Denna undersökning syftar till att få en inblick i hur några sångpedagoger arbetar med och tänker kring tolkning och musikaliskt uttryck. Detta har undersökts genom kvalitativa intervjuer med sex sångpedagoger med olika bakgrund, arbetsplats och genreinriktning. I min undersökning kommer jag fram till att det trots pedagogernas olika bakgrund i genrekunskap, utbildning, och nivå på elever finns många gemensamma nämnare för hur deras arbete med tolkning och uttryck går till. Att flera av informanterna använder begreppet interpretation under intervjuerna ser jag som att begreppen inte verkar påverka mitt resultat, då jag tolkar det som att informanterna menar samma sak och att innebörden är densamma. Jag anser även att svaren på intervjuerna pekar på att det hos några av informanterna finns en osäkerhet om vad arbetet med tolkning och musikaliskt uttryck kan leda till och att de därför inte i så hög grad medvetet använder detta i sin undervisning. Att arbeta med tolkning och musikaliskt uttryck kan innebära en mängd olika saker vilka har gemensamt att skapa medvetenhet om det egna uttrycket. Detta kan enligt litteraturen, Rydberg - Asplind med flera, leda till mer personligt uttryck samt bättre teknik. / The purpose of this study is to gain knowledge of how some vocal teachers work with and reflect on interpretation and expression. Six vocal teachers with different background, place of work and genre expertise were interviewed. The study shows that the interviewees share many denominators in the way they approach interpretation and expression despite their differences in background and genre, and it is clear that they have a common understanding of the terms interpretation and expression.   There is an indication, however, that some of the teachers are unsure of the effects of working with interpretation and expression and therefore they do not focus on these in their teaching. Working with interpretation and expression can involve many things which all entail creating awareness of self-expression. According to the literature (e.g. Rydberg-Asplind), such awareness can lead to a more personal expression and a better technique.

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The work of Maya Deren, Marguerite Duras and Margarethe von Trotta, three filmmakers who are also authors, inhabits a space between patriarchy and polemic feminism. The result, a refocusing and re-arrangement of traditional literary and cinematic discourse, may be termed a feminine authorship. The principles of this authorship mainly derive from Laura Mulvey’s controversial but influential application of psychoanalytical theory to feminine cinema in “Visual Pleasure and Narrative Cinema” (Screen, 1975), an investigation of the “male gaze” in film. Her propositions have been further developed by critics such as Teresa de Lauretis (1980), Mary Anne Doane (1987) and Judith Mayne (1990) as well as Mulvey herself (1981). Mulvey’s approach shares with classical psychoanalysis an emphasis on the unconscious and its visual manifestations in dream and memory. Deren, Duras and von Trotta encode the latter in spatial imagery expressive of both women’s repression and their hidden resourcefulness, most frequently drawing on the gothic novel and the exotic tale. In order to accomplish their vision, the three filmmakers variously offer original interpretations of well-established modes and genres such as surrealism (Deren), the nouveau roman (Duras), and the documentary (von Trotta), but none could have done so without conceding to a number of compromises with patriarchal discourse, partly for economic, partly for ideological reasons. This thesis asserts (in contrast to Hélène Cixous, Luce Irigaray and Peggy Kamuf) that these compromises need not be read as a flaw, but contribute to a discourse in its own right. By analyzing authors from diverse cultural, social and linguistic backgrounds who, moreover, cannot be clearly categorized within the alleged dichotomy of patriarchy and feminism, this study seeks to expand the definition of feminism across national and ideological boundaries. In so doing, it may contribute to the study of other women authors and filmmakers whose views and methods have been similarly unorthodox.

The political popular theatre which has developed in the West since the 1960s challenges the current hegemony in Western cultures by attacking its basic models of knowledge, yet little critical attention has been paid to the dramaturgies particular to this form. An application of the Possible Worlds theory, the concept of ludic framing, and feminist "standpoint" theory to the Irish stage plays written by Margaretta D'Arcy and John Arden after they left the "legitimate" stage, shows how the dramaturgy of this theater is a critical part of its strategic challenge to the status quo. This analysis shows how D'Arcy and Arden foreground the encompassing Theatre Possible World, within which the performance takes place, in order to cast doubt on the natural character of generally accepted meanings, and to induce the audience to consciously choose the frames within which it makes sense of action.

This thesis shows the condition of outsidedness in the fiction of two Indo-English authors: Ruth Prawer Jhabvala and Salman Rushdie. Ruth Prawer Jhabvala focuses on the intercultural encounter from the European perspective. Salman Rushdie writes from the expatriate's point of view. Astride the cultural frameworks of India and the West at once they examine the ironic similarities of prejudice and intolerance in both societies. These authors' novels are examined through concepts elaborated by the Russian literary theoretician, Mikhail Bakhtin, such as exotopy or outsidedness, heteroglossia, dialogism, etc. They confirm Bakhtin's contention that cultural confrontation is a potentially enriching source of literary and artistic creation. Jhabvala treats the intercultural encounter within the colonial and post-colonial frameworks and shows the fragile dialogue that does occur between her European characters and India. Rushdie on the other hand centres mainly on contemporary India although he does satirize certain aspects of colonial India. He uses a plethora of historical, literary, cultural and linguistic referents from both eastern and western traditions to subvert the hegemonic discourse of either and to celebrate cultural hybridity.

Criticism. Inspired by Hermann Broch's essay Creation litteraire et connaissance and Maurice Blanchot's L'Espace litteraire, $ underline {Cr 'eation, 'ethique et v 'erit 'e}$, Broch et Blanchot questions both the possibility and the necessity for a writer to maneuver within the realm of Fiction (i.e. inevitably the realm of Lies), while following an ethical code of Truth. / Fiction. $ underline {En trompe-l'oeil}$ is a novella about Mance Dussault who, after parting from her lover, is compelled to redefine her own identity, by herself and outside of the gaze of the Other. Her quest is complicated by the fact that she is torn between her passions from the past and her current dreams which are luring her into a state of being never experienced before. Furthermore, the veil of novelty could hide a side of reality darker than suspected.

This text is a personal reflection on my examination concert that took place on 17th May 2014. Instead of just preparing and performing a concert and then moving on to new projects, the writing of this text offered me a chance and an obligation to thoroughly reflect upon my work. I will shortly motivate how I made my choice of repertoire and why I chose the particular pieces. I wanted to make up an interesting program of pieces of different character. I also wanted to find pieces that would challenge me in different ways. I will then write about each piece and discuss the problems and challenges I had to solve and find a solution to. I will have a slightly different approach when discussing the different pieces. Regarding Alkan, after a brief introduction to the composer and the piano symphony, I will mainly focus on how to deal with and tackle the complex and highly demanding piano writing. Concerning the piano pieces by Pörn I will write about the emergence of them and describe them briefly. As I have had the opportunity to consult the composer while preparing his music, our cooperation has not only enabled me to get a detailed insight to his music, but it has also resulted in the composer making changes and rewriting certain passages. I will present some of these modifications, which for the most part appeared in the etudes. When it comes to the trio by Brahms, I will give an overview of some of the challenges in the piece, concerning ensemble playing and technically demanding passages in the piano part. Thereafter I will analyse the concert, first by writing about the impressions I had during and immediately after the concert, then by writing about the observations I gathered from listening to the recording. I found out that, in order to find solutions for certain interpretational or technical challenges, one needs to go beyond the printed score to find meaning, in other words, what it is that the composer wants to say. Sometimes there can be a discrepancy between the composer’s musical message and his suggestion of its execution. In some cases the performer has to decide whether he wants to carry out the composer’s instructions to the letter, or rather to find an own way of delivering the musical message. / <p>Christoffer Pörn: Tre berättelser för piano</p><p>Johannes Brahms: Trio för piano, klarinett och cello op 114</p><p>Christoffer Pörn: Tre etyder för piano</p><p>Charles-Valentin Alkan: Symfoni för piano op 39 </p><p>Medverkande: Anna Lisa Mühlig - klarinett, Jessie Liu - cello</p>

Thesis (Ph. D.)--University of Hawaii at Manoa, 1995. / Includes bibliographical references (leaves 203-209). / Microfiche. / vii, 209 leaves, bound 29 cm

vii, 130 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / Pulitzer Prize winning playwright Paula Vogel, playwright and educator, has blazed a trail in American theatre, opening new avenues for female playwrights. In 2005 Vogel's student Sarah Ruhl burst onto the scene with her play The Clean House. As one of the most produced playwrights of 2005, Ruhl has been celebrated as the new voice of American theatre. There are similarities, as might be expected between teacher and former student, but some of the similarities suggest something more: a dynamic shared between Vogel's and Ruhl's plays which suggests an ongoing theatrical conversation and may suggest directions for future American drama. / Committee in Charge: Dr. John Schmor, Chair; Dr. Jennifer Schlueter