The Heart's Portrait is a twelve movement composition for SATB choir and string quartet. The eight poems selected as the text for this work were penned by the eminent American poet Emily Dickinson. The text for the first movement, Dickinson's poem "If I can stop one Heart from breaking," succinctly describes the themes she commonly expounded upon in her writings: life, love, aching, pain, and purpose through faith. The remaining seven poems were chosen because they also explore these elemental themes. The main poem returns in variation throughout the piece, resulting in a modified rondo. To complement the four-part consort of voices, I selected a consort of strings in the form of a string quartet. The role of the quartet varies throughout the work from subservient to the vocal part, to dominant of the entire texture, to an equal partnership with the voices; these relationships are dictated by the text. Throughout the movements, I was able to explore a range of compositional techniques, both traditional and contemporary, while maintaining the primary purpose of unifying the text and music. This paper illustrates the initial compositional decisions made to begin the piece, the texts chosen and their placement within the work, the poet's history as it relates to the composition, a brief discussion on composers who have set Dickinson's words, and a thorough analysis of the work itself.

University of Macau / Faculty of Social Sciences and Humanities / Department of English

This thesis addresses issues of class as represented through the narrative agency exercised by the servant-narrator in Castle Rackrent and Wuthering Heights. Thady Quirk and Ellen Dean are servant-narrators who strategically use feigned allegiance, astute perception, and selective disclosure to wield power over the lives of their masters. These “arts of subordination” allow the servant-narrator to tell his or her own life narrative, while appearing to share the masters’ memoirs. While both servant-narrators are motivated by economic means, Ellen Dean’s involvement throughout Wuthering Heights is further complicated by her desires of emotional connection. However, each servant-narrator achieves his or her goals by manipulating the events and relationships that constitute his or her masters’ lives.

By reading mournful poems rhetorically, I expand the concept of the elegy in order to reveal continuities between private and communal modes of mourning. My emphasis on readers of elegies challenges writer-centered definitions of the elegy, like that given by Peter Sacks, who describes how the elegy's formal conventions express the elegist's own motives for writing. Although Sacks's Freudian approach helpfully delineates some of the consoling effects that writing poetry has on the elegist herself, this dissertation revises such writer-centered concepts of the elegy by asking how elegies rhetorically invoke ethical relationships between writers and readers. By reading elegiac poems through Kenneth Burke's rhetorical theories and Emmanuel Levinas's ethics, I argue that these poems characterize, as Levinas suggests, subjectivity as fundamentally structured by ethical relationships with others. In keeping with this ethical focus, I analyze anthology poems, meaning short lyric poems written by acclaimed authors, easily accessible, and easily remembered - including several well-known poems by such authors as Emily Dickinson, Gerard Manley Hopkins, and Robert Frost. Anthology pieces invite ethical evaluation in part because they represent what counts as valuable poetry - and also, by implication, what does not. Because anthology poems are read by broad, diverse audiences, I suggest that a rhetorical methodology focusing on writer-reader relationships is essential to evaluating these poems' ethical implications. This rhetorical approach to poetry, however, questions rhetoricians and aesthetic theorists from Aristotle and Longinus to Lloyd F. Bitzer and Derek Attridge who emphasize distinctions between rhetoric and poetics. I address the ongoing debate about the relationship between rhetoric and poetics by arguing, along the lines of Wayne C. Booth's affirmation that fiction and rhetoric are interconnected, that poetry and rhetoric are likewise integrally tied. To this debate, I add an emphasis on philosophy - from which Plato, Ramus, and others exclude rhetoric and poetry - as likewise essential to understanding both poetry and rhetoric. By recognizing the interrelatedness of these disciplines, we may better clarify poetry's broad, ethical appeals that seem so valuable to readers in situations of loss.

Thesis (MA)--Macquarie University, Institute of Early Childhood. / Includes bibliographical references. / Introduction -- Literature review -- A brief history of Utopia's art production; its place in the indigenous art movement -- The role of the wholesaler -- The retail sector -- Report on survey of the buyers of indigenous art -- Emily Kame Kngwarreye -- Authenticity -- Conclusion. / Summary: The thesis focuses on marketing art from the Aboriginal community, Utopia, where the majority of artists, and the best known artists, are women. It documents methods by which the art moves from the community to retail art outlets; it includes detailed documentation of marketing in the retail sector and also includes research into the buying of indigenous art by private buyers. -- Emily Kame Kngwarreye is the best known of the Utopia painters. The study proposes reasons for her success and points to further questions beyond the scope of this study. Problems inherent in criticism and editing of her work are raised and interpreted in the context of the marketplace. -- The original thesis plan did not include detailed discussion about authorship. However, in 1997 the media reported controversy about authorship of a prize-winning work. As such controversy must affect marketing, this topic (as it relates to this artist), was included. -- Although possibilities for improvement in marketing methods have become apparent as a result of this research, areas where further research would be beneficial have also become apparent. / Mode of access: World Wide Web. / 265, [48] p

O objetivo desta dissertação é apresentar uma leitura de O Morro dos Ventos Uivantes (1847), de Emily Brontë, e de Jane Eyre (1847), de Charlotte Brontë, com foco nas convenções góticas contidas nas duas obras e observando as maneiras como tais convenções interferem nos movimentos das duas protagonistas, Catherine e Jane, cada uma lutando para se adaptar ao seu espaço e, ao mesmo tempo, para realizar seus anseios. Apesar de as duas obras serem estruturalmente diferentes uma da outra, ambas compartilham uma atmosfera gótica intensa, bem como uma consequente densidade psicológica que influencia a disposição mental das duas protagonistas. A leitura dos dois romances foi conduzida com a finalidade de explorar as relações encontradas entre os aspectos estruturais, sociais e psicológicos envolvidos, ressaltando os elementos góticos que representam os desafios que Catherine e Jane são forçadas a enfrentar. A obra The Coherence of Gothic Conventions (1986), da crítica literária Eve Kosofsky Sedgwick, é utilizada para identificar e contextualizar a capacidade que as imagens góticas têm de traduzir o peso imposto pelas convenções sociais sobre o processo natural de crescimento das duas protagonistas. Considerando que esse peso é consideravelmente ampliado pelas práticas sociais ligadas a questões de gênero, foi explorado o conceito de Gótico Feminino, como apresentado pela Professora Carol Margaret Davison. Especial atenção é reservada para as imagens relacionadas com espaço – o espaço psicológico necessário para o crescimento emocional das protagonistas; e o espaço físico, que determina onde e como elas devem se movimentar. Aqui o suporte teórico é oferecido pelas poéticas dos elementos primitivos, de Gaston Bachelard, para análise do corpo de imagens apresentadas nos dois romances. A conclusão comenta as soluções encontradas por Catherine Earnshaw e Jane Eyre para abrir caminho e superar os obstáculos que se lhes apresentam; e também ressalta o quanto as convenções góticas conseguem revelar sobre a estrutura social que elas representam. / This thesis consists of a reading of Emily Brontë‘s Wuthering Heights (1847) and Charlotte Brontë‘s, Jane Eyre (1847), focusing on the body of Gothic conventions they hold, and the ways in which such conventions interfere with the movements of the two female protagonists, Catherine and Jane, each struggling to fit into their space, while trying to accomplish their desires. Although the two works are structurally different in several ways, they share an intense Gothic atmosphere and its consequent psychological density, which influences the mental frame of the two protagonists. In order to explore the relations among the structural, social and psychological aspects involved, a reading of the novels has been conducted, focusing on the presence of Gothic elements that stand for the challenges Catherine and Jane are bound to face. Literary critic Eve Kosofsky Sedgwick‘s work The Coherence of Gothic Conventions (1986) is used to identify and contextualise the capacity of Gothic imagery to reveal the weight of social conventions upon the natural process of growth of the two protagonists. Inasmuch as the pressure becomes intensified by the rules of gender settlements, the concept of Female Gothic is explored, as presented by Professor Carol Margaret Davison. Particular attention is paid to the imagery related to space – psychological space for the protagonists to grow emotionally, and physical space, as determinant of where and how they must move. Here the theoretical support is offered by Gaston Bachelard‘s poetics of the primitive elements, unveiling the body of images presented in the two novels. The conclusion indicates the solutions found by Catherine Earnshaw and by Jane Eyre to find their way and overcome the obstacles they meet; with comments on how revealing Gothic imagery is of the social conventions it represents.

Diploma work presents the Poetics of Emily Dickinson and Walt Whitman as a big influence on traditional American Literary development. Their work brought a new view of traditional Poetry in 19th century, which affected the whole status of traditional American culture. Their styles of writing had an effective impact on American Literature and shaped the new image of Poetry. One of the purposes of this diploma work is to introduce historical and literary-philosophical background of the period of 19. century, which influenced their lives and work as well. Then the diploma work demonstrates the Poetry of Walt Whitman and Emily Dickinson and compares their work afterwards according to the chosen topics appearing in their poems. To summarise the whole diploma work there is the analyse of the similarities and differences in the poetry of both poets.

O objetivo desta dissertação é apresentar uma leitura de O Morro dos Ventos Uivantes (1847), de Emily Brontë, e de Jane Eyre (1847), de Charlotte Brontë, com foco nas convenções góticas contidas nas duas obras e observando as maneiras como tais convenções interferem nos movimentos das duas protagonistas, Catherine e Jane, cada uma lutando para se adaptar ao seu espaço e, ao mesmo tempo, para realizar seus anseios. Apesar de as duas obras serem estruturalmente diferentes uma da outra, ambas compartilham uma atmosfera gótica intensa, bem como uma consequente densidade psicológica que influencia a disposição mental das duas protagonistas. A leitura dos dois romances foi conduzida com a finalidade de explorar as relações encontradas entre os aspectos estruturais, sociais e psicológicos envolvidos, ressaltando os elementos góticos que representam os desafios que Catherine e Jane são forçadas a enfrentar. A obra The Coherence of Gothic Conventions (1986), da crítica literária Eve Kosofsky Sedgwick, é utilizada para identificar e contextualizar a capacidade que as imagens góticas têm de traduzir o peso imposto pelas convenções sociais sobre o processo natural de crescimento das duas protagonistas. Considerando que esse peso é consideravelmente ampliado pelas práticas sociais ligadas a questões de gênero, foi explorado o conceito de Gótico Feminino, como apresentado pela Professora Carol Margaret Davison. Especial atenção é reservada para as imagens relacionadas com espaço – o espaço psicológico necessário para o crescimento emocional das protagonistas; e o espaço físico, que determina onde e como elas devem se movimentar. Aqui o suporte teórico é oferecido pelas poéticas dos elementos primitivos, de Gaston Bachelard, para análise do corpo de imagens apresentadas nos dois romances. A conclusão comenta as soluções encontradas por Catherine Earnshaw e Jane Eyre para abrir caminho e superar os obstáculos que se lhes apresentam; e também ressalta o quanto as convenções góticas conseguem revelar sobre a estrutura social que elas representam. / This thesis consists of a reading of Emily Brontë‘s Wuthering Heights (1847) and Charlotte Brontë‘s, Jane Eyre (1847), focusing on the body of Gothic conventions they hold, and the ways in which such conventions interfere with the movements of the two female protagonists, Catherine and Jane, each struggling to fit into their space, while trying to accomplish their desires. Although the two works are structurally different in several ways, they share an intense Gothic atmosphere and its consequent psychological density, which influences the mental frame of the two protagonists. In order to explore the relations among the structural, social and psychological aspects involved, a reading of the novels has been conducted, focusing on the presence of Gothic elements that stand for the challenges Catherine and Jane are bound to face. Literary critic Eve Kosofsky Sedgwick‘s work The Coherence of Gothic Conventions (1986) is used to identify and contextualise the capacity of Gothic imagery to reveal the weight of social conventions upon the natural process of growth of the two protagonists. Inasmuch as the pressure becomes intensified by the rules of gender settlements, the concept of Female Gothic is explored, as presented by Professor Carol Margaret Davison. Particular attention is paid to the imagery related to space – psychological space for the protagonists to grow emotionally, and physical space, as determinant of where and how they must move. Here the theoretical support is offered by Gaston Bachelard‘s poetics of the primitive elements, unveiling the body of images presented in the two novels. The conclusion indicates the solutions found by Catherine Earnshaw and by Jane Eyre to find their way and overcome the obstacles they meet; with comments on how revealing Gothic imagery is of the social conventions it represents.

Submitted by Fabiano Vassallo (fabianovassallo2127@gmail.com) on 2017-05-03T18:56:30Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) eduardo graca dissertacao mestadoOKOK2.pdf: 595408 bytes, checksum: 6e6751f6eea0075617111a0afc57394b (MD5) / Approved for entry into archive by Josimara Dias Brumatti (bcgdigital@ndc.uff.br) on 2017-05-29T17:45:30Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) eduardo graca dissertacao mestadoOKOK2.pdf: 595408 bytes, checksum: 6e6751f6eea0075617111a0afc57394b (MD5) / Made available in DSpace on 2017-05-29T17:45:30Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) eduardo graca dissertacao mestadoOKOK2.pdf: 595408 bytes, checksum: 6e6751f6eea0075617111a0afc57394b (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O objetivo desta dissertação é a abordagem das relações entre os conceitos de mecanismos de poder e de linhas de fuga – concebidos nas obras dos filósofos Michel Foucault e Gilles Deleuze, respectivamente - e os romances de Emily Brontë e Virginia Woolf que intitulam nosso trabalho. Os mecanismos de poder, segundo Foucault, seriam os dispositivos políticos e filosóficos instalados na sociedade e no pensamento com o intuito de conduzir as relações de conhecimento, as disposições, e os desejos humanos à afirmação e à conservação das relações de poder vigentes. Interessados somente na manutenção das estruturas hegemônicas, os mecanismos de poder investiriam no cultivo de nossas potências tristes e servis para subjugarnos aos desígnios dominantes, dirigindo-nos, assim, ora à adequação compulsória e à reafirmação espontânea dos regimes hegemônicos, ora ao desespero, à loucura e à morte. As linhas de fuga deleuzianas constituiriam movimentos de ruptura com tais regimes dominantes, que possibilitariam novas relações com a sociedade, com a subjetividade, com a linguagem e com o pensamento; o cultivo de potências ativas e criadoras; e, afinal, a emergência de uma vida estética. Analisando os materiais narrativos de O morro dos ventos uivantes e Mrs. Dalloway observamos como tanto os jogos narrativos dos dois romances quanto os próprios enredos e personagens narrados se engajam nestas mesmas discussões a respeito do confronto entre forças conservadoras e libertárias, do cultivo de potências diminutivas e aumentativas, e da produção de corpos servis e elétricos / The aim of this dissertation is an approach of the relations between the concepts of mechanisms of power and lines of flight – conceived in the works of Michel Foucault and Gilles Deleuze, respectively – and the novels by Emily Brontë and Virginia Woolf that entitle our work. Mechanisms of power, according to Foucault, would be the political and philosophical devices installed in our society and in our thought with the intent of driving our relations with knowledge, our disposition and our desire towards the affirmation and conservation of established relations of power. Interested only in the maintenance of hegemonic structures, mechanisms of power would invest on the cultivation of our sad and servile potencies to submit us to the dominant designs, driving us either to compulsory adequacy and to the spontaneous reassurance of hegemonic regimens, or to despair, insanity and death. The deleuzian lines of flight would consist in rupturing movements with such dominant regimens, that would enable new relations with society, subjectivity, language and with thought; the cultivation of active and creative potencies; and the eventual emergency of a aesthetic life. Analyzing the narrative materials of Wuthering Heights and Mrs. Dalloway we observe that both the narrative strategies of the novels and their plots and characters engage on these same discussions about the confrontation between conservative and libertarian forces; the cultivation of diminutive and augmentative potencies; and the production of servile and electric bodies

Selected South African high school students’ perceptions of stereotypes in William Faulkner’s “A Rose for Emily” are the center of attention in an attempt to establish or refute the existence of a uniform interpretation in the interpretive community. The textual reader responses were collected by using a questionnaire. The results show that the respondents use stereotypes to understand encounters with literary texts and as tools to connect the content of the text with their own experiences. The stereotypes also provide a framework for the readers to position themselves with or against the text and the depicted characters. Consequently, the female respondents are more inclined to distance themselves from sexist values than the male readers. Next to all the readers condemn racist values and racist language detectable in the text. Overall, the readers distance themselves from negative values and identify themselves with positive values. The results show that readers use a variety of stereotypes as aids to interpret the characters, events, values and structure of society in “A Rose for Emily”.