The purpose and problem of this thesis is to formulate a theory on screenplay aesthetics with Eisenstein's montage as the mother theory providing the aesthetic nourishment for the proposed concept of imaging. The theory of screenplay imaging proposes that the screenplay is a montage of sub-narratives occurring in the sensual, emotional, and intellectual dimensions and expressing the grand narrative theme. It further suggests that the interaction between the screenplay and the reader-interpreter should yield a prolificity of interpretation with a unified meaning. The thesis consists of five chapters. Chapter I, Introduction, lays the background for subsequent arguments. Chapter II, The Principles of Montage, discusses Eisenstein's theory. Chapter III, The Theory of Imaging, explains imaging and develops Gonzalez's Model of Imaging. Chapter IV, The Principles of Sensual, Emotional, and Intellectual Imaging, explains the three dimensions with examples. Chapter V, Conclusion and Recommendation, suggests improvements and applications of the theory.

Sergei Prokofiev experimented with styles which shocked the public because his ideas were far ahead of his time. In the 1930's, the Soviet composer turned to a neoclassical style. His Sonata, Opus 119, for violoncello and piano, is a product of this final period of composition. The purpose of this study is to determine the stylistic characteristics of this sonata. This study includes a detailed description of the compositional techniques Prokofiev used in this work. These techniques are categorized according to the basic stylistic elements. The sources of data are comprised of the score of Prokofiev's Sonata, Opus 119, as well as books on twentieth-century music and on Prokofiev as a man and as a composer. The score was used for purposes of analysis.

The purpose of this thesis is to give a descriptive look at modern Russian music, specifically the early piano sonatas of Russian composer Sergei Prokofiev, with focus on style and style influences.

Samuel Beckett's Film has been the focus of several articles in the past decade. While current investigations of Beckett's film are diverse, what most of them share is their dependence on biographical data to support their readings. Many scholars who have written on Beckett's failed cinematic excursion, for example, point to Beckett's letter of 1936 to Sergei Eisenstein. However, the link between Beckett's interest in film and his admiration for James Joyce has sadly been overlooked. Both Irish writers saw the artistic possibilities in film and both admired the Russian silent film legend, Sergei Eisenstein. Although there is no record of Joyce and Beckett discussing cinema or of Beckett knowing about Joyce's meeting with Eisenstein in 1929, it seems unlikely that Beckett would not have known something about these meetings or Joyce's much earlier film enterprise, the Volta. By re-examining Film and speculating on the possible three way connections between Eisenstein, Joyce and Beckett, I wish to add a footnote to Beckett studies which hopefully will lead others to wander on the Beckett-Joyce-Eisenstein trail and which will open up further discussions of Film. Beckett's film is haunted by the memory of his friendship with James Joyce and his admiration for Eisenstein's talent, both of which are visible in the screen images and theme of Film.

Tales of Old Grandmother, Op. 31 by Prokofiev is based on a fairy tale theme. It can be considered as both a most valuable pedagogical piece for young students and as a piece for the concert repertoire. However, this piece was under-appreciated by most piano performers and piano pedagogues for many years, even though it was praised by several well-known composers and was often played by other pianists and Prokofiev himself. The main aim of this study is to promote the Tales so that they will be performed and taught more often. All of the complex harmonic language, unique unforgettable lyricism and Prokofiev's typical compositional elements are presented in this score, allowing it to serve as a great concert repertoire choice. At the same time, the simple format setting, less demanding technique and the fairy tale theme can easily catch and hold a children's interest. Therefore, Tales of Old Grandmother contains both performance value and pedagogical value. This premise is achieved through a discussion of Prokofiev's unfailing interest in fairy tales and comparisons between Tales of Old Grandmother with Prokofiev's advanced piano works and with his Music for Children, Op. 65. Lastly, a performance guide is given suggesting different performance interpretations, various practice strategies and several efficient teaching methods regarding the Tales of Old Grandmother, Op. 31.

Theme and Variations is arguably one of the oldest musical forms in music history. Composers have used certain themes repeatedly as thematic sources for variations. Among them, Paganini's Caprice No. 24 in A minor is certainly the best known, since the theme has inspired many composers for variations of their own. The purpose of this study is to analyze different sets of Variations on Paganini's theme by Franz Liszt, Witold Lutoslawbski, Johannes Brahms, and Sergei Rachmaninoff, in order to examine, identify, and trace how far an original idea can be stretched by using different variations techniques and their applications. Liszt transcribed Paganini's 24th Caprice for the piano, adding a multi-layered sound to the original Caprice. His treatment of the Paganini theme is the most literal. Lutoslawski's Paganini Variations is written for duo piano. This piece builds on Liszt's transcription technique: it stays close to the original Paganini Caprice, but at the same time overlays many 20 th century compositional devices such as atonality and complex rhythmic devices. Lutoslawski carries Liszt one step further away from Paganini's original theme. In his Variations on a Theme of Paganini, op. 35, Brahms keeps the clear structure and strong harmonic progression of the original theme, but carries his invention further away from the source than Liszt and Lutoslawski. His compositional technique includes adding new harmonies within the harmonic structure, marking different tempo indications and meter changes, playing with a variety of rhythm and motives, as well as accentuating the harmonic progression and the bass progression. Rachmaninoff's Rhapsody on a Theme of Paganini, Op. 43 is the most personal. He places greater emphasis on the melodic and motivic elements of the theme, and nearly exhausts every option of transformation. Rachmaninoff's extensive development represents the furthest point away from Paganini's source.

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Dissertação (mestrado)—Universidade de Brasília, Faculdade de Comunicação Social, Programa de Pós-Graduação em Comunicação, 2013. / Submitted by Alaíde Gonçalves dos Santos (alaide@unb.br) on 2013-06-10T12:39:07Z No. of bitstreams: 1 2013_MarcelaTammRabello.pdf: 1013138 bytes, checksum: ec5fc229cf49184d3f40df140e64a82b (MD5) / Approved for entry into archive by Guimaraes Jacqueline(jacqueline.guimaraes@bce.unb.br) on 2013-06-10T13:07:30Z (GMT) No. of bitstreams: 1 2013_MarcelaTammRabello.pdf: 1013138 bytes, checksum: ec5fc229cf49184d3f40df140e64a82b (MD5) / Made available in DSpace on 2013-06-10T13:07:30Z (GMT). No. of bitstreams: 1 2013_MarcelaTammRabello.pdf: 1013138 bytes, checksum: ec5fc229cf49184d3f40df140e64a82b (MD5) / Esta dissertação trata da teoria do monólogo interior de Serguei M. Eisenstein, cineasta e teórico russo. A fim de acompanharmos as reflexões de Eisenstein acerca do monólogo interior no cinema relacionamos tanto o recurso quanto a obra do cineasta e teórico russo ao contexto das vanguardas artísticas do início do século XX, principalmente o construtivismo russo. Ao considerar as reverberações do monólogo interior em outras linguagens artísticas, constatamos como o cinema e a teoria de Eisenstein estão inseridas em um movimento muito maior que abarca transformações em variadas formas de expressão que seguem se intensificando até os dias de hoje. _______________________________________________________________________________________ RÉSUMÉ / Cette dissertation a pour sujet la théorie du monologue intérieur de Serguei M. Eisenstein, cinéaste e théoricien russe. Pour accompagner les reflexions d’Eisenstein sur le monologue intérieur dans le cinéma, nous mettons en rapport aussi bien cette forme d’expression que l’oeuvre du cineaste et theoricien russe avec le contexte des avantgardes artistiques du début du XX ème siècle, notamment le Constructivisme Russe. En considerant les maniféstations du monologue intérieur dans des autres langages artistiques, nous constatons que le cinéma et la théorie d’Eisenstein s’insèrent dans un mouvement beaucoup plus grand qui concerne des transformations dans multiples formes d’expressions qui s’intensifient jusqu’aux jours actuels.

Orientador: Lucia Nagib / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-07-28T16:54:01Z (GMT). No. of bitstreams: 1 Viana_SoraiaConceicao_M.pdf: 3753236 bytes, checksum: 8b8b6727d13ed8a9a0343815efa221fd (MD5) Previous issue date: 2001 / Resumo: Elementos da cultura japonesa e chinesa contribuíram para as formulações da proposta de cinema de Sergei Eisenstein. O percurso da análise focaliza: o teatro japonês Kabuki, destacando sua proximidade com a proposta de cinema sonoro de Eisenstein; as gravuras ukiyo-e de Sharaku, associadas ao modo como Eisenstein explora os fragmentos de imagens para obter determinados efeitos; o teatro chinês de Mei Lan-fang, com sua proposta de um espetáculo que unifica os elementos cênicos, estimulando os diversos sentidos do espectador; e, finalmente, a analogia que Eisenstein faz da sua proposta de montagem no cinema com a milenar linguagem ideogramática chinesa. Há evidências dos diálogos de Eisenstein com esses elementos da cultura oriental em várias seqüências de seus filmes. A localização deles no filme Outubro (1928) facilita a compreensão do modo como Eisenstein estruturou sua proposta singular e revolucionária no campo das elaborações cinematográficas / Abstract: Not informed. / Mestrado / Multimeios