America’s ‘long early twentieth century’ (1890-1945) was a period of intense industrialization, urbanization, and immigration which fundamentally altered the character of the nation. Between 1900 and 1924, which saw the curtailing of immigration from southern and eastern Europe via the passage of the Johnson-Reed Immigration Act (successor to 1921’s stop-gap Emergency Quota Act), more than 14 million people flocked to the U.S. in search of economic opportunity, social equality, and freedom from religious and political oppression. Descendants of these ‘new immigrants,’ as they were called, were by the late twentieth century a staple of white American suburbia, but their progenitors were variously considered ‘off-white,’ ‘dark-white,’ or non-white, with attendant connotations of mental, physical, and moral inferiority. This research examines texts, authored by Jewish immigrants such as Abraham Cahan, Anzia Yezierska, Rose Cohen, and Mary Antin, which were published between 1890 and 1930, when the onset of the Great Depression saw a rise in anti-Semitism that contributed to the decline in popularity of ‘up by the bootstraps’ Americana whose narratives chronicled, ostensibly, social assimilation and cultural integration; it considers the ramifications of writing in English for a native audience, which frequently alienated Jewish immigrants from their peers, and analyzes the manner in which the United States’ shifting social mores coincided with—and facilitated—new immigrants’ reappraisal of religion, education, commerce, and family life in the ‘new world’ of the west. It argues that the ambivalence contained within many of these texts was both a reaction to nativist prejudices and an effort to expose misconceptions present on both sides of the wildly popular Americanization movement, as well as exploring the way that such narratives attempted the redefinition of American philanthropic, educational and civic paradigms—the preponderance of which passionately espoused rhetoric of equality while reinforcing the stratification of the United States’ class system—into modes of interaction that accommodated difference while seeking to establish common ground upon which could be built a more inclusive, multiethnic future. Finally, it addresses the continuing relevance of these works as texts which both predict and presage modern modes of social interaction and discusses their future in an evolving literary canon that has, historically speaking, been an agent of western patriarchal hegemony.

Thesis (MMus)--Stellenbosch University, 2013. / ENGLISH ABSTRACT: When twentieth century music composed specifically for children is discussed, Sergei Prokofiev’s Peter and the Wolf and occasionally Benjamin Britten’s The Young Person’s Guide to the Orchestra are the two examples most often mentioned, as if they represent the sum total of works in this genre. It seems then that there is a general lack of awareness of the actual existence of a rich variety of twentieth century music for children. Consequently the conclusion seems justified that most music educators in South African primary schools do not include this music in their repertoire nor has it been specifically recommended for use in the 2005 or 2011 syllabi. The question that prompted the current study is whether this repertoire of contemporary children’s music can be exploited to a much larger extent in South African primary schools than has been the case up until now. In the educational system of 2005, where ‘subjects’ have been replaced by ‘learning areas’, the former subject, Class Music, has been integrated into a new learning area consisting of four components (music, drama, dance and visual arts). However, this more comprehensive learning area has been implemented without actually making provision for more time on the time table than was formerly allocated to Class Music. With the implementation of CAPS in the Foundation Phase (Gr R – 3) in 2011 and in the Intermediate Senior Phase (Gr 4 - 9) in 2013, extra time allocated proves to still be insufficient for continual, thorough teaching of music. Although strong concern had been expressed previously about the fragmentation of subject content and the low status of music education in South African schools, this concern was not really addressed in both the curricula of 2005 and 2011, and subject content within the components is still scaled down to compensate for lack of time. This has also had serious consequences for the training of teachers. Requirements of the curriculum are only given in the form of general guidelines and teachers with no musical education, who have to teach the musical component, have no clearly defined examples to go by. For that reason a catalogue is included in this study by which teachers can gain access to relevant examples of twentieth century music. In the main section of this study music for children is examined in its historical context, it is defined and categorised. Strategies by which composers attempt to find access to a child’s world are also examined. While it may be assumed that children are familiar with the tonal idiom of folk, sacred and popular songs, composers of twentieth century music see themselves challenged to introduce children to a modern musical idiom, not compromising accessibility and a child friendly approach. In addition to the general discussion of the extensive repertoire of twentieth century music for children, four examples are selected to examine more specifically how composers go about when composing such music. These are: Wir bauen eine Stadt (Paul Hindemith), l’Histoire de Babar (Francis Poulenc), Die Weihnachtsgeschichte (Carl Orff) and The little sweep (Benjamin Britten). (Die Weinachtsgeschichte was translated into the Griqua dialect by Prof Hans du Plessis especially for the purpose of this study). The educational potential of twentieth century music for children is vast. Even with minimal teaching time it can be an efficient and time saving medium of tuition that at the same time opens up an exciting contemporary sound world to the young learner. / AFRIKAANSE OPSOMMING: Wanneer daar oor twintigste-eeuse musiek vir kinders gepraat word, word daar dikwels spontaan na Sergei Prokofjef se Pieter en die Wolf en miskien na Benjamin Britten se The Young Person’s Guide to the Orchestra verwys, asof dit die ‘somtotaal’ van die genre uitmaak. Hieruit blyk dit dat daar oor die algemeen ‘n onbewustheid ten opsigte van die beskikbaarheid van ‘n ryke verskeidenheid van werke in hierdie genre bestaan. Dit blyk ook dat die meeste musiekopvoeders in Suid-Afrikaanse laerskole nie hierdie musiek by hul repertorium insluit nie en dat dit ook nie in die sillabusse van 2005 en 2011 spesifiek gepropageer word nie. Die vraag wat aanleiding gee tot die huidige ondersoek is of die pedagogiese waarde van sodanige eietydse musiek nie baie beter in Suid-Afrikaanse skole ontgin kan word as wat tans die geval is nie. Met die 2005-onderwysbedeling waar ‘vakke’ met ‘leerareas’ vervang is, is Klasmusiek in die vier-komponent-leerarea Kuns en Kultuur, met musiek, drama, dans en visuele kuns as spesialis-onderafdelings, geïntegreer. Die Kuns en Kultuur leerarea, wat inhoudsgewys meer omvattend as Klasmusiek was, is sonder ‘n ruimer tydstoekenning ingestel. Met die implementering van KABV in die Grondslagfase (Gr R-3) (2012), en in 2013 by die Intermediêre en Senior Fase (Gr 4 – 9) is die tydstoekenning marginaal verruim, maar steeds onvoldoende vir volgehoue, deeglike onderrig van musiek. Hoewel sterk kommer oor die dilemma van onder meer voortdurende fragmentasie van inhoude asook die lae, kwynende status van musiekopvoeding in Suid-Afrikaanse skole reeds voorheen uitgespreek is, is hierdie kommer nie werklik in die leerplanne van 2005 of 2011 aangespreek nie. In teendeel, die vakinhoud binne die onderskeie komponente is steeds ontoereikend, omdat daar nie genoeg tyd beskikbaar is om werksinhoud deeglik te onderrig nie. Die nuwe bedeling hou verder ook implikasies vir die opleiding van opvoeders in, deurdat vereistes binne die skoolkurrikulum uit breë riglyne ten opsigte van vakinhoud bestaan. Die dilemma van ‘n opvoeder sonder musiekopleiding wat die musiekkomponent moet aanbied, is dus duidelik. Daarom word, as hulpmiddel vir opvoeders, ‘n katalogus by hierdie studie ingesluit om die leemtes in die kurrikulum te help ondervang. In die hoofdeel van hierdie studie word musiek vir kinders in ‘n historiese konteks geplaas, gedefinieer en gekategoriseer. Verder word die middele ondersoek waarmee komponiste van hierdie musiek toegang tot die leefwêreld van die kind probeer verkry. Terwyl aanvaar kan word dat kinders vandag vertroud is met die tonale idioom soos dit in volks-, gewyde of populêre liedere voorkom, kom komponiste van twintigste-eeuse musiek voor die uitdaging te staan om kinders met die moderne musiektaal vertroud te maak sonder om toeganklikheid en kindervriendelikheid prys te gee. Bykomstig tot die algemene bespreking van die omvangryke repertoire van twintigste eeuse musiek vir kinders word vier werke gekies om meer spesifiek te bepaal hoe komponiste te werk gaan wanneer hulle sodanige musiek komponeer, te wete Wir bauen eine Stadt (Paul Hindemith), l’Histoire de Babar (Francis Poulenc), Die Weihnachtsgeschichte (Carl Orff) en The little sweep (Benjamin Britten). (Vir hierdie studie is Die Weihnachtsgeschichte spesiaal deur Prof Hans du Plessis in die Griekwa-dialek vertaal). Twintigste-eeuse musiek vir kinders het veelsydige gebruiksmoontlikhede. Met minimale onderrigtyd kan dit ’n doeltreffende, tydsbesparende medium van onderrig wees, en terselftertyd ’n opwindende, eietydse klankwêreld vir kinders oopsluit.

Albert E. Brumley (1905-1977) was the most influential American gospel song composer of the twentieth century, penning such “classics” within the genre as “Jesus, Hold My Hand,” “I’ll Meet You in the Morning,” “If We Never Meet Again,” “Turn Your Radio On,” and “Rank Strangers to Me.” His “I’ll Fly Away” has become the most recorded gospel song in American history with over one thousand recordings to date, and several of his works transcend cultural boundaries of style, genre, race, denomination, and doctrine. However, the racialized historiography of American gospel music has left Brumley—from America’s lesser-known white gospel traditions of convention singing and southern gospel music—largely untouched by scholarly scrutiny. Comprising nearly four hundred works, most of which appeared in annual shapenote gospel songbooks published during the 1930s and 1940s, Brumley’s music is central to many Americans’ religious identity. This thesis represents the first thorough, academic assessment of his music, career, and his work’s cultural impact. Deeper examinations of the composer’s personal life and his work as a songwriter, as well as a fresh look at his publishing business’s growth and development, contribute a more complete biography. A broad analysis of his output—including a complete thematic catalogue of his published works—provides a framework for interpreting Brumley’s general compositional style and offers a context for understanding his music’s enduring legacy within popular music history, especially southern gospel, black gospel, and country music. Research into the cultural history of one particular Brumley work—“I’ll Fly Away”—and its various incarnations in music, television, film, and other outlets acts as a lens through which to view his impact on American music and society. This thesis ultimately argues that Brumley’s compositions have influenced the development of religious and popular music in America much more significantly than indicated by current scholarship, and that his music has become an important medium for American cultural expression that stretches well beyond the confines of the convention-singing and southern gospel traditions. As a result, it recognizes him as an emblematic figure of American music deserving inclusion within the ranks of its greatest contributors.

Cette thèse a pour objet l’étude des métamorphoses de l’écriture de Marguerite Duras. Elle se fonde sur une analyse de ses romans où nous lisons d’abord une conformité aux lois du genre romanesque, puis une révolte qui se traduit par une déconstruction générique et scripturaire. Notre travail consiste en une étude des noyaux de nouveauté qui se trouvent en germes dans la période de conservatisme et leur éclosion qui innove par la suite l’écriture de l’auteur. Ces noyaux, particulièrement liés aux formes dramatiques et poétiques, seront soulignés dans leur développement et dans la façon dont ils transforment l’écriture romanesque. / This thesis investigates the metamorphoses of Marguerite Duras’ writing. It is based on an analysis of her novels where we can first read a compliance to the laws of the traditional novel, then a rebellion against any kind of generic or scriptural constraint. Our work consists in studying the germs of innovation of the conservative period and their blossoming that progressively innovates the author’s writing. We emphasize on these nuclei particularly related to dramatic and poetic forms, and on their development, as well as on the way they transform Marguerite Duras’ novel.

Textbooks teach architecture as conveniently divided into styles and periods, but in reality styles overlap. At the turn-of-the-twentieth century there were three major architectural and decorative movements in the United States: the Aesthetic Movement, the Arts and Crafts Movement, and the American Renaissance Movement. This thesis shows how superficial stylistic labels can be by comparing two very different-seeming houses of the early twentieth century: The Hapke-Geiger House of ca. 1912 in Chesterfield, Virginia, based on a Gustav Stickley Arts and Crafts design, and the Hunton House of 19 14 in Richmond, Virginia, designed in the American Renaissance style by Noland and Baskervill. These homes are very different from one another, but they have three major similarities: They each use an established plan with no essential connection to the building's supposed style, they mix styles, and they have similar kinds of porches. This thesis will pursue these issues to go beyond the superficial stylistic labels and examine how the three major movements of the time are interrelated.

L’œuvre musicale de Pierre Boulez est l’une des œuvres majeures de la seconde moitié du vingtième siècle. Celle-ci a évolué entre 1945 et 2008 conjointement avec les écrits de Boulez, dans lesquels sa réflexion traite, successivement, les différents aspects de son langage : la théorie entre 1948 et 1963, puis l’esthétique entre 1963 et 1995.Le premier livre de cette thèse traite des évolutions esthétiques de Boulez. Les deux analyses proposées dans le second livre, consacrées aux deux groupes d’œuvres Domaines/Dialogue de l’ombre double et Anthèmes/Anthèmes 2, ont pour objectif de démontrer la complexité toujours présente ainsi que la rigueur de la démarche compositionnelle de Boulez à la lumière des esquisses, nonobstant une simplicité apparente des éléments constitutifs. / Pierre Boulez’s musical compositions are one of the most important compositions in the second half of the twentieth century. They moved a lot between 1945 and 2008 together with his written works, in which his thought deals successively with the different aspects of his language : the theory between 1948 and 1963, then the esthetics between 1963 and 1995.The first part of this doctoral dissertation deals with Boulez’s esthetic evolutions. The two analyses in the second part – devoted to Domaines/Dialogue de l’ombre double and Anthèmes/Anthèmes 2 – aim at demonstrating in the light of the sketches the complexity and the rigour of Boulez’s reasoning when he composes, although the constituents seem apparently simple.

This thesis, which supports an exhibition of visual art, develops from Jean Baudrillard's philosophy of seduction. I have focused on the representation of the bachelor and his pad in American men's magazines from the mid-twentieth century. During this period, magazines such as Playboy, Escapade and Rogue created features on modern living to reassure an independent and affluent man that a dwelling with style and taste would ensure a happy bachelor life and facilitate intimacy. My photographs and collages add complexity to this portrait by framing this unique space as a stage where an unmarried man encircled by his lusty decor acted to entrance a woman.

This dissertation examines the influence of film on the poetry of H.D., Marianne Moore, and Adrienne Rich. It builds on scholarship by Susan McCabe (2005), Lawrence Goldstein (1994) and others, who have traced the way twentieth-century American poets reacted formally to film culture in their writing. My project responds to the call of the editors of the volume of Close Up 1927-1933: Cinema and Modernism for critics to interrogate how authors harnessed the aesthetic and political possibilities opened up by cinema. This study draws from theories of feminist film phenomenology by Vivian Sobchack and Laura U. Marks to analyze the aims and arguments of the texts. The literary works studied include: H.D.’s Sea Garden, “Projector” series, Trilogy, Helen in Egypt, and film essays; Marianne Moore’s animal poems from the 1930s and early 1940s and film essays; and Adrienne Rich’s The Will to Change. This dissertation argues that the poets drew from film to renovate their poetic vision and forms and ply at questions of power, visuality, and bodies. The poems articulate an awareness of the filmic gaze and how it constructs feminine or animal others. Through careful analysis of the poems, this dissertation locates each poet’s particular rapport with film and how it influenced her literary style and prompted her to challenge dominant patriarchal scripts. This dissertation makes several original contributions to twentieth-century Anglo-American poetry scholarship. It sets these three authors alongside one another to reveal how their engagements with film inspired their poetics and politics at various points throughout the twentieth century. The conclusions herein determine how the poets turned to film to construct their poetic projects. The dissertation offers new readings of the work of H.D., Moore and Rich as queer women poets invested in film culture. / Graduate

<p>Hannah Arendt's theory of political judgment has been an ongoing perplexity among scholars who have written on her. As a result, her theory of judgment is often treated as a suggestive but unfinished aspect of her thought. Drawing on a wider array of sources than is commonly utilized, I argue that her theory of political judgment was in fact the heart of her work. Arendt's project, in other words, centered around reestablishing the possibility of political judgment in a modern world that historically has progressively undermined it. In the dissertation, I systematically develop an account of Arendt's fundamentally political and non-sovereign notion of judgment. We discover that individual judgment is not arbitrary, and that even in the complex circumstances of the modern world there are valid structures of judgment which can be developed and dependably relied upon. The result of this work articulates a theory of practical reason which is highly compelling: it provides orientation for human agency which does not rob it of its free and spontaneous character; shows how we can improve and cultivate our political judgment; and points the way toward the profoundly intersubjective form of political philosophy Arendt ultimately hoped to develop.</p> / Dissertation

O advento das inovações artísticas do século XX vislumbrou maneiras renovadoras de articular aspectos composicionais, ganhando assim novas possibilidades instigantes e exigindo do criador de arte a procura de métodos para solucionar problemas arquiteturais novos. Ao lidar com obras de caráter complexo, o iniciante pode se ver em um \"Cul-de-sac\", remoendo-se entre a escrita criativa contemporânea e a escrita efetiva tradicional. Propondo visualizar esses problemas parcialmente, o espectro da minha pesquisa abarcará, contando com exemplos de análise da peça escolhida, \"Musique Funèbre\", ao menos os seguintes tópicos: polifonia pós-tonal; clareza das vozes (ou a dispensa da mesma) em meio a texturas complexas; \"part-writing\" (ou a dispensa da mesma) entre acordes complexos; fraseologia e microrrelações formais entre frases em meio a uma polifonia de harmonia não trivial; inovações das texturas e suas consequências; e, em adição, uma análise harmônica da linguagem do compositor selecionado, não necessariamente reconhecida e difundida por importantes publicações. Os resultados esperados se apresentarão na forma de uma dissertação analítica debruçada sob a temática proposta, em conjunto à produção composicional do autor. Em particular, foram desenvolvidos dois métodos de análise que são aplicáveis a uma grande quantidade de repertórios variados, embora não necessariamente servindo a todos os gêneros possíveis. Eles foram batizados na seção de \"Metodologia\" por \"Método dos Caminhos Especulativos\" e \"Método das Variáveis Sintéticas\", e são explicados brevemente, quando referidos. Esta pesquisa adquire forte apoio acadêmico por se tratar de uma expansão logicamente seguida do trabalho de Iniciação Científica desenvolvido na Graduação do autor em \"Análise de Obras de Béla Bartók com ênfase aos processos contrapontísticos\", sob a orientação do Prof. Dr. Silvio Ferraz no departamento de música da ECA/USP. / The coming of artistic innovations in the Twentieth-Century Music has given a glimpse of renovating manners to articulate compositional aspects, achieving thus new instigating possibilities and requiring creators to search architectural problem-solving methods. In dealing with works of complex character, the beginner might get in a \"Cul-de-sac\", mulling between contemporary creative writing and effective traditional writing. Proposing to visualize these problems partially, the spectrum of my research will include, with examples of analysis of the selected piece, \"Musique Funèbre\", at least the following topics: post-tonal polyphony; clarity of voicing (or its denial) amidst complex textures; \"part-writing\" (or its denial) among complex chords; formal phraseology and micro-relations between phrases inside a harmonically-nontrivial polyphony; textural innovations and its dismemberments; and also, in addition, the harmonic analysis of the selected composer, not necessarily well-known and diffused by important publishings. The expected results will be presented in the form of an analytical dissertation addressed under the proposed theme, in conjunction to the compositional production of the author. Particularly, two methods of analysis were developed with applicability to a great extent of varied repertoire, even though not necessarily fitting all possible genders. They were named in the \"Methodology\" section as \"Speculative-Paths Method\" and \"Synthetic-Variables Method\", and get briefly explained, when referred to. This research acquires strong academic support for being a logically-followed expansion by the work of \"Scientific Initiation\" during the author\'s Under-graduation program about \"Analysis of Works of Béla Bartók with emphasis to the contrapuntal processes\", under orientation by Prof. Dr. Silvio Ferraz, in the music department of ECA/USP.