This project asserts that much of the cultural anxiety found in Gothic-infused late-Victorian fiction derives from literary revelations of the nested spaces, shifting identities, and spontaneous connections inherent to the late-Victorian metropolis. The three literary texts studied here – The Hound of the Baskervilles by Arthur Conan Doyle, Raffles: The Amateur Cracksman by E.W. Hornung, and The Thirty-Nine Steps by John Buchan – all depict London as fundamentally suitable for those who seek to evade the disciplinary gaze and to pursue menacing schemes of criminality and invasion. Doyle’s text illustrates the interconnectedness of the spaces within London as well as the passable threshold between London and the English countryside; both the villain Stapleton and the hero Sherlock Holmes use these connections to attack and defend, respectively, the city and its inhabitants. Hornung’s stories depict the machinations employed by the gentleman-thief Raffles as he alters his identity and his codes of behaviour in order to free himself to pursue criminal ends and thus as he challenges cultural barriers. Buchan’s text, building on the others, explores the dissolution of cultural boundaries and identities incumbent upon the spontaneous connections made between those who attack English culture and those, like Richard Hannay, who defend it. There emerges in these texts a vision of London (and by extension Great Britain) as a swirling vortex of motion, an unknowable labyrinth perpetually threatened by menacing agents from without and within. I have employed Victor Turner’s theories of liminality and communitas to describe how criminal agents, and their equally menacing “good-guy” pursuers, separate themselves from structured society in order to move freely and to gain access to the contested thresholds they seek to infiltrate. I also invoke theories of the Gothic, surveillance, and travel, as well as Jeffrey Cohen’s monster theory, to characterize the anxiety embedded in such invasions. / The transformation of contested space : Baker Street, Grimpen Mire and the battle for thresholds in The hound of the Baskervilles -- Hornung's code-switching monster : threatening ambiguity and liminoid mobility in Raffles, the amateur cracksman -- Towards a more inclusive Britishness : Richard Hannay's transformative connections and evolving identity in The thrity-nine steps. / Department of English

I first became enamoured with vampire Gothic after reading Bram Stoker's Dracula in high school, but gradually became dissatisfied with the Australian adaptations of the sub-genre. In looking for examples of Australian vampire Gothic, a survey of more than 50 short stories, 23 novels and five movies made by Australians reveals fewer than half were set in an identifiably Australian setting. Even fewer make use of three key, landscape-related tropes of vampire Gothic - darkness, earth and ruins. Why are so few Australian vampire stories set in Australia? In what ways can the metaphorical elements of vampire Gothic be applied to the Sunburnt Country? This paper seeks to answer these questions by examining examples of Australian vampire narratives, including film. Particular attention is given to Mudrooroo's Master of the Ghost Dreaming series which, more than any other Australian novel, succeeds in manipulating and subverting the tropes of vampire Gothic. The process of adaptation of vampire Gothic to the Australian environment, both natural and man-made, is also a core concern of my own novel, Vampires' Bane, which uses earth, darkness and a modern permutation of ruins to explore its metaphorical intentions. Through examining previous works and through my own creative process, Vampires' Bane, I argue that Australia's growing urbanisation can be juxtaposed against the vampire-hostile natural environment to enhance the tropes of vampire Gothic, and make Australia a suitable home for narratives that explore the ongoing evolution of Count Dracula and his many-faceted descendants.

This submission comes in two parts; the written dissertation, Contemporary art: the key issues, and the exhibition Melbourne - Moderne. When taken together they present a discourse on the conditions facing contemporary art practice and one artist’s response to these conditions in the context of Melbourne 2003-2007. (For complete abstract open document)

Begun in Berlin, completed in exile in Paris, and premiered on both sides of the Atlantic, Kurt Weill's Symphony No. 2 sets up the symphony circa 1933 as both resolutely international and messily interdisciplinary, and spotlights how fundamentally a transnational approach is needed in order more comprehensively to understand both the genre and the localised political and social issues shaping symphonic discourse at this time. Taking the issues raised by Weill's symphony as a starting point, and borrowing fine-grained, historically synchronic approaches from year studies, this thesis examines the symphonic genre in 1933 through four other case-study works composed or premiered in that year. I thus position the symphony as a site of cultural exchange between and within the major contexts traversed by Weill and his work: Berlin, Paris, and a messier U.S. East-Coast nexus that centres on New York and Boston, via Mexico City, looking in detail at Hans Pfitzner's Symphony in C-sharp minor, Roy Harris's Symphony 1933, Aaron Copland's Short Symphony, and Arthur Honegger's Mouvement Symphonique nr. 3. The Germanic genre has long been associated with nationalism, monumentality, and power display, wedded to Germanic Enlightenment philosophical discourses about universalised selfhood and its relationship to society. 1933, the year in which Hitler took power and the Great Depression reached its peak, was politically and economically fraught, concentrating social questions that intersect with symphonic issues about power, selfhood, space, and mass audiences. It is also a neglected year within symphonic surveys. The thesis combines archival work and hermeneutic perspectives to foreground those social and political discourses historically associated with the genre. I argue for the significance of their differing legacies in co-existent contexts, for the complicity of the genre in establishing and perpetuating political and colonial hegemonies, and for the urgency of rethinking the symphony as an international phenomenon.

Thesis (D.M.A.)--Boston University. This item includes the dissertation paper, handouts, as well as a video of the February 26, 2017 lecture and clarinet performance by Karen Luttik. / Géza Frid (1904-1989) was a significant Hungarian-born Dutch composer and pianist of Jewish descent. His compositional style was highly regarded in the Dutch musical scene of the 20th century; his music has been programmed on multiple occasions by the Concertgebouw Orchestra and in 1949 and 1954 won the City of Amsterdam Music Award. Major influences on Frid’s musical development started in his native Hungary where he studied with Béla Bartók and Zoltán Kodály before his move to the Netherlands. In 1972, he composed an unusually lovely concerto for Bb, A, Eb and bass clarinets (Op. 82) and dedicated it to George Pieterson, principle clarinet with the Concertgebouw Orchestra. Scholarly discussions of Géza Frid’s clarinet music are not to be found in either the US based International Clarinet Society’s The Clarinet, or in the Dutch based De Klarinet. Intensive World Cat library searches have yielded no recordings of this piece, and currently there is not even one recording of Frid’s Concerto for Clarinets on YouTube or in the Naxos Music Library. The Concerto for Clarinets is a significant addition to the standard clarinet repertoire and needs to be introduced to the world wide clarinet community. Furthermore, save for some short selections on the Géza Frid website set up by his son, Arthur Frid and a Wikipedia article, no translations exist of Géza Frid’s autobiographical material. His life story was exceedingly interesting, having been a Jewish composer during the World War II years who was not allowed to perform or compose for years during the German occupation of the Netherlands. Luckily he survived the war years by going into hiding; he managed as part of the musician’s resistance to find ways to perform and work illegally giving clandestine concerts and falsifying documents. These were exceedingly dangerous risks, yet ones Géza Frid and his fellow musicians were willing to take because of their music. Frid published two autobiographical books and numerous articles for the Dutch music magazine Mens en Melodie, (People and Melody) revealing his deep musical insights; especially those relating to the music of the Concerto need to be summarized and translated to English from Dutch. This paper provides a general overview of the historical aspects of Géza Frid’s life, his WWII experiences, and his position as one of many persecuted Jewish musicians at the time. Géza Frid’s autobiographical information relating to his personal friendships with Bartók and Kodály is of interest when considering his music. Summaries and some translations are made of his two Dutch language autobiographical books, In 80 Jaar de Wereld Rond (Around the World in 80 Years) and Oog in Oog Met… (Eye to Eye With…). A basic analysis of Frid’s Concerto for Clarinets is provided regarding form, the various instrument appearances, and a special feature invented by George Pieterson called the ‘tremolo special’. Since this concerto was specifically composed for the Reformed Boehm system clarinets which George Pieterson used, a discussion of the differences between the French, German and Reformed Boehm clarinet systems is included. The performance portion of this project is a historically informed performance of this piece on the specific models of clarinets for which it was written. George Pieterson passed on in April 2016, and this project is a fitting tribute of his teaching to a generation of professional clarinetists in the Netherlands including the author.

Neste trabalho é apresentada e defendida a tese segundo a qual o projeto filosófico de Arthur Schopenhauer deve ser entendido como o estabelecimento de um sistema de filosofia transcendental, constituído de uma teoria da experiência coordenada a uma teoria geral das faculdades cognitivas e a um “primeiro princípio”, que apresentamos e discutimos. Assim compreendida, a filosofia de Schopenhauer guarda uma relação peculiar de continuidade com a filosofia transcendental de Kant: herda e reformula o projeto de Karl Leonhard Reinhold, articulado em resposta aos céticos Salomon Maimon e Gottlob Ernst Schulze, edificando um sistema de filosofia transcendental que contempla as ambições fundacionistas presentes no projeto de Reinhold, as críticas que esse projeto recebera e críticas endereçadas à própria teoria da experiência de Kant no contexto de recepção da Crítica da Razão Pura. / In this work is presented and defended the thesis according to which Arthur Schopenhauer’s philosophical project should be understood as aiming at putting forward a system of transcendental philosophy. That system comprises a theory of experience coordinated to a general theory of cognitive faculties and to a “first principle” which we present and discuss. So understood, Schopenhauer’s philosophy exhibits a peculiar relationship of continuity with Kant’s transcendental philosophy: it inherits and reformulates Karl Leonhard Reinhold’s project as it was conceived in response to the skeptics Salomon Maimon and Gottlob Ernst Schulze, building a system of transcendental philosophy which encompasses the foundationalist ambitions of Reinhold’s project and the criticisms which that project had received, as much as some criticisms which was addressed at Kant’s theory of experience itself in the context of reception of the Critique of Pure Reason.

x, 91 p. : ill., music / In this study I examine representations of antisemitism, fantasy, and cultural imperialism in the 1864 ballet The Little Humpbacked Horse, composed by Cesare Pugni and choreographed by Arthur Saint-Leon. As the creative team adapted the story from verse to ballet, they literally morphed the titular character into new fantastical forms. They also added Jewish, Muslim, and other oriental characters and ended the ballet with a parade of the Russian nations. Drawing on the works of Richard S. Wortman, Julie Kalman, and Roger Bartra, I place these transformations in the context of a larger Russian ambivalence around the shift from a rural and woodland economy to an urban one, the inclusion of Eastern provinces in the rapidly expanding nation, and the emancipation – and inclusion of – internal minorities. I then explain how the music, choreography, and focus of the ballet change as the relevance of these mid-nineteenth century concerns fades. / Committee in charge: Loren Kajikawa, Co-Chairperson; Marian Smith, Co-Chairperson; Anne Dhu McLucas, Member

Made available in DSpace on 2014-06-11T19:24:52Z (GMT). No. of bitstreams: 0 Previous issue date: 2014-02-25Bitstream added on 2014-06-13T19:52:43Z : No. of bitstreams: 1 000755405.pdf: 721229 bytes, checksum: a665c9ee190d3a2675b924dd4bb2c525 (MD5) / As origens da Teoria dos Invariantes na Inglaterra e o Mécanique Analytique de Lagrange (1788), é um trabalho voltado principalmente a entender uma possível influência que levou George Boole em 1841, a escrever o artigo Exposition of a General Theory of Linear Transformations e verificar se a motivação que o fez produzir este trabalho é igual ou diferente da motivação que ele exerceu sobre Arthur Cayley e consequentemente sobre James Joseph Sylvester. O presente trabalho apresenta um estudo das origens da Teoria dos Invariantes, no século XIX na Inglaterra. De acordo com os historiadores da Matemática o marco do início desta Teoria foi a publicação de George Boole em 1841. Assumimos este artigo como referência principal para realizar nossa pesquisa. Analisamos “antes” e “após” esta publicação de 1841. Concluímos que o Mécanique Analytique de Lagrange, foi a principal motivação para George Boole escrever seu trabalho e, certamente, George Boole foi uma grande influência para Arthur Cayley no que condiz com a escolha do assunto “invariantes” bem como o desenvolvimento desta Teoria por Cayley / The origins of the theory of invariants in England and Mécanique Analytique of Lagrange (1788), is a work geared primarily to understand a possible influence that led George Boole in 1841, writing the article Exposition of the General Theory of Linear Transformations and verify that the motivation that did produce this work is equal or different of the motivation that he exerted on Arthur Cayley and James Joseph Sylvester consequently. This paper presents a study of the Invariant Theory origins, in the nineteenth century in England. According to historians of Mathematics the beginning of this Theory was the publication in 1841 of George Boole. We have taken this article as a reference to our research. We have proposed to analyzed before and after this publication, 1841. We conclude that the Mécanique Analytique Lagrange, was the essential motivation for George Boole write his work, and certainly George Boole was a great influence to Arthur Cayley in which matches the choice of subject invariants as well as the development of this Theory by Cayley

Neste trabalho é apresentada e defendida a tese segundo a qual o projeto filosófico de Arthur Schopenhauer deve ser entendido como o estabelecimento de um sistema de filosofia transcendental, constituído de uma teoria da experiência coordenada a uma teoria geral das faculdades cognitivas e a um “primeiro princípio”, que apresentamos e discutimos. Assim compreendida, a filosofia de Schopenhauer guarda uma relação peculiar de continuidade com a filosofia transcendental de Kant: herda e reformula o projeto de Karl Leonhard Reinhold, articulado em resposta aos céticos Salomon Maimon e Gottlob Ernst Schulze, edificando um sistema de filosofia transcendental que contempla as ambições fundacionistas presentes no projeto de Reinhold, as críticas que esse projeto recebera e críticas endereçadas à própria teoria da experiência de Kant no contexto de recepção da Crítica da Razão Pura. / In this work is presented and defended the thesis according to which Arthur Schopenhauer’s philosophical project should be understood as aiming at putting forward a system of transcendental philosophy. That system comprises a theory of experience coordinated to a general theory of cognitive faculties and to a “first principle” which we present and discuss. So understood, Schopenhauer’s philosophy exhibits a peculiar relationship of continuity with Kant’s transcendental philosophy: it inherits and reformulates Karl Leonhard Reinhold’s project as it was conceived in response to the skeptics Salomon Maimon and Gottlob Ernst Schulze, building a system of transcendental philosophy which encompasses the foundationalist ambitions of Reinhold’s project and the criticisms which that project had received, as much as some criticisms which was addressed at Kant’s theory of experience itself in the context of reception of the Critique of Pure Reason.

This thesis examines the literary dream in selected works by Kafka, Kubin, Meyrink, Musil and Schnitzler, with a particular focus on the redefinition of subjectivity through dreamlife. The introductory chapter contextualises these case studies in the broader field of oneirocriticism, emphasising the dream's ancient role as fixtional template and its specific significance in the destabilised environment of German Central Europe during the early twentieth century. Alfred Kubin's Die andere Seite (1909), which uses the 'other side' as metaphor for both oneiric and artistic experience, reveals the inherent dualism of the literary dream and its close relationship with creativity. In Robert Musil's Die Verwirrungen des Zdglings Tdrlefi (1906), the protagonist serves as the model for a new type of self-determining subject who draws on the knowledge of dreams and irrationality. Franz Kafka's texts reveal techniques for integrating the dream into fictional worlds that are already dreamlike through the prevalence of (literalised) metaphor and free association. Gustav Meyrink, in Der Golem (1915), shares Kafka's interest in concretised metaphor, but also explores the dream's associations with occult practices, used as a defence against the threatening claims of science. Finally, Arthur Schnitzler's literary dreams offer a direct confrontation with psychoanalysis and a dismantling of nineteenth-century ideals of gender and bourgeois love. Overall, it is argued that the literary dreams by these authors hold varied responses to fragmentation of the Ich in the face of psychological 'vivisection', theories of relativity, and the collapse of old social orders. The dream, as a nightly 'psychosis', crystallised the pervasive fears of self-loss during this period; however, in its perennial role as micro-narrative, it also provided a site for re-construction of the subject. The incorporation of dreams in fictional lives served as a metonymical guide for the integration of un- and subconscious experience overall.