Thesis (Ph. D.)--Johns Hopkins University, 1916. / Vita. "Reprinted from the Journal of the American Oriental society, vol. 39." Bibliography: p. 44-54.

Akademisk avhandling--Uppsala. / "Résumé": p. [195]-201. "Käll- och litteraturförteckning": p. [208]-229.

Inaug.-diss.--Münster. / Published in full in: Religionsgeschichtliche Versuche und Vorarbeiten, Vol. 7, pt. 3.

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<p> This study examines Nicaraguan music before and after the 1972 Managuan earthquake for evidence of changes in Nicaraguan national identity. Central issues are indigenous groups, colonialism, Catholicism, and communism in Nicaragua. A total of four musical examples are analyzed, three songs dating before the earthquake and one from after. These songs provide evidence for changes in Nicaraguan national identity. The study concludes that the earthquake brought about an increase in public exposure to indigenous Nicaraguan music. Indigenous Nicaraguan musical styles have been incorporated into modern Nicaraguan popular music, which in turn has influenced Nicaraguan national identity as a whole.</p>

This thesis uses critical theory to examine animal–human relationships in the zhiguai tales [志怪小说], using Deleuze and Guattari as the theoretical framework alongside which I draw on aspects of queer theory and animal studies to think through several intersecting ‘othernesses,’ including the ‘queer,’ the ‘animal,’ and the ‘strange.’ Zhiguai is a well-known transliteration for “Tales of the Strange,” a genre of writing featuring ghosts, magical animal–human shapeshiftings, dreams that intervene in reality, and other supernatural characters and events. In this thesis, the strange comes to the forefront in the figure of the non/human – a two-fold figure made up of both ‘human’ and ‘animal.’ Throughout this thesis I appropriate the term ‘queerkind’ to foreground this ‘strange’ figure, which cannot be wholly generalized as ‘the animal,’ but is instead a magical creature most often existing between ‘human’ and ‘animal.’ The traditional scholarly approach to the zhiguai tales has been to understand the non/humans in these tales as purely allegorical representations of humans and human society. This thesis, however, does not only consider the figurative potential of non/human figures as questioning social and political issues, but also approaches them from the perspective of their distinct supernatural qualities, or the importance of “non/human” bodies in the stories, to complicate anthropocentric readings of the zhiguai tales. In this thesis, while broadly informed by queer theory and animal studies, I am specifically using Deleuze and Guattari’s theories of becoming, affect, and assemblage to argue for a rhizomatical reading and approach to the zhiguai tales, aimed at exploring the affects of ‘queerkind’ ‘animals.’ I therefore also use Noreen Giffney and Myra Hird’s concept of “queering the non/human” as a foundation which finds an affable conjunction with Gilles Deleuze and Félix Guattari’s theories, to provide a space for thinking about the fragile and porous boundary between human and animal in the zhiguai tales. I suggest that the blurring of the boundary between animal and human is crucial in shaping the non/human realm of zhiguai through the strange animal-human kinships and erotic encounters we discover there. I specifically argue that affects of these ‘queerkind’ are firstly within the text, as figures of boundary-crossing and ambiguity (humans/animals, alluring/dangerous, just/violent, strange/familiar); secondly beyond the text, affecting the reader through enchantment, anxiety, and titillation. I contextualize kinship and erotic relationships through the competing classical Chinese philosophies of naturalistic Daoism and humanistic Confucianism, which I read alongside Deleuze and queer theory.

The hypothesis of this study is that there are Afro-Cuban rhythmic elements that bear a marked similarity to African rhythmic elements. Concepts and terminology borrowed from ethnomusicological studies of African rhythm may contribute to an understanding of Afro-Cuban rhythmic characteristics, and how the sum of these characteristics within a given musical work may produce an identifiably Afro-Cuban rhythmic style. Previous studies of Cuban music, however, had not analyzed Afro-Cuban rhythmic characteristics in depth with reference to concepts found in analyses of African rhythm. / A Cuban musical repertory was chosen for analysis because of the documented high survival of African rhythmic characteristics in the island's music. The published vocal works of Caturla and Roldan were chosen because as art-music composers who consciously wrote nationalist, folk-inspired music, and who were aware of research into Afro-Cuban music and ethnography, there was a high likelihood of finding a fair sampling of Afro-Cuban rhythmic elements in their music. / The following rhythmic characteristics were chosen as potential determinants of an Afro-Cuban rhythmic style: call-and-response form, polymeter, polyrhythms, vertical and horizontal hemiolas, rhythmic cells, use of silent downbeats, additive rhythm, time-lines, and metric modulation. The analytical method consisted of re-notating and re-scoring selected passages so that the genuine sense of audible Afro-Cuban rhythmic characteristics could be revealed, unencumbered by the preconceptions of Western notation. / The study showed that nearly all of the characteristics could be found in both composers' works. Call-and-response form and metric modulation were absent from Caturla's works. The analytical method used here provides illuminating insights into Caturla's and Roldan' s use of rhythm. The method may also be applicable to other Afro-Cuban works, as well as other musics showing an African influence. / Source: Dissertation Abstracts International, Volume: 52-06, Section: A, page: 1937. / Major Professor: Robert Smith. / Thesis (Ph.D.)--The Florida State University, 1991.

American culture tends to consider imaginary friends (or imaginal companions, as I refer to them) as a folk belief belonging in the realm of childhood. If an adult believes in imaginal companions, they are potentially subject to the social stigma of psychological labeling. The mass media reflects this perception of reality and influences social interactions regarding experiences and beliefs in imaginal companions. Fear of this social stigma limits folk group size, which potentially creates an issue with informant group size. I gathered my informants from a group of friends, whom I interviewed over a one-year period. Although there is a danger of overgeneralizing when dealing with a small informant group, I reached many useful conclusions pertaining to the belief in imaginal companions as a "hidden tradition" expressed through narratives in small groups. Social relationships clearly exist between imaginal companions and believers of imaginal companions. The formation of a dyadic folk group begins with the initial appearance of the imaginal companion and communication with the believer. The believer perceives their imaginal companion or companions by manipulating the influence of the culture and society around them. However, there are other folk groups to consider in relation to this phenomenon as well. Through storytelling in safe environments, folk groups of varying sizes emerge, ranging from other dyads to slightly larger groups. Although a believer may create these groups through cautious social interaction, they may also be born into a safe environment such as a family of believers. These groups tend to revolve around storytelling. Investigations of these social interactions, as expressed in narrative form, suggest American cultural influences on personal perceptions of reality.