Thesis (Ph. D.)--University of Pennsylvania, 1938. / Bibliography: p. 121-126.

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Tesis no autorizada por su autor para ser publicada a texto completo en repositorio. / Doctor en filosofía con mención en estética y teoría del arte / La presente tesis indaga en cómo se revoluciona el proceso musical a partir del advenimiento de la tecnología de la grabación y la ejemplaridad que, al respecto, tiene el caso del pianista y teórico canadiense Glenn Gould. En la primera parte de la tesis, se profundizan los dos polos de esta propuesta general, mostrando en primer lugar la reflexividad entre el artista y el pensador de la grabación que sitúan a Glenn Gould como paradigma de esta revolución contemporánea, y en segundo lugar, dando cuenta del modo en que la grabación reorganiza la estructura jerárquica del proceso musical incidiendo directamente en una nueva forma de experiencia que el compositor, el intérprete y el auditor, establecen con la obra. Tras ello, las dos partes siguientes se concentran por turnos en las condiciones de posibilidad y en los efectos de esta revolución. Así, en la segunda parte de la tesis, se indagan las transformaciones estéticas, tanto de la tecnología como del lenguaje musical, que permitieron la revolución de la grabación y más específicamente el modo en que Glenn Gould las asume como artista. De una parte, se revisa la promoción de un universalismo de la experiencia musical a partir de las nuevas tecnologías, donde destaca el advenimiento de la afinación temperada y la invención de un nuevo instrumento de registro como el pianoforte. De otra, se examina la promoción del azar en el momento compositivo y la liberación del auditor en el momento receptivo, tal como se verifica en la vanguardia musical que constituye el horizonte inmediato de la práctica de Gould. Para ello, veremos lo que, a partir de su obra, propone el artista y músico norteamericano John Cage. En la tercera parte, a su vez, bajo la rúbrica de “Aura e historicidad de la obra”, se examinan los efectos de la revolución contemporánea del proceso musical en la grabación con un énfasis tanto sincrónico como diacrónico. De una parte, se examina el quiebre con la noción tradicional de aura asociada al concierto público, para lo cual se recurre a las reflexiones de Walter Benjamin, dando cuenta de un nuevo vínculo que se establece con la obra a partir de la reproducción grabada de la música. De otra, se examina una nueva historicidad musical como irrupción creativa del pasado en el presente, tal como aparece de manera pionera en la grabación de Glenn Gould y que ha sido llevado a sus posibilidades extremos en los encargos contemporáneos del sello alemán Deutsche Grammophon. A modo de epílogo, se propone una experiencia de creación propia que consiste en la recomposición de la obra Prélude à l´après – midi d´un faune de Claude Debussy a partir del uso y la manipulación del archivo sonoro de ella. De esta manera se busca, de una parte, completar la estructura completa de la obra que Debussy dejó pendiente (preludio, interludio y paráfrasis), bajo una derivación estilística casi imperceptible que va desde el impresionista de finales del siglo XIX hasta el Ambient Music de las últimas décadas del siglo XX. De otra, llevar a cabo una nueva forma de historicidad musical productiva, a través del uso y las posibilidades que permite el estudio de grabación y la manipulación de un archivo sonoro concreto.

Includes bibliographical references (leaves 136-148) / The name Ellen G. White as a founding member of the Seventh-day Adventist Church and as an author, currently still being read, evokes a great deal of discussion. The various views that are to be found within the discussion cover a wide range of views, either promoting or criticising White’s authority. By comparing the works of Canright, Nichol, Bradford, and Knight, we gain a wide perspective on three critical views in this discussion. This dissertation will consider the issues regarding White’s authority, the historical development of her authority and consideration of her authority in comparison to Scriptural authority. The dissertation seeks to offer the development of White’s authority and the changes that contributed to the various views around her authority, and presents a critical evaluation regarding her authority for today. After the different authors were compared, and having provided my critical evaluation, I came to the conclusion that a moderate view of White as presented by Bradford and Knight presents the view that allows for the following: • Retaining the principle of Sola Scriptura. • Managing White’s authority. • Providing theological freedom. As such, White’s authority can be a positive influence in Seventh-day Adventist theology, promoting theological growth and not impeding it. The critical evaluation makes it evident that there is a lack of a paradigm to evaluate White, especially her authority. The need for a paradigm from which to evaluate White requires further study. / Die naam Ellen G. White, ’n stigterslid van die Sewende Dag Adventiste Kerk en ook ’n outeur wie se boeke tans nog gelees word, ontlok baie bespreking. Hierin vind ons ’n verskeidenheid van geleerdes wat White hetsy voorstaan of kritiseer. ’n Vergelyking van die werke van Canright, Nichol, Bradford en Knight bied ’n wye perspektief oor drie kritiese beskouings in hierdie debat. Hierdie verhandeling ondersoek die kwessies rondom White se gesag, die historiese ontwikkeling van haar gesag en ’n beoordeling van haar gesag in vergelyking met die Skrif se gesag. Die verhandeling bespreek die ontwikkeling van White se gesag, die veranderings wat bygedra het tot die verskillende sienings rondom haar gesag, asook ’n kritiese beoordeling van haar gesag vir vandag. Nadat ek die verskillende outeurs vergelyk het en my kritiese beoordeling gegee het, kom ek tot die slotsom dat die gematigde siening van Bradford en Knight oor White die volgende bevorder: • Behoud van die beginsel van Sola Scriptura. • Hantering van White se gesag. • Voorsiening vir teologiese vryheid. As sodanig kan White se gesag as ’n positiewe invloed op die Kerk se teologie dien deur teologiese groei aan te moedig in plaas daarvan om dit te strem. Die kritiese beoordeling dui op die gebrek aan ’n paradigma om White, veral haar gesag, mee te beoordeel. Die behoefte aan so ’n paradigma vereis verdere studie. / Philosophy, Practical and Systematic Theology / M. Th. (Systematic Theology)

This thesis examines case studies and historical accounts taken from different periods of the history of recording technology, and addresses questions concerning the impact of mediatization, manipulation, and mediation on listeners' and performers' approaches to music. The project considers the development of the idea of "copies without originals," and of the ideological frameworks that have been used to describe and classify recorded sound. The first case study covers the early days of the phonograph and its development in Victorian society, then contrasts the values and motivations of those early years with modern-day rock performance and its own value systems. Moving into the mid-twentieth century, a chapter of this thesis is devoted to the work of Glenn Gould, and the possibilities for tape manipulation that the Canadian pianist explored during the period of his career that was focused on the recording studio. Lastly, this project examines the innovative, user-driven methods of music-making that are gaining momentum today, including Bjork's "Biophilia" app album, and the emergence of a new genre of popular music in Asia that uses vocal synthesizers in place of live performers. By exploring these case studies alongside the works of scholars in musicology, media studies, sound theory, film and television, and popular music studies, this thesis demonstrates how cultural need, individual innovation, and social involvement interact to direct the development and application of emerging media technologies.

This thesis examines case studies and historical accounts taken from different periods of the history of recording technology, and addresses questions concerning the impact of mediatization, manipulation, and mediation on listeners' and performers' approaches to music. The project considers the development of the idea of "copies without originals," and of the ideological frameworks that have been used to describe and classify recorded sound. The first case study covers the early days of the phonograph and its development in Victorian society, then contrasts the values and motivations of those early years with modern-day rock performance and its own value systems. Moving into the mid-twentieth century, a chapter of this thesis is devoted to the work of Glenn Gould, and the possibilities for tape manipulation that the Canadian pianist explored during the period of his career that was focused on the recording studio. Lastly, this project examines the innovative, user-driven methods of music-making that are gaining momentum today, including Bjork's "Biophilia" app album, and the emergence of a new genre of popular music in Asia that uses vocal synthesizers in place of live performers. By exploring these case studies alongside the works of scholars in musicology, media studies, sound theory, film and television, and popular music studies, this thesis demonstrates how cultural need, individual innovation, and social involvement interact to direct the development and application of emerging media technologies.

This thesis examines case studies and historical accounts taken from different periods of the history of recording technology, and addresses questions concerning the impact of mediatization, manipulation, and mediation on listeners' and performers' approaches to music. The project considers the development of the idea of "copies without originals," and of the ideological frameworks that have been used to describe and classify recorded sound. The first case study covers the early days of the phonograph and its development in Victorian society, then contrasts the values and motivations of those early years with modern-day rock performance and its own value systems. Moving into the mid-twentieth century, a chapter of this thesis is devoted to the work of Glenn Gould, and the possibilities for tape manipulation that the Canadian pianist explored during the period of his career that was focused on the recording studio. Lastly, this project examines the innovative, user-driven methods of music-making that are gaining momentum today, including Bjork's "Biophilia" app album, and the emergence of a new genre of popular music in Asia that uses vocal synthesizers in place of live performers. By exploring these case studies alongside the works of scholars in musicology, media studies, sound theory, film and television, and popular music studies, this thesis demonstrates how cultural need, individual innovation, and social involvement interact to direct the development and application of emerging media technologies.

Made available in DSpace on 2016-08-03T12:21:06Z (GMT). No. of bitstreams: 1 1-Capa e Sumario.pdf: 147742 bytes, checksum: 1b8b275af696fe6de5f6df93ad662575 (MD5) Previous issue date: 2010-04-05 / The objective of this research was to describe and analyze the concepts of redemption, freedom and service in the writings of Ellen Gould White (1827-1915), one of the founders of the Seventh-day Adventist Church, reflecting on the implications for educational practice. We proposed four specific objectives, each of which became one of the chapters of this dissertation. These chapters have been guided by three hypothesis. The first suggested that Ellen White has characteristics that shape as a border thinker who lived on the frontier. Using theories of Walter Mignolo, Boaventura de Souza Santos and Gloria Anzaldúa, it was observed that in Ellen White there are traces of liminality manifests in life and different discourses, which sometimes went against the dominant thinking of the majority, but it was positive for the denomination. The second hypothesis of this study was the existence of three possible approaches that guide the concept of education by Ellen White: redemption, freedom and service. What was once just a bet was confirmed by the reading and analysis of key works of White. So that the full understanding of the Ellen White concepts of education requires an articulate reflection of these three themes. That is not enough that there is a separate reading them or even approach juxtaposed; it is necessary articulation. The third hypothesis was that if the theme of freedom is present in a convincing way in the writings of Ellen White, then we may think that her educational philosophy - and therefore the educational praxis - is directly conditioned by this approach. What can be said at the end of this research is that in the Ellen White writings freedom constitutes a kind of golden thread running through the various issues and hopes raised by the author, beginning with the story of the fall - which means the loss of freedom - and ending with the hopeful narrative of a perfect world - which ultimately responsible freedom is restored. Therefore, the Ellen White notion of education is driven by the issue of human freedom: freedom to think, to develop, to learn, to create, to serve, to let himself be redeemed.(AU) / O objetivo geral desta pesquisa foi descrever e analisar os conceitos de redenção, liberdade e serviço nos escritos de Ellen Gould White (1827-1915), uma das fundadoras da Igreja Adventista do Sétimo Dia, refletindo sobre as implicações para a práxis educacional. Foram propostos quatro objetivos específicos, cada um dos quais se transformou num dos capítulos desta tese. Esses capítulos foram norteados por três hipóteses. A primeira sugeria que Ellen White apresenta características que a configuram como uma pensadora liminar , que viveu na fronteira . Usando teorias de Walter Mignolo, Boaventura de Souza Santos e Gloria Anzaldúa, observou-se que em Ellen White há traços de liminaridade, manifestos numa vida e discursos diferentes, que algumas vezes contrariaram o pensamento da maioria dominante, mas que se demonstraram positivos para a denominação. A segunda hipótese deste trabalho dizia respeito à existência de três possíveis eixos que norteiam a noção whiteana de educação: redenção, liberdade e serviço. O que antes era apenas uma aposta confirmou-se pela leitura e análise de obras fundamentais de White. De modo que a compreensão plena da noção whiteana de educação requer uma reflexão articulada desses três temas. Ou seja, não é suficiente que haja uma leitura separada deles ou mesmo uma abordagem justaposta. É necessário articulação. Finalmente, a terceira hipótese dizia que se o tema da liberdade está presente de maneira convincente nos escritos de Ellen White, então se pode pensar que sua filosofia educacional e consequentemente a práxis pedagógica é diretamente condicionada por essa abordagem. O que pode ser dito ao término deste trabalho é que, nos escritos whiteanos, a liberdade constitui-se numa espécie de fio dourado que perpassa os diversos assuntos e esperanças abordadas pela autora, começando pela narrativa da queda que implica na perda da liberdade e terminando na narrativa esperançosa de um mundo perfeito onde finalmente a liberdade responsável será recuperada. Conseqüentemente, a noção whiteana de educação é movida pela temática da liberdade humana: liberdade para pensar, para se desenvolver, para aprender, para criar, para servir, para deixar-se ser redimido.(AU)

On s’intéresse dans cette thèse aux rapports qui existent entre deux invariants d’entrelacs. D’une part l’invariant d’Alexander ∆ qui est l’invariant de nœuds le plus classique, et le plus étudié avec le polynôme de Jones, et d’autre part la famille des invariants de Links-Gould LGn,m qui sont des invariants quantiques dérivés des super algèbres de Hopf Uqgl(n|m). On démontre en particulier un cas de la conjecture de De Wit-Ishii-Links : certaines spécialisa- tions des polynômes de Links-Gould fournissent des puissances du polynôme d’Alexander. Les polynômes LG sont donc des généralisations du polynôme d’Alexander. On conjecture de plus que ces invariants conservent certaines propriétés homologiques bien connues de ∆ permettant d’évaluer le genre des entrelacs et de tester le caractère fibré des nœuds. / In this thesis we focus on the connections that exist between two link invariants: first the Alexander-Conway invariant ∆ that was the first polynomial link invariant to be discovered, and one of the most thoroughly studied since alongside with the Jones polynomial, and on the other hand the family of Links-Gould invariants LGn,m that are quantum link invariants derived from super Hopf algebras Uqgl(n|m). We prove a case of the De Wit-Ishii-Links conjecture: in some cases we can recover powers of the Alexander polynomial as evaluations of the Links-Gould invariants. So the LG polynomials are generalizations of the Alexander invariant. Moreover we give evidence that these invariants should still have some of the most remarkable properties of the Alexander polynomial: they seem to offer a lower bound for the genus of links and a criterion for fiberedness of knots.

Ellen G. White and Gustavo Gutierrez make significant contributions on the issue of christians and involvement in politics. A knowledge of their backgrounds and theological orientations is helpful. White was born in 1827. She is accepted as a prophet in the Seventh-day Adventist church. Central to her theology is the sanctuary doctrine which also influences her views on politics. White holds that christians may participate in the "broad" but not the "narrow" aspect of politics. A Roman Catholic priest, Gutierrez was born in 1928. Many regard him as the pioneer of liberation theology. The starting point for his theology is the situation of poverty in Latin America. This influences his views on politics. He also argues for christians' participation in the "broad" but not the "narrow" aspect of politics. White and Gutierrez have more points of agreement than disagreement. Comparing their views on politics provides useful insights on christians' participation in politics. "I declare that: ELLEN G. WHITE AND GUSTAVO GUTIERREZ ON CHRISTIANS AND INVOLVEMENT IN POLITICS: A COMPARATIVE STUDY is my own work and that all the sources that I have used or quoted have been indicated and acknowledged complete references' / Philosophy, Practical & Systematic Theology / M.Th. (Systematic Theology)