Patricia K. Page's prose and poetry exhibit a dynamic creative tension resulting from the conflict of opposites in theme and imagery patterns and in the poet's attitude and perception of her subjects. The concept of separateness results from the thematic opposition of forces of solitude and multitude which focus on the despair of the isolated individual unable to emerge from his 'frozen' cave-like existence and to attain a community of shared feeling. Highly developed black-white dichotomy of images reinforces the conflict of obsessive self-love and pity with the universal need for self-awareness. Some of the poet's subjects succeed in this human search for truth, beauty, and self-fulfillment. Many, however, succumb to loneliness and paranoic isolation. The basic conflict is seen through surface-depth alternations of imagery, the phases of the Rebirth archetypal pattern of transition from terrestrial to aquatic form. The conflict of opposites of isolation and involvement in her early work emphasizes the strength of the pull towards confinement of the self. Then, as Page progresses in objective perception of her individuals, there is a loosening of the force of isolation and a gradual emergence of the individual from solitude into multitude. The conflict of opposites of restraint against freedom grows out of the basic juxtaposition of forces. Self-isolation and the vulnerability of innocence are linked as states of unawareness. Children, social classes and adult individuals are portrayed as victims of indifferent constraining authority, social barriers, and war. Page's Marxian love of humanity dissolves into a Freudian interpretation of communal existence as an escape from the fears of solitude. The poet's presentation of an active social consciousness is a continuance of the contra-positioning of freedom and restrain operating on and within individuals. In Page's work, organic imagery is suggestive of the powers of vitality and the life force - of multitude, universality, and personal freedom. Stagnation, inertia, isolation, and self-love are visualized by images of metal, stone or rock. This metal-flower contraposition evolves into archetypal antipathies of Paradise and Hades. The descent from sunlit gardens above to the dark caverns below takes the form of Freud's Nirvana principle or the first phase of the Rebirth cycle. And the renewal of vitality, the modulation from stone into flower marks the final ascent stage of Rebirth. The pattern of Rebirth related to man's rituals has symbolic meaning for Page's work. The goal of the poet is to remove the "filter of subjectivity" placed over reality and to realize the potential of being reborn into awareness. Ararat becomes a symbol of the power of regeneration and of the unity of all life. P. K. Page presents conflict of opposites in themes and imagery. Yet her primary concern remains that the need for communal experience is greater than the negative desire for self-isolation from reality; that love is more sustaining than pity; that freedom is preferable to indifferent authority; that the search for beauty and truth must overcome fear and horror in the lives of individuals. / Arts, Faculty of / English, Department of / Graduate

the problem was to take a group of poems from a work entitled The Dark Land, by Kathleen Tankersley Young, and set them to music in such a manner as to produce a unified, artistic, whole, A string quartet was chosen as an accompanying group because of a desire to produce a work comparable in scope and seriousness of content to a piece of chamber music.

Texte remanié de: Diplomarbeit--Universität Wien, 2004. / Bibliogr. et ressources Internet p. 195-216. Notes bibliogr.

In an attempt to develop a better perspective on P.K. Page's work, the thesis concentrates on the development of her imagery. The imagery illustrates the direction of Page's development and a close study of its nature will uncover the central concerns of Page's writing. The first chapter of the thesis examines the field of critical analysis already undertaken on Page showing its good points and its weak points. The following three chapters trace the chronological development of Page's work. The second chapter covers up to the writing of The Sun And The Moon in 1944. Even her early work illustrates that as her images became complex, her concern with perspective grew. Her more complex work such as, "The Stenographers", "Panorama", and The Sun And The Moon in particular illustrate this concern. The third chapter analyzes the poetry of her first collection As Ten As Twenty and looks at the period between 1944 and 1954. In this period Page's images become more complex and her work becomes overtly involved with perspective and vision. Images revolving around trains, photographs, snow and whiteness become recurring and a continuity develops between her subjects. Most significantly "Round Trip", "The Bands And The Beautiful Children", "Adolescence", "Them Ducks", "Stories Of Snow", "Subjective Eye", and "Photos Of A Salt Mine" illustrate how Page's concern with imagery and perspective was melding together. The fourth chapter deals with her second collection The Metal And The Flower and her third collection Cry Ararat I. It also looks briefly at Page's shift to painting in the Sixties and examines some of her more recent poetry. In this period Page undergoes her most significant changes. Images recur from earlier periods, but now the images elicit a more complex view of the world. Page's poetry reflects her awareness of the bounds of vision. She realizes that one must become a conjuror in order to see different perspectives. Her poetry, painting, and articles reflect this shift as "Reflection In A Train Window", "Arras", "Cry Ararat!", "A Backwards Journey", "Questions And Images", and "Traveller, Conjuror, Journeyman" illustrate. The study demonstrates that as Page's imagery developed, there was a parallel development in her concern with perspective and vision. Her imagery and her vision merge as perspective and vision become her primary concern. Her recent poetry indicates that any further development will be in the same vein as she attempts to discover more about the interrelationship between image, perspective and vision. / Arts, Faculty of / English, Department of / Graduate

As Elizabeth Burns’s paradoxical phrase ‘the thin universe’ suggests, the home is a place of both limitations and possibilities. Domestic life has been regarded by some as a spirit-sapping hindrance to creativity, recalling Cyril Connolly’s famous declaration that: ‘There is no more sombre enemy of good art than the pram in the hall.’ This thesis examines the ways in which Burns, Herd and Jamie demonstrate how domestic life, for all its restrictions, can prove to be the ally of art. The home is a repository for childhood memories – shown in my analysis of Burns’s ‘Rummers and Ladels’ and Jamie’s ‘Forget It’ – and it is during this formative period that our ambivalent relationship with the home begins. The desire for comfort and safety can be felt alongside the tug towards the outdoor world of adventure and independence, a push-pull longing found in Herd’s ‘Big Girls’. Herd carries this longing into adulthood in ‘A Letter From Anna’, as does Burns in ‘Woman Reading a Letter, 1662’, and Jamie in ‘Royal Family Doulton’. Section one is my examination of this complicated sensation. The darkness that can make the home a hell features in Burns’s ‘Poem of the Alcoholic’s Wife’, Herd’s ‘Soap Queen’ and Jamie’s ‘Wee Wifey’. Contrastingly, the blissful events that take place there are evoked in Burns’s ‘The Curtain’, Herd’s ‘Rosery’ and Jamie’s ‘Thaw’. In section two I seek to prove that such extreme events, from the abuse suffered at the hands of an unfeeling mother to the delights of new parenthood, prove that the home cannot be dismissed as sequestered or mundane. And yet, dismissed it has been. Why bother depicting one’s ‘wretched vegetable home existence’, as Wyndham Lewis wrote, when one could ‘give expression to the more energetic part of that City man’s life’? Burns bemoans this attitude in ‘Work and Art/We are building a civilization’, and the idea that ‘home crafts’ like embroidery cannot be miraculous in themselves is dispelled by Herd’s ‘The Siege’ and Jamie’s ‘St Bride’s’. The celebration of the domestic interior found in paintings by, for example, David Hockney and Gwen John is similarly seen in the poetry of Burns (‘Annunciation’), Herd (‘Memoirs’) and Jamie (‘Song of Sunday’). Section three aims to show how the Bugaboo in the hall can be the ally of art, and – ‘thin’ though it may sometimes feel – the home is a universe in which infinite poetic possibilities exist.

Thesis (M.F.A.)--West Virginia University, 2003. / Title from document title page. Document formatted into pages; contains v, 139 p. Includes abstract.

Thesis (M.A.)--University of North Texas, Dec., 2007. / Title from title page display. Includes bibliographical references.

Thesis (M.A.)--Miami University, Dept. of Speech Communication, 2008. / Title from first page of PDF document. Includes bibliographical references (p. 84-95).

abstract: Emmerich Kálmán (1882-1953) was a leading composer during the Silver Age of Viennese operetta. His final work, Arizona Lady (1954), premiered posthumously, on Bavarian Radio, January 1, 1954. The stage premiere followed on February 14, 1954, at the Stadttheater in Bern, Switzerland. It is his only operetta that is set entirely in the United States, in Tucson, Arizona. Arizona Opera commissioned and produced a new adaptation of Arizona Lady, which was performed in October 2015, in both Tucson, Arizona, and Phoenix, Arizona. The libretto was heavily revised, as well as translated, primarily into English with some sections in Spanish and German. Through comparison of the original and adaptation, this study examines the artistic decisions regarding which materials, both musical and dramatic, were kept, removed, or added, as well as the rationale behind those decisions. The changes reflect differences between an Arizonan audience in 2015 and the European audience of the early 1950s. These differences include ideas of geographical identity from a native versus a foreign perspective; tolerance for nationalistic or racial stereotypes; cultural norms for gender and multiculturalism; and cultural or political agendas. Comparisons are made using the published piano/vocal score for the original version, the unpublished piano/vocal score for the adaptation, archival performance video of the Arizona Opera performance, and the compact disc recording of the 1954 radio broadcast premiere. / Dissertation/Thesis / Doctoral Dissertation Performance 2019

Thesis (Ph. D.)--Ohio State University, 2006. / Title from first page of PDF file. Includes bibliographical references (p. 160-171).