No description available.

abstract: ABSTRACT "The Soul Unto Itself," a chamber music song cycle, was commissioned by the author, Rosa LoGiudice, and composed by William Clay, a doctoral candidate in composition at Arizona State University. The cycle was conceived and composed in the summer and fall of 2019. The chamber ensemble was a sextet comprised of Megan Law, mezzo-soprano, Kristi Hanno, clarinet, Emilio Vazquez, violin, Rittika Gambhir, bassoon, Nathaniel De la Cruz, double bass, and Rosa LoGiudice, piano, all based in Tempe, Arizona. The song cycle was premiered in a lecture recital on December 8, 2019 at Hammer and Strings Conservatory in Gilbert, AZ. "The Soul Unto Itself" is a cycle of six songs based on poems of Emily Dickinson. The poems all have common themes of personal transformation achieved through the introspective observations of the poet. An unusual chamber ensemble was chosen to include instruments not commonly used in vocal chamber music in order to create a greater variety of musical colors and timbres. This project included the creation of the musical score, a live performance that was video recorded, and the research paper. This document discusses the process of working with the composer, rehearsing the music as it was being composed, and negotiating revisions necessary to make the music more effective in performance. Each song is discussed in detail, especially the connection between the music and poetry, the overall form of the song, revisions discussed and implemented, and important motivic relationships between the songs that unify the cycle. In summary, the process of collaborating with a composer is a rewarding experience for both the performers and the composer, as everyone is challenged to improve their craft and overcome obstacles to achieve a successful performance. / Dissertation/Thesis / Doctoral Dissertation Music 2020

A modern interpretation of Wuthering Heights suggests that an unconscious incest taboo impeded Catherine and her foster brother, Heathcliff, from achieving normal sexual union and led them to seek union after death. Insights from anthropology, psychology, and sociology provide a key to many of the subtleties of the novel by broadening our perspectives on the causes of incest, its manifestations, and its consequences. Anthropology links the incest taboo to primitive systems of totemism and rules of exogamy, under which the two lovers' marriage would have been disallowed because they are members of the same clan. Psychological studies provide insight into Heathcliff and Catherine's abnormal relationship—emotionally passionate but sexually dispassionate—and their even more bizarre behavior—sadistic, necrophilic, and vampiristic—all of which can be linked to incest. The psychological manifestations merge with the moral consequences in Bronte's inverted image of paradise; as in Milton's Paradise, incest is both a metaphor for evil and a symbol of pre-Lapsarian innocence. The psychological and moral consequences of incest in the first generation carry over into the second generation, resulting in a complex doubling of characters, names, situations, narration, and time sequences that is characteristic of the self-enclosed, circular nature of incest. An examination of Emily Bronte's family background demonstrates that she was sociologically and psychologically predisposed to write a story with an underlying incest motif.

Emily Dickinson's use of water as a dominant poetic trope differs from typical religious archetypal associations with baptism, cleansing, and rebirth. Dickinson transforms rather than recapitulates established theological concepts, borrowing and adapting Biblical themes to suit her artistic purposes. Dickinson's water poems are the poet's means of initiating a discourse with God. Dickinson's poems, however, portray the poet's seeking communion and finding only a silent response to her attempts to initiate an exchange with God. Unable to find requital to her needs for discourse, Dickinson uses Biblical imagery to vindicate ultimately abandoning the orthodox tenets of Calvinism. Resenting the unresponsiveness of God, particularly if the solitude she experiences has been imposed through His will rather than her own, Dickinson poetically reverses roles with God to establish her autonomy, looking instead to the reader of her poetry to requite her need for discourse. And as interaction is seen as a need that Dickinson must have realized, poetry may then be understood as the poet's invitation of the reader into the discourse she finds lacking in God. Refuting Calvinist doctrines allows the poet to validate her autonomy as well. Instead of following a course of life prescribed by God, Dickinson demonstrates her resistance to suppliance through water. Dickinson refuses to follow God's guidance unquestioningly because merely being part of a collective who follow an indifferent god provides no lasting distinction for a poet seeking immortality. Having broken the union with God and established her god-like identity as a poet, Dickinson turns to the similar use of Biblical language in her poetry to establish the communion with her reader that she finds lacking in her relationship with God. Dickinson then strengthens this bond with the reader by asserting that divinity is present in every individual not suppressed by the restraining presence of God.

This essay analyses a selection of poems written by the American poet Emily Dickinson. The essay aims to explore the function of the meter in Emily Dickinson’s poetry. Earlier studies have combined Emily Dickinson’s poetry with meter, but the research of metrical pattern and form has not been sufficient enough to show Emily Dickinson’s full potential with the different meters. The purpose of this essay is to analyse how the metrical patterns are used by the poet as metrical strategies to impact the reader’s perception. One assumption is that structure and form are fundamental to her writing style. It justifies the reading of her poetry in relation to meter. The main focus was the physical structures of the poems, such as line length, metrical patterns, and systematic rhymes. The second most important aim was to analyse her other poetic devices, such as dashes and capitalizations. The findings were analysed together with the vocabulary and figurative language. The analysis shows Emily Dickinson’s poetic artistry in meter and rhyme and clarifies how she creates poetry with lyrical qualities. The result is important because it also shows that she can create poetry with metrical patterns, without in that sense being bound to meter.

Houses in literature are an important signifier, and for Canadian author L.M. Montgomery, places and especially houses were deeply meaningful. This study explores the portrayal of houses and homes in a selection of L.M. Montgomery’s novels: Anne of Green Gables (1908), Anne of Avonlea (1909), Anne of the Island (1915), Anne’s House of Dreams (1917), Emily of New Moon (1923), The Blue Castle (1926), Emily Climbs (1927), Emily’s Quest (1928), A Tangled Web (1931), Pat of Silver Bush (1933), Mistress Pat (1935), Anne of Windy Willows (1936), and Jane of Lantern Hill (1937). Montgomery’s own attachment to houses and places is evident from The Selected Journals of L.M. Montgomery, Volumes 1-5 (1985-2004), Mary Rubio’s biography, Lucy Maud Montgomery: The Gift of Wings (2008) and Montgomery’s letters, My Dear Mr. M: Letters to G.B. MacMillan from L.M. Montgomery (1980). This study argues that, given Montgomery’s emphasis on the physical environment of her own life, the environment which surrounds the characters of her novels is equally important for deciphering meanings conveyed in her books. Therefore, the study attempts to ascertain what houses in Montgomery’s fiction communicate, drawing on theories of place attachment and emotional relationships with places to explain the significance of the houses in these novels and Montgomery’s depiction of them and their relation to the characters. Research on place attachment and the meaning of home helps to clarify the significance of houses in these novels. Prior analysis of Montgomery’s novels is also taken into account, as well as studies on the house in other fiction. The study shows that the houses in Montgomery’s fiction often function as a symbol for the self. They also facilitate or prevent actions or events which involve the characters, and fulfil the needs of the characters, whether these needs be physical or emotional. I use these functions as an interpretive lens through which I attempt to illuminate aspects of Montgomery’s depiction of houses in these novels as dream houses, haunted houses, houses of nostalgia or escape. Montgomery uses houses to situate the characters in her novels, both physically and emotionally. Close analysis of the passages relating to houses in these novels reveals the depth of detail, the imagery and symbolism, and Montgomery’s careful selection of words and phrases. / Dissertation (MA (English))--University of Pretoria, 2017. / English / MA (English) / Unrestricted

Our modern swedish society is charactarized by peoples and cultures from all over the world. In this perspective I believe that young pupils of today need culture studies in school in order to understand themselves and further to recieve knowledge about different cultures, traditions and lifestyles. The present study is an attempt to investigate the potential of the ethnological culture analysis as a pedagogical method. The paper is divided into two sections; one in which I (a student teacher in swedish language training) have applied the culture analysis in a literary context. By using the culture analysis on Emily Brontë´s classic book Wuthering Heights I have tried to let typical elements from the Victorian era appear. This is only an example of how the method can be used in teaching. The second part is an investigation of the culture analysis from a didactic point of view. This section is an empirical study where four teachers and five ethnologists think of the ethnological culture analysis as a potential method in the upper department comprehensive school and the upper secondary school. My conclusion is that the teachers and ethnologists in my study believe in the ethnological culture analysis as a pedagogical method.The ethnologic method seems to have a few diffuculties though which probably is a deterrent. The teachers want to see more cultural approaches in school, despite this, they don´t seem to have developed any concrete strategies of how to integrate culture perspectives into their schoolteaching.

This paper will discuss to what extent Emily Dickinson's heritage, environment, and experience formed her attitudes on religion and love, and will explain how successful she was in translating her intense emotional experience of love into poetry by examining her use of religious imagery.

The purpose of this thesis is to show two major influences in the thought of Emily Dickinson which contributed greatly to two antithetic doctrines which commanded her loyalty. One of these two was a reverence which she felt for the Puritan concepts of life; the other was a revolutionary trait that would not adhere to Puritan doctrine. The first doctrine was a natural one to be adopted by the poet. The Puritan way of life was the only "style of life" which she know and so, quite naturally, this kind of milieu satisfied her in many ways. But as she matured there occurred along the path of her life certain obstacles which were manifested by her genius, and those obstructions, at various times in her daily life, caused much unrest and uncertainty within the poet's mind.

Syftet med studien är att analysera hur svarta barn gestaltas i barnlitteraturen. Böcker som kommer att analyseras är följande: Pippi i Söderhavet och Superhjälteprinsessan. Vidare kommer det att undersökas om hur gestaltningen skiljer sig åt tidsepokerna 1948–2022. Metoden som har använts är en kvalitativ textanalys. Studien grundar sig på ett postkolonialt perspektiv. Resultatet och slutsatsen visar på skillnader i synen på representationen av svarta barn beroende på tidsskillnaderna.