- About
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The Global ETD Search service is a free service for researchers
to find electronic theses and dissertations. This service is
provided by the
Networked Digital Library of Theses and Dissertations.
Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
Search results
Showing 261 to 270 of 291 (0.048 seconds)| 261 |
Musical and Dramatic Functions of Loops and Loop Breakers in Philip Glass's Opera The VoyageWu, Chia-Ying (Charles) 05 1900 (has links)
Philip Glass's minimalist opera The Voyage commemorates the 500th Anniversary of Christopher Columbus's discovery of America. In the opera, Philip Glass, like other composers, expresses singers' and non-singers' words and activities by means of melodies, rhythms, chords, textures, timbres, and dynamics. In addition to these traditional musical expressions, successions of reiterating materials (RMs, two or more iterations of materials) and non reiterating materials (NRMs) become new musical expressions. However, dividing materials into theses two categories only distinguishes NRMs from RMs without exploring relations among them in successions. For instance, a listener cannot perceive the functional relations between a partial iteration of the RM and the NRM following the partial RM because both the partial RM and the NRM are NRMs. As a result, a listener hears a succession of NRM followed by another NRM. When an analyst relabels the partial RM as partial loop, and the NRM following the partial RM as loop breaker, a listener hears the NRM as a loop breaker causing a partial loop. The musical functions of loops and loop breakers concern a listener's expectations of the creation, sustaining, departure, and return to the norm in successions of loops and loop breakers. When a listener associates the satisfaction and dissatisfaction of these expectations with dramatic devices such as incidents, words in dialogues and soliloquies, and activities by singers and non-singers, loops and loop breakers in successions become dramatically functional. This dissertation explores the relations among musical and dramatic functions of loops and loop breakers in Glass's musical commemoration of Columbus.
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COMPANY, COLONY, AND CROWN: THE OHIO COMPANY OF VIRGINIA, EMPIRE BUILDING, AND THE SEVEN YEARS’ WAR, 1747-1763Kasecamp, Emily Hager, PhD 26 November 2019 (has links)
No description available.
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Helgonet med ett hundhuvud,en symbol-analys av Sankt Kristoffer : En djupdykning i meningen med forntida monster i ett kristet sammanhangNesi, Alexander January 2024 (has links)
This essay studies the historical phenomenon of dog-headed men (cynocephaly) andSaint Christopher who is in eastern-orthodox iconography depicted as a dog headedman. The study argues that a symbolic and phenomenological perspective is preferredto understand mythical figures with “unnatural” depictions. In order to reach aconclusion about the symbolic meaning behind dog-headed men and SaintChristopher, the human experience of dogs and their role in our world is examined indetail to construct a theory concerning their symbolism. The theory is then applied todepictions of dogs and dog-headed men in religious stories and images as well ashistorical accounts to see if the theory fits the facts.The study concludes that dog-headed men and Saint Christopher symbolize a kind of“guardian of the border”. What it means to guard the border has different implicationsdepending on if the dog-headed man is depicted in a Christian or non-Christiancontext. When reading the story of Saint Christopher with this pattern in mind, thereason for his legendary depiction is revealed. The conclusion is supported bycomparing Saint Christopher to stories from the bible which symbolize “the rolewhich the border can play as a part of the whole”. The dog-headed men of history, thesaint and the biblical stories all reinforce the symbolism of each other, revealing thedeeper meaning behind the wild, peripheral side of Christianity.
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“I Laid my Hands on a Gorgeous Cannibal Woman”: Anthropophagy in the Imperial Imagination, 1492 – 1763Watson, Kelly Lea 17 August 2010 (has links)
No description available.
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The Man Who DisappearedNealon, Brian J. 19 August 2004 (has links)
No description available.
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Sitting at the Piano, Cradled by Speakers: Developing a Rhythmic Performance Practice in Music for Piano and “Tape”Ding, Shiau-Uen 27 June 2007 (has links)
No description available.
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Tartuffe: A Modern AdaptationBenjamin, Stephen 12 September 2013 (has links)
No description available.
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Fifth Monarchist Constructions and Presentations of Gender in PrintFeiner, Christina Ann 14 September 2015 (has links)
No description available.
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MasksNicholas, Jeffrey Francis 22 April 2016 (has links)
No description available.
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A mongrel tradition : contemporary Scottish crime fiction and its transatlantic contextsKydd, Christopher January 2013 (has links)
This thesis discusses contemporary Scottish crime fiction in light of its transatlantic contexts. It argues that, despite participating in a globalized popular genre, examples of Scottish crime fiction nevertheless meaningfully intervene in notions of Scottishness. The first chapter examines Scottish appropriations of the hard-boiled mode in the work of William McIlvanney, Ian Rankin, and Irvine Welsh, using their representation of traditional masculinity as an index for wider concerns about community, class, and violence. The second chapter examines examples of Scottish crime fiction that exploit the baroque aesthetics of gothic and noir fiction as a means of dealing with the same socio-political contexts. It argues that the work of Iain Banks and Louise Welsh draws upon a tradition of distinctively Scottish gothic in order to articulate concerns about the re-incursion of barbarism within contemporary civilized societies. The third chapter examines the parodic, carnivalesque aspects of contemporary Scottish crime fiction in the work of Christopher Brookmyre and Allan Guthrie. It argues that the structure of parody replicates the structure of genre, meaning that the parodic examples dramatize the textual processes at work in more central examples of Scottish crime fiction. The fourth chapter focuses on examples of Scottish crime fiction that participate in the culturally English golden-age and soft-boiled traditions. Unpacking the darker, more ambivalent aspects of these apparently cosy and genteel traditions, this final chapter argues that the novels of M. C. Beaton and Kate Atkinson obliquely refract the particularly Scottish concerns about modernity that the more central examples more openly express.
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