I detta arbete har jag undersökt det förhållande jag upplever mellan en text och det musikaliska resultat som kommer av att bearbeta denna text. Detta kom sig av ett livslångt intresse för både text och musik, och en önskan att fördjupa mitt kunnande i ämnet. Arbetet gick till så att jag valde en text – ”The Waste Land” av T.S. Eliot – och skrev ett tjugo minuter långt, instrumentalt musikverk med texten som förlaga. Jag bearbetade texten från olika vinklar och med varierande grad av trogenhet, från att följa språkrytmen stavelse för stavelse till att försöka återge den övergripande känslan av ett parti text i min musik. På så sättfick jag ett flertal perspektiv på min kreativa process, vilket kom att vara mycket hjälpsamt i analysfasen. När jag var klar analyserade jag de fem olika kompositionsprinciper jag använt och försökte identifiera för- och nackdelar med dem. I diskussionsdelen drar jag slutsatser om min kreativa process, och den kreativa processen i stort. Jag talar mycket om begränsningar, och hur det kommer sig att begränsningar kan vara så inspirerande trots sina negativa associationer.

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This thesis will concern itself with the development of the religious thought of Eliot as it is expressed in his poetry and plays.

Gordon Haight, in his biographical preface to the letters of George Eliot, states the "without her intimate knowledge of the Evangelical mind George Eliot would have lacked part of the experience on which her wide sympathy was founded." This thesis is an exploration of, a commentary on, Haight's remark.

This thesis examines the feminine coming-of-age stories in The Mill on the Floss and Hard Times and seeks to redefine coming-of-age for Victorian girls as a movement into personal agency. The traditional bildungsroman has been defined in a way that largely excludes the experiences and stories of girls born during the early nineteenth century. Because these girls lacked the options and choices of their male counterparts, it becomes important to redefine what coming-of-age means when there are limited opportunities for personal growth. The middle-class Victorian woman led a largely prescribed existence and her well-being and security was often directly and indirectly tied to the status and conduct of the men in her life, usually her father. Given this, this paper also explores the father’s role in his daughter’s coming-of-age story and how he influences the choices she makes in her life.

Texte remanié de: Thesis Ph. D.--Princeton university, 1998. Titre de soutenance : Mythical youth : the sense of history and the redemption of the present in the work of T.S. Eliot and Eugenio Montale. / Bibliogr. p. 145-153.

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In the short span of his career, Thomas Ades has made significant contributions to classical music. Despite his extraordinary compositional output, awards and international recognition, very little serious study exists about Ades' work. This document is intended to fill a deficiency within the existing body of critical research, as well as to aid future performers and Ades scholars in the understanding of Five Eliot Landscapes, Opus 1. In addition to presenting a theoretical analysis of Five Eliot Landscapes, this document discusses how Ades utilizes T.S. Eliot's poetic cycle Landscapes as a springboard for a series of compositional etudes, in which he develops and explores five main concepts and techniques. Specifically, Ades uses interval cycles, Nancarrow tempo canons, musical homages to Olivier Messiaen and Gyorgy Kurtag, musical quotations and the creation of a distinct compositional signature scale. The development and permutation of these concepts have helped to establish the foundation of Ades' compositional style. To complement the theoretical analysis, this document presents a poetic synthesis of the written literature on Eliot's Landscapes and addresses musical correlations to the text. A biographical description of Ades' compositional output as well as a general overview of Eliot's Landscapes is also presented.

Diss.--Philosophische Fakultät--Köln--Universität, 1989.