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In recent years there has been a body of studies relating nostalgia and fiction in political, sociological, feminist, or historical ways. This thesis, instead, sets out to perform an unusual textual study of nostalgia in modern fiction in order to work towards a poetics of nostalgia. Although the experience of emotion is private, the object of analytical discourse must be to approach this experience with objective tools. The thesis therefore develops a method for analyzing the experience of nostalgia in literary texts and then uses this method to study how nostalgia can be evoked in readers. The method works through close textual readings, developed through reader-response and narratological theories and validated through a thorough investigation of modern nostalgia in general. The result is a taxonomy of nostalgic strategies that possibly create nostalgic reactions in readers.

<p>Fanny Hensel wrote much of Felix Mendelssohn's music. Or so goes the popular misconception. It is true that Felix did publish six of his sister's Lieder under his own name, in his Op. 8 and Op. 9, but there is no evidence that anything else he published was actually by Fanny. The perpetuation of this idea is by no means new to our century; even during her lifetime, Fanny received letters alluding to the possibility that some of her music was masquerading as Felix's. But how could this supposition even be possible?</p><p>Complicating our reception of Hensel's works and our knowledge of her influence over him, and perpetuating our misconception (and perhaps hopes) that some of Felix's music was by Fanny was the unavailability of her music to the general public. For most of the twentieth century, she was known mostly by her eleven published opera (five of which were released posthumously). Before she was able to plan and accomplish any sort of systematic publication of her works, she died suddenly, at the age of 41, leaving behind upwards of 450 unrevised, unpublished works.</p><p>Clearly, we need to reconsider the term "Mendelssohnian," and bring Hensel to the foreground as an equal partner in forming the Mendelssohns' common style. I examine the roots of the "Mendelssohnian" style in their parallel musical educations, their shared enthusiasm for the music of Bach, and their simultaneous collision with Beethoven's music (and the diverse ways each responded to his influence). I explore in detail the relationship between Fanny, Felix, and her fiancé Wilhelm Hensel through the methodology of kinship studies, to contextualize what some have viewed as a quasi-incestuous sibling relationship within the norms for sibling communication in the nineteenth century. Finally, I discuss how deeply their separation after 1829 affected both Fanny and Felix, and how Fanny negotiated her changing life roles and ambitions as a composer and performer.</p><p>One work that Fanny never released, and, indeed, one work that has remained a mystery, is the Ostersonate (Easter Sonata). Believed lost since it was first mentioned in correspondence in 1829, the sonata resurfaced in the twentieth century, when it was recorded and attributed to Felix, and then disappeared again without a trace. In the absence of any identifiable manuscript, it had been impossible to definitively challenge this attribution. My research represents a major breakthrough: I traced the manuscript to a private owner and positively identified it as the work of Fanny Mendelssohn.</p><p>Lurking behind the popular misconception is a broader truth: Fanny Hensel can be heard in much of Felix Mendelssohn's music. In other words, what audiences have recognized as Felix Mendelssohn's music for nearly two hundred years would not have existed as such without the influence of Fanny Hensel. This idea in itself is hardly new, but by revising this line of reasoning, we see that it is equally possible that much of Fanny Hensel can be heard in Felix Mendelssohn's music. In the end, neither composer could have existed as we know them today without the other, and their shared musical style stands as a lasting testament to their shared identity as Mendelssohns.</p> / Dissertation

An exploratory investigation using a case study approach was undertaken in five organisations in different sectors, to explore whether there is any connection between CEO leadership style and adoption of the marketing concept by the organisation. Findings emerged on several levels. The market orientation and marketing concept, beyond the level of customer focus, is not well understood in organisations. The integration of market orientation and marketing effort across the organisation presents as the most problematic component of the marketing concept, as well as the one where CEO leadership style has the most potential to impact. The language of leadership theory is not actively assumed by people working in the case study organisations. The way people experience leadership style is ultimately personal, interpersonal and difficult to describe. Leadership attributes are valued differently in different organisations. Highly regarded leadership strengths result in perceived weaknesses being forgiven. In relation to the main research question, intuitively most people believed there is a connection between CEO leadership style and adoption of the marketing concept, but this was difficult to test at an organisational level due to small sample sizes and because each case study business presented with relatively high market orientations and CEOs with appropriate leadership styles. The CEO leadership themes commonly determined to be relevant were people focus (in terms of customers and staff), vision, change orientation, and passion/enthusiasm for the business. Survey data at the individual level was aggregated across the five organisations and analysed. Results showed the above attributes, and others associated with transformational leadership approaches, were related to perceptions of market orientation. While these results cannot be statistically generalisable because of the small and unrepresentative sample used, the findings suggest that the link between individual organisation members' perceptions of market orientation and CEO leadership would be worthy of a larger study.

This thesis examines the cultural consumption of the Korean music video Gangnam Style in the broader context of the increasing popularity of Korean popular content, often called the Korean Wave, and of complex conditions of transnational consumption. Specifically, it investigates why the music video Gangnam Style gained popularity not only in East Asia but also over the world, how it is circulated, and what conditions contribute to its success. It focuses on the role of the networked audiences and the interactions between the networked audiences and mainstream media through a chronological analysis on the distribution and reproduction process of Gangnam Style on YouTube. Through the case study of Gangman Style, this thesis attempts to rethink the established globalization theories and to suggest new perspective of cultural circulation in the globalized and digitalized media environment.

街舞圈中，有一群特別的男舞者，他們擅長各種在台灣偏女性意象的風格。妖、騷、婊，是大家最常用來形容他們舞蹈肢體的詞彙。這群Girl’s Style男舞者帶給觀眾對於性別的不安全感，是這份研究的出發點，並且提出兩個研究問題，第一，他們性別越界特質的舞蹈實踐為何，反映了什麼性╱別意涵；第二，他們如何從舞蹈實踐中形塑自我。 為了解舞者的舞蹈實踐，本研究採取了參與觀察與深度訪談兩種資料收集方法，在校內熱舞社與校外街舞教室兩個田野點，集結近六個月的參與觀察筆記、近一年的相處經驗，以及四位受訪者的訪談內容，組成了可供分析的資料。研究者以舞蹈實踐、跨性別與舞蹈取向的自我，作為資料分析的三大概念，讓可見的舞蹈與舞者成為資料分析的對象。並且將舞者的自我等同於舞者的身體，其支持了舞者的吸收與抵抗，是舞者能動的基礎。 研究發現，這群特別的男舞者在街舞圈中，透過服裝、話語、性別腳本等多重文本的實踐，構成Bitch-Style這個新的意義系統，並且在實踐中翻轉了妖、騷、婊等污名話語，亦形塑跨性別的自我。舞者亦會在不同的情境中會自動調校性化的位置，以自我保護、展演符合社會期待的性別角色。未來期望更舞蹈與性/別的相關研究，能和本文的婊子們彼此激盪、對話。 / There’s a group of male street dancers call themselves “bitches”. Started with the uncertain feeling toward their sex/gender dancing image, the study tried to figure out what are their transgender dance practices, what kinds of meaning it contains with sex/gender, and how they fashion themselves by dancing. To understand their dance practices, the researcher took " Participant Observation" and "In-Depth Interview" as the two ways of data-collecting. After gathering with them for one year, I take dance practice, transgender performances and dance orientation of self as three approaches to analyze data. Self in this study is treated as dancers’ dancing body. In conclusion, the researcher argue that Girl’s Style male street dancers should be named as Bitch-Style male dancers. They form themselves by multi-textual practices such as discourses, dressing and gender script. Those insulting phrases like 妖、騷、婊 are transformed into positive words to them by dance practicing. Also, researcher found that they change sexed position quickly and well whenever they change scenarios. In the future,I hope there could be more researches about dance and sexuality which can support and dialogize with Bitches in my study.

There is no abstract available for this thesis.

The purpose of this study was to review the findings of Leblanc (1979) utilizing the most common styles of popular music in today's media. Seven styles of popular music, traditional jazz, and Romantic classical music were ranked in order of preference; subject responses were compared by age, gender, environment of upbringing, and amount and type of music training. The sample consisted of 332 fifth graders and college non-music majors. Subjects completed a Personal Information Form, listened to a recording of 19 musical examples representing the styles being studied, and recorded their preference for each on the Music Preference Inventory.Results indicated an overall decline in preference in comparison to Leblanc (1979). Preference responses indicated that fifth graders and college non-music majors ranked the music styles differently, although both age groups ranked pop rock music among the most preferred styles and country, traditional jazz, and Romantic classical music as the least preferred styles. Females recorded significantly higher overall music preferences than males and differed in their preference for individual music styles. Preferences for individual styles also varied depending on the environment in which subjects were raised. Overall music preference was significantly higher among subjects with more music training, and instrumental biases were found based on specific types of music training.The results of this study strongly suggest that popular music styles are the most preferred music styles. Furthermore, variables such as age, gender, and environment of upbringing influence preference for individual music styles in different ways. However, increased music training and specific types of music training positively influence overall music preference and increase preference for non-popular styles. / School of Music

Thesis (Ph.D. (Industrial Sociology))--North-West University, Potchefstroom Campus, 2008.

Thesis (Ph.D. (Industrial Sociology))--North-West University, Potchefstroom Campus, 2008.