Thesis (M.F.A.)--University of Wisconisn--Madison, 1981. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 65-66).

Eugène Bozza is a three-time winner of the Premier Prix from the Paris Conservatory, in violin, conducting, and composition divisions. He earned his reputation as a master composer of wind music, and contributed a great amount of repertoire to the woodwind family. This document contains a short biography of Eugène Bozza’s life, including his student years and his career as a composer. The purpose of this study is to provide information of how Bozza transferred, adopted and remade his own music among his wind compositions. This document shows that Bozza’s methods of musical adoption warrant a close examination in order to offer greater insight into the mind of a masterful composer. Discussion of Bozza’s compositions includes Aria (1936), Fantasie Italienne (1939), Pulcinella (1944), Concerto (1952), Idylle (1959), Caprice-Improvisation (1963), Épithalame (1971), Suite (1974), Trois Mouvements for Flute and Clarinet (1974), Graphismes for Clarinet Solo (1975), 14 Études de Mécanisme (1948), 12 Études (1953), 11 Études sur des Modes Karnatiques (1972), and Contrastes III for Clarinet and Bassoon (1977).

Call number: LD2668 .T4 1932 T45

Thesis (M.F.A.)--Boston University. Boston University School of Fine and Applied Arts Graduate thesis production book submitted as partial fulfillment of the requirements for the degree Master of Fine Arts, 1961.

This study explored the application of the counselling technique called Focusing, with three subjects each attending four counselling sessions. A background view of Focusing identified major contributions from existential, experiential and transpersonal fields of psychology associated with the phenomenological school of counselling therapy. Naturalistic inquiry was used as a method to devise a cumulative exploration of self-acceptance and experiencing. The Focusing technique, first devised by Eugene Gendlin in the 1960's, was modified prior to the main study and then implemented as a combined counselling/training intervention. A grounded theory procedure provided the basis of a qualitative methodological examination for the study and triangulation was effected using quantitative instruments to examine an empirical outcome of the intervention for selfacceptance. The Focusing intervention was developed as a prepared script elicited by the researcher, followed by unstructured debriefing which included embedded questions about acceptance of self and the subject's process of experiencing during the intervention. Prior to commencement of the study, the researcher held some ideas but no preconceived assumptions about the outcome of the intervention in terms of its effect upon subject self-acceptance and experiencing. Upon analysis of the quantitative and qualitative results, it was concluded that exposure to a counselling process such as Focusing affects openness to and awareness of potential breadth, depth and expression of individual experiencing. Empirical measures of self-acceptance produced inconclusive results in pre- and post-testing, being more adequately explored in the outcomes of qualitative analyses. During the course of the study, five innovative methods of investigation were utilised and found to be suitable for further development towards future research.

The disparity of style and quality between O'Neill's early (1920-1932) and later (1932-1940) plays is explored in this study with emphasis upon O'Neill's use of auto symbolic motifs in the later plays, A Touch of the Poet, The Iceman Cometh, and Long Day's Journey Into Night: O'Neill's ability to fuse these auto symbolic motifs into coherent plots creates an emotional intensity in these plays which was absent from his early plays. Beginning with the composition of Ah Wilderness! (1932) O'Neill's plays diverge conspicuously from the earlier compositions, in terms of plot simplicity, character population, reenactment 3f experience in the style of realism, and unity of action and idea. These are the characteristics of his style during the later period which allowed him to make powerful symbols from common objects (autosymbols), such as a uniform and a thoroughbred mare in A Touch of the Poet, a drunkard who despises illusions in The Iceman Cometh, and a wedding dress, a note, and a bank of fog in Long Day's Journey Into Night.Chapter One of this study reviews those characteristics of O'Neill early plays which Eric Bentley has called O'Neill's "notorious faults." According to Bentley and others, O'Neill's early plays are too idea oriented, that is, the themes and symbols of such plays as Mourning Becomes Electra, Strange Interlude, and The Great God Brown do not arise from the action of the story but appear to be grafted onto the story.Chapter One demonstrates that O'Neill's early plays are dramatically ineffective compared to the later ones because of the pretentiousness of his ideas, themes and symbols, and that the incoherent stories and grafted symbolism of the early plays are the result of this pretentiousness.Ronald Peacock's definition of dramatic art is cited in order to demonstrate O'Neill's faulty approach to the drama during the early period and in order to provide a way of talking about the superior quality of the later plays. Before 1932, O'Neill wrote plays in order to demonstrate philosophic ideas; for example, in Dynamo he confronted the idea of the death of the old gods and the failure of science to replace the old gods, but his effort failed because he created an experience (plot) in order to discuss his idea. According to Peacock, this method is backwards; the great play is an experience reenacted as idea, not an idea reenacted as experience. Chapter One suggests that O'Neill's tendency to create a story which demonstrates an idea led him into the grafted symbolism and incoherent plots of the early period, and that this tendency is responsible for the poor characterization of the early plays in which characters such as Nina Leeds, Lavinia Mannon, and Lazarus of Bethany seem too concerned with superpersonal ideas to exist as individuals. After the composition of Ah Wilderness! O'Neill reversed his aesthetic and reenacted experience as ideas.Chapter Two shows how, beginning with his planned cycle, A Tale of Possessors Self-Dispossessed, O'Neill placed a growing emphasis upon simplicity of action and individualized characterization, In A Touch of the Poet, for example, the simplicity of action allows O'Neill to create Con Melody, a vibrant and totally believable character. Although the themes of love-hate relations between family members, excessive pride, and escapism are not new to the O'Neill canon, they now arise from the action and character instead of being grafted onto the work. Furthermore, the principal agent for the transmission of these themes is O'Neill's use of the auto symbolic mare and uniform. Also, the symbolic are not merely associated with an individual, but cluster around each of the major characters of the play. In this way these symbols are auto symbolic because they are both symbol of the idea and simultaneously objects of action-in the plot.These same qualities are characteristic of the symbol of Hickey in The Iceman Cometh. He is both a character in the play and a symbolic figure. In Chapter Three Hickey's dual role associates him symbolically with the lie of the pipe dream and the difficulty and necessity of moral reform. In the play, it becomes obvious that Hickey is a symbol of hopelessness when it is revealed that his reform is also an illusion. Because he is a three-dimensional figure as well as a symbolic figure he is auto symbolic.Chapter Four suggests that Mary's wedding dress, Tyrone's note from Booth, and the fog which encases the Tyrone household are O'Neill's most poignant and emotional auto symbols. O'Neill perfected his symbolic technique in this masterpiece, Long Day's Journey Into Night, in the final scene when Mary carries her wedding dress, which is symbolic of the past and at the same time literally an object of action.In concluding remarks, it is shown that we may account for some of the disparity of style and quality between the early and later plays by an examination of the simplicity of action and unity of symbol and action in A Touch of the Poet, The Iceman Cometh, and Long Day's Journey Into Night, and that the beginning of O'Neill's rejuvenated vision of the drama occurs when he first sketched the cycle, A Tale of Possessors Self-Dispossessed.

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Thesis (MA (Hons))--Macquarie University, School of English and Linguistics, 1981. / Bibliography: leaves 245-255. / SECTION I: TRANSLATION AND MODERN LINGUISTICS -- An historical overview of translation and translation theory -- Linguistic relativity and translation -- Problems in translation -- Sacred texts and translation theory -- SECTION II: THE DYNAMIC EQUIVALENCE THEORY OF EUGENE A. NIDA -- An orientation to Nida's sociolinguistic theory of translation -- Grammatical analysis -- Semantic analysis -- Transfer and restructuring -- SECTION III: DE THEORY INCARNATE - THE TEV TRANSLATION OF THE NEW TESTAMENT -- A brief history of English Bible translation -- The Today's English Version: its background, purpose and nature -- The TEV evaluated -- SECTION IV: SPECIFIC PROBLEMS IN THE TEV AND KINDRED DE TRANSLATIONS -- The problems of language in DE translations -- The fate of technical terminology in DE translations -- Conclusion. / Translation theory has benefited from advances in many disciplines but it remains essentially the province of Comparative Linguistics and in particular Semantics. Recent developments have externalized processes used intuitively by translators for centuries. The literature is dominated by Eugene A. Nida whose work is informed by a wealth of experience in Bible translation. -- This thesis is a critique of the Dynamic Equivalence theory of translation propounded by Nida and exemplified in the Good News Bible (TEV). Section I surveys the history of translation, its theory and problems, and describes relevant developments in modern linguistics. Section II examines Nida's sociolinguistic model and his methods of grammatical and semantic analysis, transfer and restructuring. Section III studies the TEV New Testament with special attention to the language used and to such problems as cultural adaptation, ambiguity, and the fate of technical terminology. Section IV focuses on the language of the original to see to what extent "Common English" can adequately translate it. -- Nida has provided excellent discussion on almost every translation problem, as well as useful tools for semantic analysis. However, his DE model is found to be defective for Bible translation. Firstly, its "vehicular" theory of meaning does not do justice to the formal features of language. Secondly, while evaluation of a translation must take account of its purpose and intended audience, "equivalence" defined in terms of the receptors' reactions is impossible to measure, and blurs the distinction between "translation" and "communication". Finally, the determinative role given to receptor response makes it virtually impossible to preserve the sense of historical and cultural distance which Nida himself says is essential in Bible translation. / Mode of access: World Wide Web. / xii, 281 leaves