Syftet med min uppsats är att jämföra religiösa företeelser från tre av Stevie Wonders album med New Age för att på så sätt uttröna om Stevie Wonders texter påverkats av New Age- föreställningar. Jag hittar både skillnader och likheter när jag jämför det religiösa budskapet i Stevie Wonders texter med New Age. De New Age- företeelser som går att hitta i texterna är få i förhållande till New Age i sin helhet och det är svårt att avgöra vilka influenser som kommer ifrån Stevie Wonder, New Age eller den omgivande motståndsrörelsen. Det finns dock, enligt mig, absolut en koppling.

Thesis (Ph. D.)--University of Washington, 2003. / Vita. Includes bibliographical references (leaves 268-279).

In this dissertation, I examine Stevie Wonder's compositional style from his celebrated "classic period," (1972-1976) focusing specifically on the concentrated two-year time span from 1972-1974 marked by his unparalleled creative output that launched him into superstardom. My study operates on the premise that most melodic relationships are governed by a fundamentally pentatonic process and that harmonic relationships are largely governed by jazz-influenced tonal processes. I have transcribed dozens of examples from the time period under review in order to survey the expressive interaction between these two related but distinct systems and the resulting effect their usage has on melody and harmony. Using Schenkerian reductive analysis as my primary tool, I uncover recurring patterns that shape and shed light on his style. The final chapter of this study focuses on the ways in which Wonder's improvised melodic lines relate to the voice-leading framework of the basic melodic ideas in his performance of "I Love Every Little Thing About You" and also the ways in which his improvisation impacts forward motion in the course of this song.

Please note: this work is permanently embargoed in OpenBU. No public access is forecasted for these. To request private access, please click on the lock icon and filled out the appropriate web form. / Stevie Smith, born Florence Margaret Smith in 1902, was one of the most popular English poets of the Sixties, remembered for her idiosyncratic style of writing and sense of sound; distinct drawings (with which she illustrated her poems); eclectic and very learned use of literary echoes and allusions; memorable readings (and singings); and schoolgirl attire. She lived in her London suburb at 1 Avondale Road, Palmers Green, from age three until her death. Her work is included in anthologies of modern poetry, and her novels, Novel on Yellow Paper, Over the Frontier, and The Holiday, are part of Virago’s “Modern Classics” series and still in print. All of her prose works – novels, stories, essays, and reviews – contain pieces of her poetry. She used French, German, and Latin in her work, reading widely in these languages. An astute reader of the Bible and admirer of hymns, she was brought up in the Church of England but proclaimed herself agnostic after finding herself unable to reconcile God’s love with the doctrine of eternal hell. Her English schooling, including writers such as Shakespeare, Crashaw, Dryden, Pope, Wordsworth, and Tennyson, informed her writing, as did nursery rhymes, proverbs, and children’s stories, notably Grimms’ fairy tales and Lewis Carroll’s Alice in Wonderland and Through the Looking-Glass. Animals and children are often characters in her poems; she cared deeply for them, though she believed she would have failed at having her own. This annotated selection of 75 poems, drawn from each of her original volumes, uses the true first editions as the copy-text and includes textual variants from drafts and later editions and printings. Her best-known poem, Not Waving but Drowning, is among those selected. Full-page scans from the first editions give the drawings that accompanied the poems. References, echoes, and allusions are identified just beneath the text of the poem for easy comparison. Glosses provide definitions for obscure or dated words, and an introductory essay discusses her life and work, giving an overview of how and why she came to write the way she did. / 2031-01-01

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Stevie Smith's treatment of her two major themes of God and death reveals her seriousness as a poet; although she earned a reputation as a writer of comic verse, she is rather a serious writer employing a comic mask. This thesis explores her two, dominant themes, which reveal her inability to synthesize her views about both subjects. In religion, she proved to be a doubter, an atheist, and a believer. Her attitude toward death, though more consistent, is nonetheless ambiguous, particularly regarding suicide. Smith always considered death as a god, and her examination of both the gods of Christianity and of Death was exhaustive. She never developed a single view of either theme but proved to believe in several conflicting ideas at once.

The main objective of this thesis was to substitute beet sugar with Stevia Rebaudiana Bertoni plant extract, and to assess effect of this substitution on sensory quality of selected products. Ten different samples of cherry jam were produced, using different combination of sweeteners in each of them. As sweeteners, beet sugar and Stevia leaf extract was used. This stevia leaf extract is even 400 times sweeter than common sugar. All samples of jam underwent sensory analysis and results have been graphically processed. The results has shown that Stevia has certain effect on sensory quality.

Tese (Doutorado)–Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, 2010. / Submitted by Shayane Marques Zica (marquacizh@uol.com.br) on 2011-02-18T18:14:04Z No. of bitstreams: 1 2010_ElendeSousaGonzaga.pdf: 2888485 bytes, checksum: 0f35f56dab02744332741e5c8927ee63 (MD5) / Approved for entry into archive by Luanna Maia(luanna@bce.unb.br) on 2011-03-10T13:32:07Z (GMT) No. of bitstreams: 1 2010_ElendeSousaGonzaga.pdf: 2888485 bytes, checksum: 0f35f56dab02744332741e5c8927ee63 (MD5) / Made available in DSpace on 2011-03-10T13:32:07Z (GMT). No. of bitstreams: 1 2010_ElendeSousaGonzaga.pdf: 2888485 bytes, checksum: 0f35f56dab02744332741e5c8927ee63 (MD5) / O presente trabalho tem como objeto de estudo a construção da imagem da feiticeira na literatura inglesa contemporânea. O corpus dessa pesquisa é constituído por romances, contos e obras da historiografia. Temos a análise d‘O Asno de Ouro, de Apuleio, e dos contos Young Goodman Brown e Cabeça-de-Pena: uma Lenda Moral, de Nathaniel Hawthorne. Além desses textos literários, analisamos O Manual dos Inquisidores, de Nicolau Eymerich e o Malleus Maleficarum, de Heinrich Kramer e James Sprenger, manuais utilizados principalmente durante a Caça às Bruxas. Essas obras, de autoria masculina, são confrontadas com textos contemporâneos de autoria feminina, foco principal de nossa pesquisa. As obras selecionadas são As Sete Gerações, de Eva Figes, a metaficção historiográfica Impassioned Clay, de Stevie Davies, e a obra historiográfica Unbridled spirits: women of the English Revolution 1640 – 1660, também de Davies. A hipótese é que, a partir desses recortes, podemos analisar os sentidos que a imagem da feiticeira imprimiu – e ainda imprime – sobre a realidade. A análise das obras de autoria masculina selecionadas, problematizadas sob a perspectiva da crítica literária feminista, procura detectar até que ponto a representação da feiticeira foi usada para legitimar a imagem da mulher dependente, submissa e passiva. As obras de Figes e de Davies reconstroem a imagem da feiticeira e colocam em discussão o estereótipo tradicional que apresenta essa personagem como indesejável e antagonista do mundo masculino. _________________________________________________________________________________ ABSTRACT / The present work has as object of study the construction of the witch‘s image in the contemporary English literature. The corpus of this research is comprised of novels, short-stories and works of historiography. We analyze the novel The Golden Ass, by Apuleius and two short-stories, Young Goodman Brown and Feathertop: a Moralized Legend, by Nathaniel Hawthorne. Besides these literary works, we analyze The Inquisitors’ Manual, by Nicolau Eymerich and the Malleus Maleficarum, by Heinrich Kramer and James Sprenger, which were used specially during the Witch Hunt. These works, written by men, are confronted with contemporary texts written by women, the main focus of our research. The selected works are The Seven Ages, by Eva Figes, the historiographic metafiction Impassioned Clay, by Stevie Davies, and the historiography Unbridled Spirits: Women of the English Revolution 1640 – 1660, also by Davies. The hypothesis is that, through this selection, we can analyze the meanings that the image of the witch has impressed – and still impresses – on reality. The analysis of the selected texts, written by men, from a feminist literary criticism standpoint, tries to identify the use of the witch‘s representation to legitimize the image of the dependent, submissive and passive woman. Eva Figes and Stevie Davies rebuild the image of the witch and discuss the traditional stereotype that presents this character as undesirable and as an antagonist of the masculine world.

Min tanke med detta arbete var att hitta nya sätt att både skriva och producera låtar på, genom att använda mig av referenslåtar som inspirationskälla. Jag fokuserade på tre olika beståndsdelar från referenslåtarna, som sedan implementerades i tre nyskapade demolåtar. I låt 1 fokuserade jag på basen roll. I låt 2 fokuserade jag på solosångens relation till körsång och i låt 3 fokuserade jag på elpianot Fender Rhodes. När jag analyserade referenslåtarna så tog jag med mig vissa principer från respektive referenslåt och implementerade i mina egna låtar. Detta resulterade i att jag bland annat upptäckte nya spelsätt, sound och produktionstekniker att inspireras av till mina tre nyskrivna demolåtar. Att jobba med referenslåtar upplevde jag var ett bra startskott för att komma igång med låtskrivarprocessen. Samtidigt kunde jag stundtals känna mig begränsad och låst till referenslåtarna. Trots detta så var det en väldigt lärorik metod som hjälpte mig at vidga mina vyer och möjliggjorde för mig att skapa tre demolåtar som jag kanske inte annars hade skrivit.

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