This paper will investigate the two primary flute compositions by New Zealand composer Gillian Whitehead (b. 1941), who is perhaps the most well-known composer from that country. This paper focuses on two works: Hine Raukatauri (1999), a piece for three Western flutes (flute, piccolo, and alto flute) and traditional Maori instruments (taonga puoro); and Taurangi, (1999) for flute and piano. Both of these works demonstrate Whitehead's appreciation for and understanding of traditional Maori music and instruments. The importance of Hine Raukatauri is in the blend between Western and Maori flutes, and how Whitehead creates a unified sound with very different instruments. The second work, Taurangi, is for two Western instruments, yet the sounds that are produced from the flute show a very definite connection with traditional Maori instruments. Whitehead also uses the piano in unconventional ways, including rolling a ping pong ball across the strings, inside the piano. Whitehead's biographical information is presented, including details about her family background and Maori ancestry, the sites of her musical training, her compositions, and the most important influences on her work. Much of the information in the document is based on interviews with the composer and others of her circle.

Thesis (M.A.)--Bowling Green State University, 2006. / Document formatted into pages; contains v, 159 p. Includes bibliographical references.

Thesis (Ph. D.)--University of Queensland, 2002. / Includes bibliographical references.

Thesis (Ph.D.) - University of St Andrews, August 2008.

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This thesis considers the star careers of four performers in Hong Kong, Leslie Cheung, Ekin Cheng, Charlene Choi and Gillian Chung. Each of these stars have had successful careers in film and music, Cheung and Cheng as solo performers and Choi and Chung as the group, Twins. This study investigates similarities between these performers' careers and the state of the industry during their time as stars. / text

Gone Girl är den bästsäljande romanen av Gillian Flynn. Trots försäljningssiffrorna så har inte mottagandet varit genomgående positivt. I denna studie analyseras Gone Girl på de nivåer som sträcker sig utanför deckarens ramar. Syftet med studien är att studera hur genus dels porträtteras i romanen men även hur den påverkar den heteronormativa tvåsamheten mellan Amy och Nick som är romanens huvudkaraktärer. Utöver detta kommer även karaktären Amy att analyseras för att studera hur hon framställer sig själv genom sitt skrivande. Den använda metoden för analysen är en närläsning av romanen med fokus på utvalda scener. Analysen kommer främst att fokusera på heteronormen, genuskonstruktion, stereotypa könsroller men även vad normen för deckare och kriminalromanen är och hur den porträtteras i Gone Girl. Till analysen används dels Judith Butlers performansteori och teorin om den heterosexuella matrisen men även genusforskning av Heléne Thomsson och Ylva Elvin-Nowak. Min studie leder mig till att porträtteringen av genus och en heteronormativ tvåsamhet i Gone Girl är psykiskt skadlig för huvudpersonerna Amy och Nick men även fysiskt farlig för Desi som får offra livet för idén om kärnfamiljen. Studien fokuserar även på flera händelseförlopp i romanen som målar upp Amy som en pastisch snarare än den kvinnliga psykopat medier anklagat henne för att vara.

I denna uppsats analyseras Gillian Dysons performancekonstverk Sine ur ett psykoanalytiskt och feministiskt perspektiv. Upplägget för uppsatsen följer Erwin Panofskys ikonologiska tolkningsmodell för att tydliggöra de olika skikt som står att finna i verket. Till skillnad från konstnärens beskrivning av verket som ett minne från sin barndom, anser jag det finnas aspekter i det som talar om såväl Dysons som andra kvinnliga konstnärers roll i konstvärlden. Även användandet av kvinnokroppen i konst och som förmedling av konst diskuteras.

2015 och 2016 publicerades Systembolagets två filmer ”Systrar” och ”Bröder” som antilangningsfilmerriktade mot äldre syskon. Denna studie undersöker vilka utvecklingsmöjligheterdet finns för dessa filmer att utveckla sina spridningsmöjligheter. Syftet är att undersöka hur ettarbetsätt som är baserat i användarens upplevelse, mer specifikt User Eperience, kan spridabudskapet kring att inte köpa alkohol till yngre syskon ytterligare. Den teoretiska ansatsen baserasi Roses (2016) modell ”Four Cites of a critical visual methodology” samt teorier kringinteraktivitet och UX. För att besvara studiens syfte har det utförts en kompositionell tolkning, envisuell analys samt tre fokusgruppsintervjuer.Studiens resultat från fokusgruppsintervjuerna identifierar tre olika teman kringalkoholanvändnings och langning; Det finns en större hotbild för yngre tjejer och de är oftast desom blir för fulla, Den alkoholen som köps ut från Systembolaget blir ofta ett komplement snarareän att mängden blir kontrollerad, och det är vanligare och känns lättare att köpa ut till ett syskonju närmare man är i ålder. Tillsammans med resultatet från innehållsanalysen har de visuellaelementen som identifierats till exempel mörkret/ljuset i filmen ”Systrar” och slutsekvensen ifilmen ”Bröder” använts för att skapa tre prototyper som visualiserar utvecklingsmöjligheterna.Studiens slutsats är att det finns utvecklingsmöjligheter hos filmerna ”Systrar” och ”Bröder”, bådenär det kommer till användning av olika plattformar och platser där man kan nå mottagaren samtatt det skulle gynna Systembolaget att producera en tredje film där ett syskonpar med olikakönstillhörighet och närmare i ålder representeras. / In 2015 and 2016 the Swedish Systembolaget published the two films “Sisters” and “Brothers”as a campaign towards discouraging older siblings purchasing alcohol to underaged siblings. Thisstudy investigates the development the possibilities for these two movies to further reach theirtargeted audience. The purpose is to investigate how working from an User Experience (UX)perspective could effect and further increase the circulation of the message about not buyingalcohol to a minor. The theoretical approach in this study is based on Gillian Roses (2016) model“Four Cites of a critical visual methodology” and accounts for tools and theories about interactiveattributes and UX. The analysis consists of a compositional interpretation of the two movies andof material collected from three separate focus group discussions that has been conducted.The study highlights three percieved themes that has been discovered about alcohol usage; thereis a larger threat for young girls and it is often young girls who get too drunk, alcohol that hasbeen bought by an older sibling usually acts more as a complement to the bootleg alcohol ratherthan limiting and controlling the amount, and that it is more common and easier to buy alcoholfor a minor sibling if you are closer in age. The result from the visual analysis have beencombined with these three themes to create three visualisations and prototypes. The studyconcludes that there are development possibilities in the two movies ”Sisters” and ”Brothers”especially in their use of platforms, and the study proposes a production of a third movie with twodifferent genders and a smaller age gap, which could increase the proliferation potentials.

This thesis presents a conceptual examination of the modernist director read through Gillian Rose's speculative lenses of the 'broken middle'. Highlighting the significance of speculative philosophy, I explore the meaning of the director as a mediating subjectivity. I demonstrate how a speculative reading of the director can act as a corrective to the received totalitarian, despotic image of the director. I urge for the rehabilitation of the director as a history and as a practice and I propose the emergence of this figure as being the outcome of a complex theatrical articulation entangled with the discipline of philosophy. Combining close readings of philosophical texts by Rose, Plato, Castoriadis, Badiou, Rancière, Laclau and Mouffe, among several other intellectual references in this study, I explore the director as a mode or trope of embodied philosophy. My argument also proposes the director as an Event, in Badiou's definition, and I trace this configuration as already taking place with the 'tragic' paradigm of the Athenian theatre. This Event of the director, I then argue, gets fully inaugurated in modernism as the Event of thought in theatre. I explore how the director acting as a mediator transforms theatre to what Puchner calls 'a theatre of ideas' while simultaneously philosophy becomes itself transformed to a theatre of thought. Chapter 1 outlines the key strands of Rose's thought and sets out the theoretical parameters of my examination. The chapter argues for a speculative reading of the director cross-examined with current positions within theatre historiography. The chapter paves a new understanding of the director, not historically, but conceptually, as a mode of embodied thought. Chapter 2 explores the relationship between the primacy and centrality of the aesthetic paradigm of theatre in philosophy and the role and practice of the poet - or 'chorodidaskalos' - who I consider as an early philosophical figuration of the modern director. I highlight speculative 'aporia' which in Rose indicates a path 'without a path' as the primary modality of thinking philosophically, already at work in tragedy, that renders the modernist director as a theatrical thinker. Chapter 3 puts forward the case of the director's mediating subjectivity by arguing for the Event of the director. I analyse Badiou's philosophy of the Event, making connections to speculative philosophy and illuminating the Evental dimension of this figure. Chapter 4 moves the examination to the Event of the director that I locate in Richard Wagner. My reading explores the philosophical dimension of Wagner as an artist and a thinker by which I rehabilitate his overtly negative image. I do this by reading Left Hegelianism, and anarchist philosophy more broadly, in Wagner's operatic works, writings, and political activism. Chapter 5 examines the 'speculative director' in the aesthetic project of Naturalism and Realism. The chapter includes a published section by which I explore the political mode of the director indirectly, by examining the articulatory discourse in Laclau and Mouffe's definition and the practice of affirmation. Chapter 6 looks at the avant-garde manifesto as a form of meta-language that seeks to actively re-shape theatre and the world as embodied, declaimed philosophy. The chapter repositions the avant-garde's aesthetic preoccupation with failure as a profoundly transformative project rather than as being incomplete. The included published article examines more closely the affinity between the Spartacus Manifesto by Rose Luxemburg (philosophy) and the more politicized forms of the Dada Berlin manifesto art (theatre). Chapter 7 is the concluding chapter by which I argue the case of the director finally having entered the theatre as a philosopher; that is, through Bertolt Brecht.