broadcast on BBC radio: first, Sayers’ 1938 nativity play, He That Should Come; second, her series of twelve plays depicting the life of Christ, The Man Born to Be King, broadcast between 1941 and 1942. Chapters Four and Five discuss plays written for performance in ecclesial settings: The Just Vengeance, commissioned as part of a festival at Lichfield Cathedral in 1946, and The Zeal of Thy House, the Canterbury Cathedral Festival play for 1937.

published_or_final_version / abstract / Humanities / Master / Master of Philosophy

Excerpt: In 1859, the Edinburgh house of Wood and Company published a Sketch of the History of the Edinburgh Th eatre-Royal in honor of its fi nal performance and closing, its author lamenting that “Th is House, which has been a scene of amusement to the citizens of Edinburgh for as long as most of them have lived, has at length come to the termination of its own existence” (3).

Der Artikel beschäftigt sich mit der Geschichtlichkeit der performativen Künste der 1960er und 1970er Jahre.

The purpose of this study was to develop a guide to help teach commercial music style imitation, Styles selected were ragtime, dixieland, Whiteman, Goodman, Miller, bop, Berry, Presley, Motown, hard rock, horn band, soft rock, straight ahead big band, Ellington, Basie, country rock, bluegrass, Country-Western, Mantovani, Boston Pops, and Love Unlimited Orchestra. Melody, harmony, rhythm, voicing, instrumentation, form, special effects, performance techniques, electronic alteration, and articulation were discussed for each style. A table summarizing each discussion, and an arrangement and recording of the same melody in each style were included, The guide appears successful, judging from commercial writers' estimations, The work will probably aid writers, performers, researchers, and publishers. Similar works could be done on other commercial and ethnic styles.

This thesis is an investigation of the representation of the figure of the man who raped on the early modern stage. The early modern “man who raped” must be distinguished from the modern term “rapist” insofar as the modern term ascribes an ontological or sociological position to the individual male that was alien to the early modern world view. The shifting value of “rape” in the early modern period presaged more modern conceptions of rape as “an experience imposed on an embodied subject, a violent sexual assault that in its corporal nature destabilizes the intersubjective personhood of the victim” (Cahill 207). As such, the shifting values of the term also prefigured more modern conceptions of masculinity and the successful performance of masculine values. The figure of the man who raped on the early modern English stage often was not merely the monster against which successful forms of masculine behaviour could be contrasted – often such characters found a sympathetic audience. And often, that audience was encouraged and directed through paratextual and dramaturgical devices to see themselves in and identify with the man who raped, for he could be redeemed. This thesis uses the lens of the Roman play to investigate sexual assault because Roman plays clarified masculine ideals for the early moderns; Rome, civilization, manliness, stoic self-control and virtus on the early modern stage were all coincident terms that articulated sexual difference and therefore the construction of the male subject (Kahn 15). The first section looks extensively at the English inheritance of Roman and Anglo-Saxon laws on sexual assault, while the subsequent chapters turn to early modern drama more closely. The plays under study are Marston’s Wonder of Women, Heywood’s Rape of Lucrece, Shakespeare’s Titus Andronicus, Middleton’s Hengist, King of Kent, and Fletcher’s Bonduca. / SSHRC, School of English and Theatre Studies, College of Arts