"October 2004" / Includes bibliographical references (leaves 280-291) / 291 leaves : ill.(some col.), maps (col.), plates (col.), photos. (col.) ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Thesis (Ph.D.)--University of Adelaide, Australian School of Petroleum, 2005

Thesis (M. A.)--University of Hong Kong, 2007. / Title proper from title frame. Also available in printed format.

According to musicologists and critics, the “English Musical Renaissance” or the second Renaissance of English music, as it also called, to distinguish it from the generation of English musicians of the Renaissance, produced many composers in Great Britain during the years 1880 to 1966. This resurgence of nationalistic musical activity was a time of prolific musical output by composers such as Edward Elgar, Arnold Bax, Gustav Holst and Ralph Vaughan Williams. Another composer who flourished during the English Renaissance was Edwin York Bowen (1884-1961). His Viola Concerto in C minor, Op. 25 (1907), is the subject of this essay. Bowen’s Viola Concerto was written with Lionel Tertis (1876-1975) in mind. Tertis, the leading violist of the day, made it his life’s mission to popularize the viola as a solo instrument. This essay explores the Concerto from a theoretical point of view. In addition, the piece will be approached from a performance/pedagogical point of view, with the inclusion of a methodology of study based on sixteen specific technical excerpts drawn from the piece.

<p>This study examines Irish modernist literature in order to complicate established critical modes which read modernist movements as reflective of distinctly vernacular or cosmopolitan aesthetic and political commitments. I argue that neither recent models of vernacular modernism nor older models of cosmopolitan modernism entirely account for the stylistic innovations and formal experiments of modernist literature. Instead, modernist writers negotiate a field of tension between the poles of cosmopolitan and vernacular, and demonstrate that their works represent forms of identity that accommodate elements of both national belonging and cosmopolitan individualism. </p><p>Examining works by four authors - William Butler Yeats, Elizabeth Bowen, Samuel Beckett, and Raymond Queneau - this project argues that modernist literature represents a set of idiosyncratic, dynamic efforts to negotiate the tensions between the limits of the nation-state system and a variety of emerging transnational modes of cultural exchange in the late nineteenth and early twentieth centuries. The nature of modernist writers' efforts to negotiate a period of passage between national and global systems of exchange is, I think, especially visible in the case of Irish modernism. Ireland's transition from a part of the United Kingdom to an independent nation-state in the interwar period makes that nation's literature an exemplary case for my argument, as does the critical importance of Irish writing in the modernist canon. </p><p>By examining these and other critical and historical perspectives alongside a sampling of plays, novels, short stories, and memoirs, this study makes the case that modernist literary aesthetics spring from writers' efforts to make sense of competing desires for national belonging and cosmopolitan autonomy. Focusing on works that cross categorical boundaries between Irish and cosmopolitan modernism, this study traces the ways in which modernist aesthetics construct dynamic, adaptive relationships between the global and the national, and suggest that we can imagine them as something other than static, exclusive alternatives.</p> / Dissertation

Bowen-Conradi syndrome is a lethal autosomal recessive disorder affecting Hutterite infants, characterized by severe growth and psychomotor retardation, and leading to death at an average age of thirteen months. Linkage analysis and sequencing identified an A>G mutation in EMG1 as the probable cause of the disease. This gene is implicated in ribosome biogenesis, and the mutation results in an unstable EMG1 protein. The reduction in available EMG1 causes a transient delay in processing of the ribosomal small subunit 18S rRNA, leading to cell cycle delay at G2/M and a subsequent reduction in cell proliferation rates in patient lymphoblasts. A mouse model of Bowen-Conradi syndrome also displayed severe developmental delay, with prominent effects in the cranial central nervous system. Embryos died prematurely during development, probably due to decreased proliferation rates accompanied by apoptosis. These results shed light on the etiology of Bowen-Conradi syndrome, and open the door for development of treatments.

Thesis (M.A.)--University of Oregon, 2006. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 59-61). Also available for download via the World Wide Web; free to University of Oregon users.

Thesis (Ph. D.)--University of Texas at Austin, 2007. / Vita. Includes bibliographical references.

abstract: Works for clarinet in the twentieth century exist in abundance; furthermore, the number of extant works from the Classical period is substantial. However, works for solo clarinet in the late-Romantic style are lacking; most of the significant literature for clarinet is contained in orchestral works. Therefore, the purpose of this project is to add to the solo clarinet repertoire of the late Romantic-style through the transcription of works written originally for viola. The four works transcribed for this project are by York Bowen. Bowen was a British composer and pianist who taught at the Royal Academy of Music in England. Although his career flourished in the twentieth century, his music reflects the music of the late-Romantic style. The project includes a transcription of Bowen's Sonata No. 1 in C minor, Op. 18 for viola and piano, Sonata No. 2 in F major, Op. 22 for viola and piano, Romance in D-flat for viola and piano, and Phantasy in F, Op. 54 for viola and piano. Additionally, a brief examination of Bowen's life, an overview of each piece, details regarding transcription parts, a list of changes made to the original part, and a recording of each transcription is included in the document. / Dissertation/Thesis / York Bowen / D.M.A. Music 2011

This dissertation corrects the notion that fiction written in the late 1920s through the early 1940s fails to achieve the mastery and innovation of high modernism. It posits late modernism as a literary dispensation that instead pushes beyond high modernism's narrative innovations in order to fully express individuals' lived experience in the era between world wars. This dissertation claims novels by Elizabeth Bowen, Evelyn Waugh, and Samuel Beckett, as exemplars of a late modernism characterized by invocation and redeployment of conventionalized narrative forms in service of fresh explorations of the dislocation, inauthenticity, and alienation that characterize this era. By deforming and repurposing formal conventions, these writers construct entirely new forms whose disfigured likenesses to the genres they manipulate reveals a critical orientation to the canon. These writers' reconfigurations of forms--including the bildungsroman, the epistolary novel, and autobiography--furthermore reveal the extent to which such conventionalized genres coerce and prescribe a unified and autonomous subjectivity. By dismantling these genres from within, Bowen, Waugh, and Beckett reveal their mechanics to be instrumental in coercing into being a notion of the subject that is both limiting and delimited. These authors also invoke popular forms--including the Gothic aesthetic, imperial adventure narrative, and detective fiction--to reveal that non-canonical texts, too, participate in the process by which narrative inevitably posits consciousness as its premise. I draw upon Tyrus Miller's conception of late modernism to explicate how these authors' various engagements with established forms simultaneously perform immanent critique and narrative innovation. This dissertation also endorses David Lloyd's assertion that canonical narrative forms are instrumental in producing subjectivity within text and thereby act as a coercive exemplar for readers. I invoke several critics' engagements with conventional genres' narrative mechanics to explicate this process. By examining closely the admixture of narrative forms that churns beneath the surfaces of these texts, I aim to pinpoint how the deformation of conventionalized forms can yield a fresh and distinctly late modernist vision of selfhood.

This study examined the Bowenian notion that triangulation is precipitated by the interaction between a person's level of differentiation-of-self and the amount of chronic familial emotional anxiety. Another aspect of this study was to examine the relationship between marital quality and child triangulation. The sample for this study was taken from the Flourishing Families project and included only the families that indicated marriage as their relationship status, resulting in a total of 336 families with a target child between the ages of 11 and 14. Initial bivariate analysis indicated that differentiation-of-self, and family stress would be associated with child triangulation. Upon further examination using structural equation modeling, findings indicate that neither differentiation-of-self nor family stress are associated with child triangulation. However, marital quality was highly negatively associated with differentiation-of-self and moderately negatively associated with child triangulation.