My recent engagement as music director and conductor of Robert Nelson’s A Room with a View (1992, rev. 2004) has offered me the valuable opportunity to work on an opera side by side with its composer. The purpose of this dissertation is to reconstruct the various stages of the process of creation, interpretation, and performance of a contemporary opera, addressing aspects of the collaboration between the composer and the conductor. The methodology used in my research is based primarily on direct observation and interview. The investigation is conducted from the perspective of a “participant-observer,” due to my personal involvement in the project, as music director and conductor first, and then as interviewer and researcher. The document will be organized in three sections: - the first chapter will establish the context and specific features of my research, providing a scholarly background in relation to the study of the relationship between composer and conductor; - the second chapter will focus on the process of composition in all its stages. I have defined this as the “extended creative process” of A Room with a View; - the third chapter will discuss the Michigan State University production of the opera, considering several aspects of the artistic collaboration between Robert Nelson and me, as well as my involvement in the process as conductor. Through my research, I wish to provide useful insight into the crucial aspects of the composition and the production of new music. In addition, the project aims to offer a fresh contribution to the investigation of the relationship between composers and interpreters, and perhaps could provide some background reference for an interrogation about the current state and the future of American opera.

Mind Against Matter uses cognitive literary theory to explore a set of contemporary texts that emphasize characters’ feelings of alienation and isolation from their social and material worlds. Focusing on novels by Nicholson Baker and David Markson, short stories by David Foster Wallace, and the film The Truman Show, I consider how these texts focus on characters’ individual, subjective experiences while deemphasizing their physical environments and social contexts. I argue that by privileging subjectivity in this way, these texts portray their characters as independent, to varying degrees, from their material and cultural surroundings. The texts isolate individual consciousness, causing their characters to live in mental worlds of their own making. While the novel, as a genre, often depicts alienation as a condition deriving from a character’s status as a social outcast, the texts featured in this study treat it as a condition inherent to consciousness, derived from what their creators envision as an inevitable separation of mind from world. Rather than bemoan alienation as a loss of social connectedness, these texts portray it as inherent to mental life. The chapters of this dissertation explore the particular visions of alienation that emerge in each of these texts. In a chapter on Nicholson Baker’s The Mezzanine, I argue that Howie, the novel’s protagonist, views his mind as a machine that operates according to self-sufficient, automatic processes. My analysis of David Markson’s final novels demonstrates that Markson portrays artistic creation as a process through which individual consciousness is isolated from society. David Foster Wallace’s Oblivion treats alienation as a general human condition, as Wallace’s interests in loneliness and solipsism derive, I argue, from his assumptions about the individualized nature of consciousness. Finally, in a chapter on The Truman Show, I argue that the film’s sense of paranoia stems from its protagonist’s sense of being alone in his worldview. I thus present a corpus of works that maintain a close, limited focus on singular fictional minds, shutting out social and physical environments in order to depict the mind as a cloistered, self-enclosed entity. My analysis highlights the ways in which the philosophical underpinnings of these narratives render consciousness as an isolating force, stranding fictional characters on mental islands of their own making.

Thesis (MA)--Stellenbosch University, 2013. / ENGLISH ABSTRACT: In this thesis I examine the extent to which interpretations of African material culture play a role in the creation and visualisation of an ‘African aesthetic style’ in South African contemporary jewellery practices. My investigation of an ‘African aesthetic style’ in this thesis is informed by the production, display and writings on African cultural objects. I demonstrate contemporary jewellery design to derive from a critical methodology, particularly as it facilitates a renegotiation of the relationship and dialogue between the producer and viewer of contemporary jewellery objects. / AFRIKAANSE OPSOMMING: In hierdie tesis ondersoek ek die wyse waarop interpretasies van Afrika materiële kultuur 'n rol speel in die skepping en die visualisering van 'n 'Afrika estetiese styl' in Suid- Afrikaanse kontemporêre juwelierspraktyke. My ondersoek van so 'n styl is ingelig deur die produksie en uitstalling van, sowel as diskoerse rondom Afrika kulturele objekte. Ek ondersoek kontemporêre juweliersontwerp as 'n kritiese metodologie, veral ten opsigte van die wyse waarop dit 'n nuwe verhouding tussen die vervaardiger en toeskouer van kontemporêre juweliersobjekte fasiliteer.

Thesis (MA)-- Stellenbosch University, 2013. / ENGLISH ABSTRACT: This thesis provides a critical discussion of, and motivation for, my jewellery practice, in which fat from the human body is transformed into adornment. Drawing on Julia Kristeva’s theory of ‘abjection’, this research scrutinises the grotesque status of body substances in the modern media, with the intention of changing viewer reactions to these substances from repulsion to aesthetic enjoyment. I consider the influence of popular culture, where idealised bodies are promoted as ‘better’ than non-normative body types, and then consider how (or whether) the abject remainders of the ‘ideal body’ can successfully be refigured as adornment. In order to situate my practical Masters work in the wider field of contemporary avant-garde jewellery practice, I study the work of select jewellers, who also refer to, or use, body substances in critical ways in their work. Through this, I hope to scrutinise both normative notions of the body and of jewellery as adornment. / AFRIKAANSE OPSOMMING: Hierdie tesis dien as ’n kritiese bespreking van en motivering vir my praktiese juwelierswareontwerp, waarin vet afkomstig van die menslike liggaam verander word in versiering. Die navorsing gebruik Julia Kristeva se teorie van ‘abjection’ om die groteske status wat liggaamstowwe in die moderne media het, uit te pluis, met die doel om die toeskouer se reaksie op hierdie stowwe van afkeer in estetiese genot te verander. Ek oorweeg die invloed van populêre kultuur waarbinne geïdealiseerde liggame as ‘beter’ as nie-normatiewe liggaamstipes aangebied word. Ek kyk verder na hoe (en of) die vernederende (‘abject’) oorblyfsels van die ‘ideale liggaam’ suksesvol as versiering omvorm kan word. Om my praktiese werk vir die Meestersgraad binne die wyer veld van kontemporêre avant-garde juwelierswarepraktyk te vestig, ondersoek ek ook werk van sekere juweliers wat ook liggaamstowwe in hulle werk gebruik, of daarna verwys. Hierdeur hoop ek om die normatiewe idees van beide die liggaam en juweliersware as versiering uit te pluis.

The economic, demographic and social changes of the latter half of the C20th have influenced the experience of individuals now at 'midlife'. Arguably the impact of these changes has been more profound for women; specifically in the UK for those educated to be the wives, mothers and carers of industrial Britain (Newsom, 1963). Now around 50 years old this group of women are likely to experience a lengthy period of 'postmaternity' (Sheriff and Weatherall, 2009) extending to over thirty years in many cases. This research considers the experience of this metaphorically entitled 'telescopic' cohort (Goldstein and Schlag, 1999). The major corpus of age related research assumes a linear developmental progression of life stages (Erikson, 1951, 1968; Gould, 1978; Levinson, 1978; Levinson, 1996; Klohnen et al., 1996; Miner-Rubinio, 2004). Drawing on life course theory (Elder, 1995; Runyan, 1982; Super, 1980) enables this research to explore how women may have changed assumptions about themselves and their expectations as the social world has changed around them, moreover offers an alternative to the essentialist, linear, deterministic models of ageing. This feminist poststructuralist examination of the experience of women at 'midlife' is divided into two parts; firstly the 'lived life' which examines demographic changes, and drawing on material from 'Jackie' magazine, considers discourses of femininity and the expectations for, and of, girls. The 'told story' is then explored using narrative interview material. How women 'story' their lives and their understanding of 'self' at midlife is examined within the context of the changing world and their ageing bodies. The research revealed that the experience of 'midlife' for this cohort of women is narrated as a time of change in social circumstances with some 'gains' and some 'losses', however it is not storied as a time of inevitable 'crisis'. Moreover despite the plethora of literature portraying the menopause as problematic, this was not supported by the interview material.

The sculpture of German-born American artist, Eva Hesse (1936-1970), presents many conservation challenges. Hesse’s experimentations with latex and fiberglass created stunningly innovative works of art in the late 1960s bringing these unorthodox materials into the world of fine art; but now these materials are creating major conservation problems. Her artwork is an extreme example of the conservation challenges of contemporary art. This thesis examines the challenges surrounding the conservation and replication of Eva Hesse’s large-scale latex and fiberglass sculptures. The latex and fiberglass materials that captivated Hesse are compromising the structural integrity of her large-scale sculptures today. Hesse’s art forces conservators to establish conservation practices specific to modern and contemporary art. Although replication pushes conservators to re-examine their usual practices and violates the standard notion of minimal intervention, the replication of Hesse’s sculptural works is necessary to represent her artistic vision.

This thesis explores the re-photography of contemporary artist, Richard Prince. Using Lacanian theories of the gaze and of the drive cycle, it attempts to establish desire as the central theme of Prince's work. It looks primarily at the Cowboys, Girlfriends, and New Portraits, in order to combat the dominant perception of Prince's work as critical commentary on contemporary consumer culture.

In 1984, Stryper released its first album The Yellow and Black Attack and introduced audiences to a different kind of heavy metal. Instead of lyrics about sex, alcohol, and Satan, Stryper sang about Jesus, salvation, and God. While there were a number of fans ready for this change more were not. Members of the Church as well as members of the metal subculture were in agreement that Christianity and heavy metal were incompatible. Despite these objections, however, more bands emerged, and Christian metal became a significant genre within the Christian music industry. These bands presented Christian-oriented lyrics within the full spectrum of metal subgenres. This dissertation examines the ways in which Christian metal bands create an intersection between Christianity and the heavy metal subculture, infusing Christianity within the textual, visual, and musical structures of heavy metal. The author employs Deena Weinstein’s “metal code” to frame the analysis. The metal code includes the textual elements (band names, album and song titles, and song lyrics); the visual elements (band logos; album covers; and the various elements of the concert experience including the bands’ appearances, the staging, the interactions with the fans, and music videos); and the musical elements (timbre, modality, formal structure, and production of the songs and albums) that set metal apart from other musical genres. The dissertation also examines the concept of bands as “metal missionaries” that immerse themselves within the heavy metal subculture for the purpose of bringing the Christian message of hope and salvation. The author concludes that even though Christian metal bands modify aspects of elements that are otherwise incompatible with their Christian beliefs and message, they still maintain a sense of stylistic integrity that gives them credibility within the heavy metal subculture and allows them to fulfill their mission.

The legend is a permanent fixture of human societies. Though the legends themselves are permanent, their functions and meanings can fluctuate as the context in which they are told and retold shifts. As societies move through history, certain authoritative institutions create narratives that direct those societies and frame debates within them. Issues neglected by these institutions yet experienced by members of the population can be said to be unconstructed. Social problems that have achieved some level of construction inevitably provoke those who dissent from those constructions. In these situations, members of a society look for alternative means for talking about these problems. Often they turn to the contemporary legend for this purpose. This study reviews a sample of the most popular legends in the early part of 2012 to determine the ways members of American society were dealing with the unconstructed social problems of that time.

This dissertation is an exploration of the strain of Buddhist thought and practice running through American Modernism and American Modernist Poetry. I examine the works, both poetic and critical, of two authors, Allen Ginsberg and Norman Fischer. I explore Allen Ginsberg's relationship with Buddhism, as it changed throughout his life, looking at key poems in his early career, such as "Sakyamuni Coming Out of the Mountain," and "The Change: Kyoto to Tokyo Express." I also examine "Howl" in light of Ginsberg's early experiences with Buddhism and other spiritual forms. I consider some of the poetics and politics of "Howl" as an example of the both the poetic space and the mind Ginsberg prepared for his later spiritual and poetic life. I also theorize the connections between the Buddhist attitude that Ginsberg cultivates and the modernism of Ezra Pound, who eschewed Buddhist ideas and terms in his re-working of Ernest Fenollosa's well-known essay, "The Chinese Written Character as a Medium for Poetry." I examine the way Ginsberg considered Pound's Cantos as a model of a mind, in the act of the real work of thinking. I end my treatment of Ginsberg's work with a reading of "Father Death Blues" which Ginsberg considered the "culmination" of his Buddhist training. Looking at Norman Fischer, I focus closely on the Zen aspects of his writing, spending special attention on notions of the koan, as well as things he says (in his Zen lectures and elsewhere) about intersections between Zen mind perception models and models of mind that come via the practices of psychoanalysis. I work to explain how Fischer situates in terms of the L=A=N=G=U=A=G=E poets and other avant-garde poetic movements. I explore how Fischer's innovative style(s) work within his poetic practices in "Praise," an extended journal/diary poem from Precisely The Point Being Made and the Cage/MacLow practices of releasing of ego and agency in writing methods. I also look at how such journal/diary poems compare to other poetic "mind models" within American Modernism. My chapters on Fischer culminate in a discussion, with significant close readings, of his book Success.