Thesis (D. Min.)--Northern Baptist Theological Seminary, 2006. / Abstract. Includes bibliographical references (leaves 111-116).

This thesis explores the relationships between music, literature, aesthetics and politics in the novels of James Joyce, Sylvia Townsend Warner, and the poetry of Ezra Pound, to show the political relevance of how discourses of musical transcendence appear in these texts. These authors were notably political: Pound was involved with Italian fascism, Warner a Communist Marxist, while Joyce critics have been invested in claiming for him a liberal, humanist political position that is reflected in his writing. This allows me to analyse their engagement with music in light of their politics in order to make connections between aesthetics and politics through music in modernist literature. The texts analysed in this thesis are Joyce’s Chamber Music and Ulysses, Pound’s Cantos, his early essays and articles, and his musical theories ‘absolute rhythm’ and ‘Great Bass’, and finally Warner’s Mr Fortune’s Maggot, ‘The Music at Long Verney’, and The Corner That Held Them. I use a methodology, informed by the musicology and philosophy of T.W. Adorno, that moves between aesthetic and social approaches to music. I analyse the political significance of Joyce’s and Pound’s appropriation of musical forms as part of a radical departure from traditional aesthetic practices to articulate a newly modern subjectivity, and arrive at an analysis of Warner’s exploration of the tension between music as both transcendent aesthetic paradigm and material object with political meanings and functions. I argue that the extent to which writers and scholars continue to refer to discourses of musical transcendence as a way of exploring and representing humanity’s relationship with the world means that analyses of music’s social grounding, which can reject problems of signification and meaning, are not sufficient to explain the variety of functions music can fulfil in writing and in thought.

This thesis investigates acts of ‘re-telling’ in four selected novels by Jeanette Winterson and Alan Warner.Re-telling, as I have defined it, refers to the re-imagining and re-writing of existing narratives from mythology, fairy tale, and folktale, as well as the re-visioning of scientific discourses and historiography. I argue that this re-telling is representative of a contemporary cultural phenomenon, and is evidence of a postmodern genre that some literary theorists have termed re-visionary fiction. Despite the prevalent re-telling of canonical stories throughout literary history, there is much evidence for the emergence of a specifically contemporary trend of re-visionary literature. Part One of this thesis comprises two chapters which deal with Winterson’s Sexing the Cherry (1989) and Weight (2005) respectively. In these chapters, I argue that, although the feminist and historiographic elements of her work are significant, there exist further motivations for Winterson’s acts of re-telling in both Sexing the Cherry and Weight. In Chapter One, I analyse Winterson’s subversion and re-imagining of historiography, as well as her re-telling of fairy tale, in Sexing the Cherry. Chapter Two provides a discussion of Winterson’s re-telling of the myth of Atlas from Greek mythology, in which she draws on the discourses of science, technology, and autobiography, in Weight. Part Two focuses on Warner’s first two novels, Morvern Callar (1995) and These Demented Lands (1997). In both novels, Warner re-imagines aspects of Christian, Celtic and pagan mythology in order to debunk the validity of biblical archetypes and narratives in a contemporary working-class setting, as well as to endow his protagonist with goddess-like or mythical sensibilities. Chapter Three deals predominantly with Warner’s use of language, which I argue is central to his blending of mythological and contemporary content, while Chapter Four analyses his use of myth in these two novels. This thesis argues that while both Winterson and Warner share many of the aims associated with contemporary re-visionary fiction, their novels also exceed the boundaries of the genre in various ways. Winterson and Warner may, therefore, represent a new class of re-visionary writers, whose aim is not solely to subvert the pre-text but to draw on its generic discourses and thematic conventions in order to demonstrate the generic and discursive possibilities inherent in the act of re-telling.

No description available.

Consumer evaluation, proximate data, Warner-Bratzler shear force (WBSF), fatty acid (FA) composition and volatile compounds were analyzed from the Longissimus thoracis (LT), Tricep brachii (TB) and Gluteus medius (GM) muscles finished on conventional feedlot (FL) and forages, including a perennial legume, birdsfoot trefoil (BFT; Lotus corniculatus), and a grass, meadow brome (Bromus riparius Rehmann, Grass). Representative retail forage (USDA Certified Organic Grass-fed, COGF) and conventional beef (USDA Top Choice, TC) were investigated (n = 6) for LT. Additionally, the effects of diet on Gluteus medius (GM) and Tricep brachii (TB) muscles were explored. Forage-finished beef scored lower (P < 0.05) in most of the affected sensory attributes except BFT which was similar to grain-finished beef. In forage-finished beef GM was more liked and in FL, TB was similar to GM except juiciness where it scored greater. The fat percent was found to be greatest (P < 0.05) in TC followed by BFT and FL. Nutritionally beneficial ratios of FAs were observed in forage-finished diet. Fatty acid concentrations were majorly affected (P ≤ 0.046) by diet. Few long-chain PUFAs were affected (P ≤ 0.015) by muscle type. No FA was a effected (P > 0.05) by the interaction of muscle and diet. 3-hydroxy-2-butanone, known to evoke a buttery sensation was affected (P = 0.011) by diet with greater (P < 0.05) concentration in GM across all diets. Strecker degradation products were affected (P ≤ 0.014) by muscle type being prominent in GM. Meanwhile, 2-ethyl-3,5-dimethyl-pyrazine was greatest (P < 0.05) in BFT. All pyrazine compounds were (P < 0.05) greater in GM. These results indicate that when consumer evaluated beef of finishing diets, FL beef was rated highly. Additionally, not all forages produce similar beef. There were similar ratings for BFT for all attributes except flavor having lower values compared with FL. The chemical composition of BFT beef was found to be intermediary and similar to both FL and Grass beef in many cases. Diet was found to interact with muscle for sensory and chemical measures. The GM and TB of FL did not differ (P < 0.05), while within forage treatments sensory response and chemical composition varied. These results indicate the meat quality of secondary beef muscles is more greatly impacted by forage diets.

No description available.

This study analyzed moral psychology's “moral judgment-moral action gap” research and found that morality was being described as a secondary phenomenon produced by underlying substrates (such as identity and self constructs, “brain modules,” and “evolved emotional systems”) which are themselves non-moral. Deriving morality from “the non-moral” presents a kind of ontological gap in the moral psychology research. Researchers implicitly close this gap assuming it is possible to get moral judgments and actions out of non-moral substrates. But the difficulty remains how the moral as “moral” becomes infused into any moral psychology models. Morality is not a secondary phenomenon arising out of something else. This study argues that there is a need to shift our understanding of what it means to be human, to a view in which the moral is fundamental. An alternative foundation for assessing the moral is found in the work of Emmanuel Levinas who sees ethics as a metaphysical concern. This means that he sees the essential moral character of human life and the reality of human agency as ontologically fundamental, or constitutive of human nature itself. In other words, the ethical is the “first cause” in regards to understanding the nature and action of the self. Thus morality is not merely epiphenomenal to some more fundamental reality. Levinas holds that as humans, we are called to the Other. This call of obligation to the Other comes before all other human endeavors. After presenting Levinas's alternative foundation of obligation to the Other which herein is labeled Felt Moral Obligation (FMO), C. Terry Warner's conceptualizations of FMO in relation to the moral judgment-action gap are presented. In light of these conceptualizations, this study argues that there is actually no moral judgment-moral action gap, but only holistic events of moral self-betrayal. Warner illustrates that rejecting FMO is a single moral event, a holistic act performed by a moral agent that involves moral responses of self-justification, offense-taking, and rationalization. The person finds him or herself in a state of self-betrayal. Levinas and Warner implicitly assert that such self-betraying responses are not fundamentally biological or rational, but rather, fundamentally moral.

Master of Science / Department of Animal Sciences and Industry / Michael E. Dikeman / The longissimus lumborum (LL) muscle from 117 steers and the LL, gluteus medius (GM), and triceps brachii (TB) from 132 heifers were obtained to evaluate the effects of feeding zilpaterol hydrochloride (Zilmax®; ZH) (7.56g/907kg on a 100% DM basis) on tenderness. Both genders were blocked by initial weight into 6 blocks of 4 pens. Pens were assigned to treatments of either 0, 20, 30 or 40 d on ZH, with a 3 d withdrawal. One steak was removed from each muscle for proximate analysis and three 2.54 cm thick steaks were vacuum aged for either 7, 14 or 21 d. Steaks were cooked to 70 ˚C and six 1.27 cm diameter cores were removed for Warner-Bratzler shear force (WBSF) determinations. All muscles from steers and heifers fed 30 and 40 d with ZH, had higher (P < 0.05) WBSF compared with controls. The WBSF of steer LL and heifer TB from the 20 d treatment was higher (P < 0.05) than controls. There were no treatment by aging interactions (P > 0.05) for WBSF of steaks from steer LL, heifer LL or heifer TB, but there was a treatment by aging interaction (P < 0.05) for WBSF of steaks from heifer GM. There were no differences (P > 0.05) in percent intramuscular fat for any muscle due to treatment. When using percent intramuscular fat as a covariate, differences in WBSF of steer LL and heifer TB were not altered, but there were slight differences in heifer LL and GM WBSF due to treatment when compared with not using percent fat as a covariate. Percentages of steaks with WBSF ≥ 5 kg increased as days on ZH increased and decreased as days of aging increased. Warner-Bratzler shear force values among the three aging times for steer LL control, 20 and 40 d treatments; all heifer LL treatments, and heifer TB 20 d were all positively correlated (P < 0.01) with each other. Feeding ZH for 20 d generally increased WBSF values, but means were still acceptable. Feeding ZH for 40 d was very detrimental to tenderness.

Thesis (M.A.)--University of the Witwatersrand, Faculty of Humanities, History of Arts, 2013 / This report examines the collecting practices of the private collector of South African art, situated in South Africa, and considers the way in which the act of collecting influences both the contemporary market and the construction of the art historical canon. The report questions the contribution made to the South African art world by collecting practices and considers what is involved in the collecting of fine art. I discuss the collector in relation to Sylvester Ogbechie’s (2010) notion of cultural brokerage; I examine notions of both public and private through the writings of Michael Warner (2002); and I consider what makes into one a collector, with reference to Thomas G. Tanselle’s (1998) text A Rationale of Collecting, while engaging several other sources. The report continues with a comparison between international collectors, with a focus on the ways in which they contribute to what becomes and remains relevant, as well as discussing some local collectors. I conclude with an examination of the way in which auction houses have played a seminal role in the establishment of the canon in South Africa, and the role of the collector in relation to this system. In summary, this paper examines the ways in which the private collector of South African art has a great influence on what is perceived as relevant to the canon, to culture and to art history.

L'industrie mondiale du disque connait sa plus importante crise depuis le début du 21ème siècle : les ventes d'albums physiques - principale source de revenus des maisons de disques - n'ont cessé de diminuer; et les fonctions de marketing et de distribution - compétences motrices des maisons de disques - ont été démocratisées par l'émergence d'Internet, baissant par la même occasion les barrières à l'entrée dans l'industrie. Des labels et des artistes indépendants ont été en mesure de se faire connaître du monde entier et de générer des profits, alors que leurs façons de faire vont à l'encontre des modèles d'affaires traditionnels. De plus, l'industrie fait face à des consommateurs de plus en plus exigeants : entre gratuité des services et complémentarité des supports de lecture, c'est toute la stratégie d'affaires des maisons de disques qui est à revoir. Afin de comprendre comment les maisons de disques se sont adaptées à l'émergence d'Internet, nous avons analysé tout d'abord les modèles d'affaires de Warner Music et Universal Music, deux des plus importantes maisons de disques mondiales. Nous avons constaté qu'elles ont entrepris un changement radical dans leurs façons de faire, ce qui a mené à un changement de leur mission corporative : on ne parle plus de maisons de disques mais de compagnies médias de divertissement musical. Cette mission se traduit par la diversification de leur proposition de valeur (consommateurs finaux et corporatifs), l'intégration verticale et horizontale le long de leur chaîne de valeur, l'adoption systématique des stratégies à 360° et le développement de partenariats, le long de leur chaîne de valeur mais aussi avec leurs principaux concurrents. Le principe de « coopétition » selon Moore (1996) semble être une condition sine qua non des nouveaux modèles d'affaires dans l'industrie. Étant donné la particularité du marché québécois (la majorité des ventes d'albums proviennent toujours de productions de labels indépendants québécois), nous avons également analysé les modèles d'affaires de trois compagnies de disques québécoises : StroboSonic, Division Musique de Quebecor Media et Tandem.mu. Ces compagnies se distinguent en termes de taille, de segments desservis, et des stratégies adoptées. En comparant leur évolution versus celle des Majors, nous avons conclu qu'il restait au Québec beaucoup de segments de marché encore sous-exploités, tels que l'intégration des services aux artistes, et le développement de plateformes québécoises de streaming et mobiles. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Écosystème d'affaires, modèle d'affaires, Internet, industrie du disque, chaîne de valeur