Zugl.: Brandei, Univ., Diss., 2003

Thesis (Ph. D.)--UCLA, 2009. / Vita. Description based on print version record. Includes bibliographical references (leaves 394-413).

Erg. und aktualis. Diss. Univ. Karlsruhe, 2008.

Zugl.: Karlsruhe, Univ., Diss., 2008

Mass., Brandeis Univ., Diss.--Waltham, 2003.

This dissertation examines the linear sequence of segments in musical collages composed by John Zorn between 1988 and 1993. In addition to the use of processes and associations as unifying elements, these pieces present hierarchical organization and narrative structure. The presence of form and narrative in these works illustrates the capacity of postmodern music to be unified in novel and idiosyncratic ways. I examine Zorn's collage pieces using an adapted methodology of paradigmatic analysis and incorporate ideas of musical topics as signifiers of delineation in the works. The segmentation of these works, begun in chapter three, reveals a hierarchical organization where individual musical blocks are organized into larger structures that I call collage phrases. This reveals the presence of hierarchical form in the musical surface, showing that organization in the pieces is not limited to background processes. The collage pieces that utilize this structure are described as exhibiting episodic collage form. Collage phrases in such pieces may also be further grouped together into larger units. I examine narrative in the pieces through the idea of idiolects, which I conceive of as approaches and compositional philosophies that are identified through the careful examination of Zorn and his music. Chapter four examines how linear narrative in Zorn's string quartet Cat O'Nine Tails relates to an idea of visual organization that connects to his conception of cartoon music. Chapter five examines how Zorn's album Radio is organized through the idea of the "musical game," a concept in which borrowed materials and techniques are combined with Zorn's musical persona. Songs on Radio reflect this concept progressively over the course of the album. This study reveals several things about Zorn's music and about musical postmodernism. First, it illustrates the organization of the musical surface of these works. Second, it highlights linear musical narratives in the pieces. These elements of linear organization operate alongside other non-linear structures in Zorn's music. Finally, it demonstrates the capacity of postmodern music to contain innovative approaches towards musical organization.

Anders Zorn är allmänt ansedd som en av sin tids främste porträttkonstnärer och bland hans mest upphöjda modeller hittar vi diverse medlemmar i den svenska kungafamiljen. I den här uppsatsen undersöks tre av hans kungliga porträtt utförda mellan åren 1898 och 1909. De tre porträtten är alla målade i olja på duk och föreställer de två kungarna Oskar II och Gustaf V samt änkedrottning Sofia av Nassau. Uppsatsens syfte är att undersöka Zorns kungliga porträtt i relation samtida framställningar av kungligheter, den kungliga porträttraditionen i Sverige och statsporträttet som genre. Frågeställningarna centrerar kring hur porträtten förhåller sig till den kungliga porträttraditionen, hur Zorn använde sig av klädsel och attribut och vilken effekt det fick i hans framställningar, i vilken utsträckning som hans verk följer den traditionella kungliga ikonografin och hur den personliga relationen till kungligheterna påverkade framställningarna av dem. Undersökningen utgår ifrån en semiotisk bildtolkning av de tre verken och uppsatsens teoretiska perspektiv utgår ifrån T.J. Clarks beskrivning av socialhistorisk konstvetenskap. Resultatet visar att Zorn använder sig delvis av den kungliga ikonografin samt använder sig av element vanliga inom statsporträttets genre samtidigt som han i det stora bryter med traditionen både när det kommer till klädsel, attribut och komposition. Det har även framkommit att relationen till kungligheterna var nära och att detta säkerligen påverkade den informella tonen i Zorns kungliga porträtt. Undersökningen visar också att Zorns porträtt kommer till i en brytningstid där hans kungliga porträtt har mer likheter med de som kommer efter än de som har tillkommit tidigare. / Anders Zorn is generally considered one of the most prominent portrait painters of his time and among his subjects we find several members of the Swedish royal family. This thesis investigates three of his royal portraits painted between 1898 and 1909. The portraits are all painted in oil on canvas and depict two kings, Oscar II and Gustaf V, as well as the dowager queen Sofia of Nassau. The aim of the thesis is to investigate Zorn’s royal portraits in relation to contemporary depictions of royalty, the traditional royal portraiture in Sweden, and the state portrait genre. The questions focus on how the portraits relate to the royal portrait tradition, how Zorn used clothing and attributes and the effect this had in his representations, to what extent his work follows traditional royal iconography, and how his personal relationship with the royals influenced the representations of them. The investigation is based on a semiotic interpretation of the three works, and the essay's theoretical perspective is based on T.J. Clark's description of social art history. The results show that Zorn partially uses the royal iconography and elements common within the genre of the state portrait, while he also largely breaks with tradition in terms of clothing, attributes, and composition. It is also shown that the relationship with the royal family was close and that this certainly influenced the informal tone of Zorn's royal portraits. The investigation also shows that Zorn's portraits are produced at a turning point where his royal portraits have more similarities with those that follow than those that precede.

Zugl.: Montréal, Univ., Diss., 2004

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A teoria de conjuntos por vezes deixada de lado em algumas escolas de ensino mÃdio, constitui-se em um elemento primordial para o entendimento das funÃÃes, em especial. A nÃo abordagem, ou a sua abordagem superficial, deixa no estudante uma lacuna difÃcil de ser suprida em estudos posteriores. AliÃs, a lacuna deixada pode dificultar o desempenho do estudante no ensino superior. Diante desta constataÃÃo, à objetivo principal desta dissertaÃÃo fazer uma leitura dos principais tÃpicos ligados à Teoria de Conjuntos do ensino mÃdio, ao mesmo tempo em que faz uma ponte entre estes e outros pontos nÃo menos importantes, tratando conjuntos em uma linguagem mais acadÃmica. SerÃo abordados desde as propriedades e teoremas relacionados a conjuntos finitos, atà a sua generalizaÃÃo para conjuntos infinitos, culminando com o teorema de Cantor-Schroeder-Bernstein, o Axioma da Escolha, e o Lema de Zorn. Para tantos, realizaram-se pesquisas bibliogrÃficas em fontes variadas. / The set theory sometimes left out in some high schools, is in a key element for understanding the functions in particular. Failure to address this issue or its superficial approach leaves the student a difficult gap to be filled in later studies. Incidentally, the left gap may hinder student performance in higher education. If this is so, is the main objective of this work to a reinterpretation of the main topics linked to the high school set theory, while making a bridge between these and other equally important points dealing with sets in a more academic language. Will be covered from the properties and theorems related to finite sets up its generalization to infinite sets, culminating in the Cantor-Schroeder-Bernstein theorem, the Axiom of Choice and Zornâs Lemma. To this end, there were literature searches in various sources.