No description available.

Thesis (Ph.D.)--University of Tulsa, 1988. / Bibliography: leaves 209-214.

Diss.--Medizinische Fakultät--Universität Würzburg, 1978.

Texte remanié de: Th. doct.--Institut national des langues et civilisations orientales, 1992. / Comprend des extraits de "Ilir" d'Anna Nerkagui. En appendice, choix de documents. Bibliogr. p. 293-298. Index.

No description available.

Univ., Diss.--Osnabrück, 1995. / Literaturverz. S. [239] - 285.

Master of Arts / Department of Modern Languages / Amy L. Hubbell / According to Feminist Theory, the social construction of gender is carried out through ritualistic or performative acts in everyday life. The idea of “doing” gender, or the “understanding of gender as a routine accomplishment embedded in everyday interaction” has been commonplace in this field for over three decades (West and Zimmerman 125). Contemporary French author Anna Gavalda toys with typical gender stereotypes in her novel Ensemble c'est tout creating characters who “do” gender and culture utilizing a mix of stereotypical and subversive gender traits. In this thesis I will discuss and analyze how Gavalda's main characters simultaneously accept and reject many gender stereotypes, displaying a variety of masculine and feminine traits in their daily lives, performing their genders in an unconventional fashion, and promoting an ideal of androgynous behavior. In the end, Gavalda manages to create a sort of “spatial justice” in which the characters fulfill more than just the traditional roles society expects from them. The majority of Gavalda's work integrates French culture, specifically the French meal, in order to set the tone. True to form, she highlights the importance of commensality in French society with considerable amounts of the story's intrigue taking place around meals. The meals themselves become performative acts, ritualized and carried out in much the same way as gender. Gavalda promotes the institution of the French “repas” and the conviviality that accompanies it. Her representations of food and gender beg a variety of questions relating to the role of the modern French woman's appetite and femininity, hierarchies in (and out) of the kitchen, as well as the notion of class in relation to eating well. By combining typical gender expectations with more subtle subversion of societal roles, is Gavalda in fact cooking up a recipe for an androgynous kitchen? The integration of these gender behaviors built around the institution of the French “repas” underscores a shift in the current societal standards promoting a new collective ideal for social change.

Dissertation--Uppsala universitet, 2009. / Bibliogr. p. 427-446.

Axmatova wrote the poem Primorskij park Pobedy in 1950 for Slava miru, a collection of verses that glorified Stalin. This poem was included in all her books that were published before her death (1966), apparently to please her censors. A few specialists that are trying today to establish a canonical and definitive version of her poetical works believe that Primorskij park Pobedy cannot be treated as a real Axmatova poem. The exclusion of a "parasitical" element seems unjustified if we conceive Axmatova's poetical works not as a complete Book, that is a definite and homogenous whole, but as a variable unity with undetermined limits. / When we read Primorskij park Pobedy through an intertextual network, the superficial meaning of the poem cracks and collapses. The text becomes open: under a trivial and official meaning is concealed an infinity of possible meanings. Our thesis explores this polysemy by showing how Axmatova's poem can generate a system of intertextual relations.

Denna uppsats beskriver arbetet med min examenskonsert. Som jazzsångerska, harpist, kompositör och arrangör (och även under arbetets gång administratör för projektet) beskriver jag hur jag upplever det vara att axla flera roller samtidigt. Konserten hölls på University of North Texas, Denton TX, Februari 2015 och jag framförde enbart egenkomponerad musik. / <p>All framförd musik komponerad och arrangerad av Anna Jalkéus (f. 1992)</p><p>Program:</p><p>Box of Secrets (2011)</p><p>Scene of the Crime (2014)</p><p>Lost to You (2013, arr 2015)</p><p>Svit för sång och fagott (2012-2014) I. Till Vattnet / II. I en kuliss av moln / III. En oförklarlig längtan</p><p>Turned Into a Bird (2014)</p><p>Sailor’s Wife (2013-2015)</p><p>On the Other Side of the Sea (2014-2015)</p><p></p><p>Musiker:</p><p>Anna Jalkéus, sång och harpa</p><p>Christopher Wright, kontrabas</p><p>Nicholas Rothouse, slagverk (cajun, klockspel, cymbal, triangel, virveltrumma, wind chimes)</p><p>Beth Uhimchuk, violin I</p><p>Jacob Cortez, violin II</p><p>Ruben Balboa III, viola</p><p>Jonathan Valdez, cello</p><p>Marion Powers, sång</p><p>Jessica Curran, sång</p><p>Ryan Ayres, fagott</p>