Thesis (M.A.)--Florida State University, 2006. / Advisor: James J. Bloom, Florida State University, College of Visual Arts, Theatre and Dance, Dept. of Art History. Title and description from dissertation home page (viewed Sept. 26, 2006). Document formatted into pages; contains viii, 79 pages. Includes bibliographical references.

Orientador: Silvio Ferraz Mello Filho / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-15T06:08:20Z (GMT). No. of bitstreams: 1 Copini_GuilhermedeCesaro_M.pdf: 72399274 bytes, checksum: b14afa1acbdd94ff753cf3f23123d8d2 (MD5) Previous issue date: 2010 / Resumo: A música é uma arte temporal e seu principal material, o som, só pode existir e ser percebido quando a dimensão tempo é considerada. Assim, acredita-se que a discussão acerca da relação som-tempo na música é importante para o compositor contemporâneo. Gérard Grisey, compositor e cofundador de uma das mais importantes escolas de composição da segunda metade do século XX (a Música Espectral), apresenta uma singular visão do fenômeno musical, particularmente diante do seu desenvolvimento no tempo. Seu pensamento é fundamentado principalmente em pesquisas no campo da acústica e psicoacústica, ou seja, na estrutura física do som e na maneira como o som é percebido, respectivamente. O objetivo principal desta pesquisa é expor as reflexões de Grisey em relação ao tempo musical. Outro objetivo é a composição de uma peça original baseada nestas reflexões. Justifica-se tal recorte pela evidente atenção dada ao tema 'tempo em música' por importantes compositores do século XX (como por exemplo, Messiaen, Boulez e Grisey). Tal importância pode ser verificada tanto na obra musical, quanto teórica destes compositores. Inicialmente foi realizado aprofundamento teórico por meio do estudo dos textos produzidos pelos principais representantes e estudiosos da Música Espectral. Em seguida iniciou-se a redação da dissertação, que teve como foco a filosofia composicional de Grisey, e a composição da peça original, baseadas nas características e técnicas identificadas na primeira etapa da pesquisa / Abstract: Music is a temporal art, and its primary object, the sound, can only exist and be noticed when the dimension time is considered. Then, one believes that the discussion about sound-time relation in music is important for the contemporary composer.Gérard Grisey, composer and cofounder of one of the most important schools of composition of the second half of the 20th century (the Spectral Music), shows a singular understanding toward the musical phenomenon, especially about its development over time. His understanding is mainly based in researches in the field of acoustics and psychoacoustics, in other words, in the physical structure of sound and how it is perceived, respectively. The main objective of this research is to expose the thinking about musical time by Grisey. Another objective is to compose an original musical piece based on this thinking. This outline is justified by the evident attention that important composers of the 20th century (as Messiaen, Boulez and Grisey) gave to the subject "time in music". Such importance can be verified either in their musical and theoretical works. Initially, a study of the main bibliography produced by the leading composers and experts in Spectral Music was accomplished. Then the writing process of the thesis began, which was focused on the compositional philosophy of Grisey, and the composition of the original musical piece, based on the characteristics and techniques identified in the first part of this research / Mestrado / Musica / Mestre em Música

Gerard Manley Hopkins suffered deeply. His “Terrible Sonnets” are confessional poetry that demonstrate his struggle with his God and with himself. This work analyses the Hebrew Bible and the New Testament, starting Noah and ending with Jesus’s promise of a Paraclete, to analyze how both God and Man approach earthly and heavenly comfort. The work will then turn to Hopkins’s poetry to show that Hopkins’s unshakable faith and deep understanding of the Bible is both the cause and the cure of his suffering. This essay concludes that it is only through suffering that Hopkins, like Job, Jesus, and King Lear, is able to achieve both comfort and wisdom.

This thesis traces the career of the prolific eighteenth-century author Eliza Haywood through narratological analysis of some of her key works. It contributes to the new wave of Haywood criticism that is moving away from the thematic, gender based focus that has dominated discussion of her oeuvre since her critical rediscovery in the 1980s. My narratological method demonstrates how understanding at a formal and thematic level is enhanced by the employment of theoretical narrative paradigms. Narratology is interested in the relationship between the events of a narrative (story) and how these events are presented (text). I utilize the narratological terminology of Gérard Genette because it is narrative discourse, rather than the mere events of a story, that provides the basis for a meaningful discussion concerning matters of presentation. Making the topic of narrative discourse central to the study requires analysis of voice, point of view, speech, and temporality, as it covers the ways in which the story is told. Throughout her career, Haywood manipulates these narrative features so as to create inventive texts that adapt to the changing trends of the literary marketplace. Key topics of discussion include Haywood s continuous but developing use both of the embedded narrative and anachronies; the differing levels of intrusion created by her narrators employment of metanarrative commentary; and her progressive use of metalepsis: from her inclusion of simple scene changes in her earlier work, to her emphatic use of explicit diegetic interruptions in her later work that mirror those utilised by Henry Fielding. The thesis follows a chronological structure and is historically and bibliographically informed. This approach enables the thesis to provide extended comparison of Haywood s narrative choices with those of her main forebears and contemporaries, especially Aphra Behn, Delarivier Manley, Samuel Richardson, Tobias Smollett, and Henry Fielding.

A signed LAC Non-Exclusive License form from this author is pending. / In this thesis I attempt to develop an alternative to the logical positivist's image of science, which attempts to exclude beliefs from scientific investigations. First I set the problem up by describing what the positivists mean by belief and how they attempt to exclude belief through the use of the scientific method. I begin to develop an alternative by examining the views of three philosophers of science: Thomas S. Kuhn, Michael Polanyi, and Gerard Radnitzky. Each of them provides an alternative to the positivistic conception of science by suggesting that scientific research is surrounded by a framework of tacit beliefs. I present each view in the following way. First I describe the background and context for the framework hypothesis; then I explain the framework itself, including discussions on the nature of the framework, how it is acquired, its role in visible scientific activity, and how switches from one framework to another occur; finally I assess each person's insights, including each's relevance for my thesis. The examination of these views sets the stage for my last chapter. Here I briefly compare the three thinkers, noting similarities and differences. Then I highlight each thinker's unique insights. Finally, I present a brief description of what I believe is a viable alternative to the positivistic image of science, based on the work of the three philosophers.

The music of Benjamin Britten is both inspiring and intriguing: inspiring, because his music can move the listener; intriguing, because his use of triadic harmonies and rhythmic settings seems at once free, flexible, and spontaneous yet sensible and appropriate in representing the mood of the text. Although many of Britten’s harmonies are traditional in nature, e.g. major and minor triads, it is difficult, almost impossible or cumbersome at best, to assign Roman numerals to his harmonies because his manner of chord progression does not always conform to functional theory. In my analyses, I will demonstrate that the logic behind Britten's harmonic progressions can be explained through two types of neo-Riemannian transformation theories, namely Richard Cohn's Four Hexatonic Systems and Leonhard Euler's Tonnetz. In the case of the "Spinning Scene" from The Rape of Lucretia, Hindemith’s "Table of Chord-Groups" will be used to explain the presence of harmonies that are not part of the four hexatonic systems. Throughout, Schenkerian graphs will be presented to illustrate how the underlying structure and overall harmonic design of each piece work in conjunction with the emotion of the text. In addition, I will show that his rhythmic manipulations, when coupled with the meaning behind his chord progression, vividly paint the emotion of the text, as well as the state of mind of the poet or the character in an opera.

The main purpose of this paper has been to use narratological theory for uncovering the narrative structure in Freud‟s cases, such as anachronisms and focalizing. My aim was to investigate the narrative and through these viewpoints discover what impact Freud‟s writing‟s had on the look of hysterical women. I choose one of the earliest cases,"Fräulein Elisabeth von R." which is published in Studien über Hysterie (I‟ve used the text translated to Swedish and published in Tidiga skrifter och historik. Freud, Sigmund, 1997). I‟ve consulted both Iréne Matthis and Jurgen Reeder to get a broader perspective on the psychoanalytic theory. Another author whom been invaluable is Karin Johannisson, her essays on the aesthetics that characterize hysteria has been very useful. By using the narratological theories of Mieke Bal and Gérard Genette I‟ve been able to uncover the structure of my narrative. The main concepts have been "text", "story" and "fabula" which symbolize three layers of the narrative, for the investigation of these three aspects I‟ve looked closer into anachronisms, retroversions and anticipations (internal and external), focalizor, narrator, actors and agents. The conclusion I‟ve reached is that Freud, by separating himself into the –less knowing and the –analyst and use this –less knowing version of himself as an assistant in the hunt of the answer to hysteria, he writes off Elisabeth as a character. He excludes her from her own anamnesis and fills the hole with himself and uses it as a part of his theory. Left again is the woman, without having been really listened to.

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<p>Bytt namn till Sam Holmqvist</p>

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