Séparé du Sud pastoral, de la capitale londonienne et d’Oxbridge par une frontière moins géographique que culturelle, le Nord de l'Angleterre a une géographie variable en fonction des besoins du discours. Une constante discursive parcourt cependant la littérature sur la région : marqué par ses rudes conditions climatiques, jadis peuplé de barbares, en butte aux invasions et ravagé par la Révolution Industrielle, le Nord serait en marge de la sphère poétique. Or, à partir des années 1960, dans le cadre d'une redécouverte des marges de l'ex-empire et d’une dissolution des frontières nationales due à la mondialisation, le Nord revendique son droit à figurer à part entière au cœur de la carte poétique. Les poésies de Basil Bunting, de Ted Hughes, de Tony Harrison, et de Simon Armitage nous invitent à parcourir ces Nords géographiques, historiques, culturels, mais avant tout poétiques. Ces quatre poètes, nés dans le Nord, ont en commun d’avoir pris une distance, sinon physique, du moins intellectuelle, avec la région, ce qui leur a permis de poser un regard critique. Le mouvement nostalgique de retour à la terre natale amorce une réappropriation sur le plan de l’imaginaire de cet espace colonisé par des discours dépréciatifs. Les poètes y découvrent une source intarissable de créativité et partent en quête d’une langue qui résorbe l’écart entre nordicité et poéticité : l'impur accent barbare devient axiome poétique. Comment cette poésie du Nord met-elle en question l'anglicité et la tradition poétique anglaise en même temps qu'elle la structure ? Si « poésie du Nord » il y a, quelles en sont les réalisations dans la voix, le rythme et la forme poétiques ? / Divided from the pastoral South, London and Oxbridge by a frontier that is less geographical than cultural, Northern England has been constructed through shifting discourses. One discursive feature though has been constantly present in the literature on the region : since the place is forbidding (not the least because of its grim weather), since it used to be populated with barbaric tribes and provided a buffer against even more barbarian invasions, since it was devastated by the Industrial Revolution, the North is excluded from the poetic sphere. Yet since the 1960s, in a context of peripheries emerging from the former empire and of national frontiers disappearing due to globalisation, the North has claimed its right to hold a central place on the poetic map. Basil Bunting, Ted Hughes, Tony Harrison and Simon Armitage have participated in reconfiguring geographical, historical, cultural, but, most importantly, poetic Norths. The nostalgic return to the region where they were born and bred reads as a creative and critical reappropriation of a space that has been colonised by derogatory discourses. The poets discover an inexhaustible source of inspiration and set on a quest for a language that would bridge the gap between northerness and poetry : their impure barbarian accent becomes a poetic axiom. How does this Northern English poetry question Englishness and the English poetic tradition while constructing them ? If « Northern English poetry » does exist, how does it show in terms of poetic voice, rhythms and forms ?

Denna uppsats har som syfte att undersöka hur Hans Rosling i sina TED Talks använder bildspel och vilken funktion de fyller i hans presentationer. Genom att analysera Roslings bildmaterial i TED-föreläsningen ”The best stats you’ve ever seen” (2006) med utgångspunkt i Perelmans och Olbrechts-Tytecas argumentationsmodeller exempel och illustrationer har uppsatsens mål varit att svara på tre frågor: (1) på vilket sätt argumenterar Rosling i sina föreläsningar? (2) hur bidrar det visuella i föreläsningarna till argumentationen? och (3) finns skillnader mellan hur programmet Gapminder World och de ”vanliga” bildspelsbilderna fungerar i argumentationen? Analysen visar att Rosling i hög grad använder sitt bildmaterial för att driva argument med argumentationsmodellen exempel, men också med argumentationsmodellen  illustrationer. Detta gäller främst när Roslings bildspel visar animerade diagram i Gapminder World. Till viss del kan metaforiska visuella framställningar återfinnas vilka också kan ses som argumenterande. När bildspelet till största del består av text fyller det visuella inte någon argumenterande funktion utan förtydligar och stödjer främst Roslings muntliga framförande. Genom denna analys kommer uppsatsen fram till att det visuella bidrar till att driva argumentationen framåt på ett lättförståeligt sätt.

abstract: This dissertation theorizes Bad Faith Rhetorics, or, rhetorical gestures that work to derail, block, or otherwise stymy knowledge-building efforts. This work explores the ways that interventions against existing social hierarchies (i.e., feminist and antiracist interventions) build knowledge (that is, are epistemologically active), and the ways that bad faith rhetorics derail such interventions. This dissertation demonstrates how bad faith rhetorics function to defend the status quo, with its social stratification by race, gender, class, and other intersectional axes of identity. Bad faith argumentative maneuvers are abundant in online environments. Consequently, this dissertation offers two case studies of the comment sections of two TED Talks: Mellody Hobson’s “Color Blind or Color Brave?” and Juno Mac’s “The Laws that Sex Workers Really Want.” The central analyses deploy online ethnographic field methods and close reading to characterize bad faith rhetorical responses and to identify 1.) trends in such responses, 2.) the net effects on other conversational participants, and 3.) bad faith rhetoric mitigation strategies. This work engages Sartre’s work on Bad Faith, rhetoric scholarship on the knowledge-building affordances of argument, public sphere theory, critical race studies, and feminist scholarship. This dissertation’s theorization and case studies illustrate the pitfalls of specific counterproductive argumentative tactics that block progress toward more equitable ways of being (bad faith rhetorics), and makes several preliminary recommendations for mitigating such moves. / Dissertation/Thesis / Doctoral Dissertation English 2019

Revising Yeats's rhetorical question, this dissertation asks: "How can we tell the dancer from the music?" In the early twentieth century Isadora Duncan and her barefoot protégées initiated a performance tradition that would later be recognized as American modern dance. They did this, to a great extent, by embodying European "absolute music." Soon, however, choreographers and dancers of this new art form faced modernist calls for medium-specific "absolute dance" that would express movement's autonomy and not the autonomous music of Bach, Beethoven, and Brahms. As John Martin, one of the nation's first dance critics, wrote in 1933, "There is a long, sad story to be told about the use of music for dancing which was never intended to be danced to." Today that story is even longer; contra Martin, it is not sad. As the use of classical music was a primary component in the earliest forms of "free dance" and as it remains in some of the most critically acclaimed and commercially successful modern dance today, this use is in need of critical and historical attention. Tracing an alternative genealogy from Duncan's then-scandalous embodied empathy with sacralized art music, the central chapters of this study of the use of music in American modern dance focus on the lives, works, and reception of two choreographers: Ted Shawn and Merce Cunningham. Both of these men founded his own dance company and created works where choreomusicality, or the relationship between music and dance, remained especially vital. For Shawn, wishing to go even further than Duncan, this meant creating choreographies where dance followed the music as closely as possible. Indeed, in his "music visualizations" (a term that he coined with his wife and colleague Ruth St. Denis) his goal was to create dances that were perfect translations of the music itself. Such translation is ultimately impossible, and in attempting it, I argue, Shawn ended up revealing more of himself--specifically, his desire to perform a non-conventional masculinity that he normally felt was off-limits--than he did of the music. Reacting against this tradition--the standard history of modern dance goes--was Merce Cunningham, in whose mature choreographies music and dance are united only by their overall duration. Yet Cunningham, under the influence of Cage, created several dances to the music of Satie that provide an illuminating exception to this practice. I focus in particular on Idyllic Song (1944) and Second Hand (1970), both of which Cunningham choreographed to Satie's Socrate. Though created during his artistic maturity, Second Hand provides a link to the earliest self-expressive collaborations with John Cage. As a result, this choreography offers an unusual window into the Cage-Cunningham personal and professional relationship. In examining Shawn's and Cunningham's choreography, this dissertation tracks not only the changing role of Western art music in the relatively young art form of modern dance but also examines these choreographers' responses to contemporary attitudes toward the male dancer, unconventional masculinities, and the relatively new identity of the homosexual. In doing so I demonstrate how the choreomusicalities of these men reflected and refracted their masculinities and homosexualities. In addition to providing choreomusical analysis and interpretation, I revise current understandings of both specific scores and choreographies through intensive archival research (from silent films of Ted Shawn and His Men Dancers, which I have synchronized with their unheard music, to Cage-Cunningham manuscripts ignored or previously thought lost), observation of live and recorded rehearsals and performances, and interviews. Ultimately, "The Dancer from the Music" seeks to establish choreomusicality as an exemplary lens through which to view the meeting of music's ineffability with the realities and identities of listening and performing bodies in motion.

The purpose of this study was to explore how master jazz pedagogues and artist-level jazz musicians used pedagogical content knowledge to sequence their instructional methods when teaching jazz improvisation. Pedagogical content knowledge served as the theoretical framework for this study. To gain insights into how they used their knowledge when teaching jazz improvisation, I first sought to explore how they learned to improvise. For this study, an overarching research question “How did the participants learn to improvise in jazz?” aided me with contextualizing how they learned content and pedagogy when they began to improvise. Then, the following questions guided my investigation into how these participants used their pedagogical and content knowledge when they taught jazz improvisation: (1) How, if at all, did the participants’ curriculum knowledge influence their approaches to teaching jazz improvisation? (2) How, if at all, did the participants’ pedagogical knowledge influence their approaches to teaching jazz improvisation? (3) How, if at all, did the participants’ content knowledge influence their approaches to teaching jazz improvisation? In this study both the artist-level musicians and master jazz pedagogues all subscribed to an organic mode of teaching jazz improvisation, and not a one size fits all approach that many published jazz materials espouse. Most of these participants did not utilize an established curriculum for teaching, but rather relied on the knowledge of their students and their own content knowledge of what they know and how they learned for the best practices of teaching. Based on the pedagogical content knowledge they provided in this study, I devised a model for teaching jazz improvisation to undergraduate students. I organized this model by developing an eight-semester, or four-year sequence, of pedagogy and content for instruction. For each academic year, I present a description of what I learned from the participants, and how this pedagogical content knowledge can be used with students to learn how to improvise in jazz. I then present a two-semester outline (one academic year) that demonstrates how the pedagogical principles and content knowledge shared by the participants in this study can be sequenced. Each of the participants in this study taught their students based on their own content knowledge and the knowledge of their students. In order to teach jazz and jazz improvisation, preservice teachers need more than just a casual experience with jazz pedagogy, and should look to increase their own content knowledge in the area of jazz through both formal and informal educational opportunities. Furthermore, the scope of this study was limited to world renowned jazz musicians and educators who taught at the university level and only considered the perspectives of jazz educators. Additional studies could focus on active school music teachers who identify as jazz educators or could involve researchers studying the perspectives of the students regarding how they learn pedagogy and content and how they use/retain this knowledge with improvisation. Keywords: jazz, jazz pedagogy, jazz improvisation, pedagogical content knowledge, jazz education

The purpose of this research paper is to take a closer look at the movie “Extremely wicked, shockingly evil and vile”, which is a movie based on true events and life of serial killer and rapist Ted Bundy. This study aims to gain a deeper understanding of how serial killers are portrayed in movies and through which perspective the story is told. To get closer to our purpose we saw to two research questions, firstly how is the character Ted Bundy portrayed through semiotic resources? The second question we asked ourselves is; how can the different types of choices the production make contribute to further romanticizing of a serial killer? To answer these questions we used a multimodal critical discourse analysis method which focuses a lot on the visual elements such as a character's clothing, the way they speak and carry themselves and so on. To carry out the study we analyzed the characters in the movie, how they acted toward each other, what scenes were chosen to be shown in the movie and which parts of the real story were left out and what seemed to be the main focus in the movie. To achieve the purpose of the study the characters have been analyzed, mainly Ted Bundy. But also the different types of active choices the production made to embody Bundy and the events. Like the choice of events and how the story generally relates to reality. The results we got from our research is that the character Ted Bundy in the movie is highly romanticized when you see the way he is portrayed and what kind of scenes were focused on. It also became quite clear that the story is told through Liz’s perspective causing it to be told out of a biased and compromised angle.  Our conclusion is that it is quite clear when reading the results that there are tendencies to romanticize the main character even when it comes to serial killers based on real people.

Metadiscourse, or discourse about discourse, manifests itself in both spoken and written genres. However, the focus of existing studies of spoken metadiscourse remains mainly on academic speaking (Hyland, 2017), whereas research on metadiscourse in spoken non-academic genres is much less common. The present study thus investigates, both qualitatively and quantitatively, the use of metadiscourse in TED (Technology, Entertainment, Design) talks, which are primarily monologic speeches aiming at knowledge dissemination among a lay audience. The corpus for this exploratory study comprises the top 20 most viewed speeches (49,000 tokens and 286 minutes of presentation time) presented in English at an official TED conference in 2019. This study attempts at shedding light on how TED speakers use metadiscourse from the perspective of the discourse functions by applying Ädel’s (2023) taxonomy of reflexive metadiscourse. The results reveal that TED speakers demonstrate a high level of audience orientation. The findings also indicate a strong focus on discourse organization, which underlines the importance of making this explicit in TED talks, thus providing guidance for the audience. One of the key observations of this study is that the audience in the genre of TED talks is complex, as talks are not only presented live when recorded, but also made available to a global, online audience. The thesis aims to contribute insights to TED talks as a genre, enhance the taxonomy development for metadiscourse, and suggest potential pedagogical implications for teaching public speaking.

A remarkable amount of award-winning contemporary American poetry incorporates nostalgia as a prominent idea discussed. This poetry appears to use nostalgia as means to a greater end. In other words, nostalgia, while a dominant theme within different works, is more a way to treat concepts such as representation and memory, more so than the work being an actual commentary on nostalgia itself. Given the poetry's predominant concept, it seems poets such as Carl Dennis, Natasha Trethewey and Ted Kooser could be representative of a literary historical moment. This moment is one which comments heavily on the past's presence within the present. While each poet's writing is heavily influenced by nostalgia, I posit the theory that these poets are speaking to a greater literary historical moment found in both the literature itself as well as current trends in literary theory. It is not that these poets are writing to a specific theory, rather, their Pulitzer-prize winning poetry is rooted in a trend of yearning for the past. As overt a connection between contemporary poetry's treatment of nostalgia and nostalgia theory itself, little, if any, literary criticism has connected these two. In his essay "Theorizing Nostalgia Isn't What It Used to Be," Paul Grainge contends, "Since the late 1980s, when memory became a topic of concerted critical interest, nostalgia has been taken up in critiques of reactionary conservatism, in accounts of retro phenomena, in relation to the growing memorial tendencies in Europe and America, and as central to particular theories of postmodernism" (20). Grainge continues on to describe two forms nostalgia takes: "mood" and "mode." Similarly, Svetlana Boym suggests nostalgia as either "reflective" or "restorative" (41). This type of current scholarship addressing nostalgia seems to set up a nostalgic reading of texts as more the end game of the literature—the literature is nostalgic. However, if literature then ends as only nostalgic, there seems to be a lack of nostalgic theory's breadth. Dennis, Trethewey and Kooser all address this gap through their poetry—expanding the notion of nostalgia as being more the vehicle leading one through the landscape of memory. Suggesting nostalgia as merely reflective or restorative, as Boym and Grainge have done, seems to create a sense of nostalgia as stagnant rather than as a dynamic movement within the literature, and even the act of recollection itself. The three poets addressed in my project all suggest at some level that this residue of the past can lead one to see that perhaps experience itself delights in memory. Furthermore, nostalgia's dependence upon present memory indicates not just a longing for the past, but rather the past's presence in the present. The act of remembering serves as a type of catalyst which transforms memories to manifestations in present circumstance.