Thesis (M.Phil.) - University of St Andrews, November 2009.

A dissertation submitted for the degree of Master of Music in the Wits School of Arts, Faculty of Humanities, University of the Witwatersrand Johannesburg, 2014 / Kevin Volans’s music has generated much international recognition and attention. As a result, his influence is increasingly evident in the work of younger composers. As yet, little research has delved deeply into Volans’s music at the technical level. His piano etudes consist largely of transcriptions, paraphrases and variations of a wide range of his previous work. So, as a microcosm of his oeuvre, they provide the ideal opportunity to understand his unique compositional voice. A twofold, overarching question informs this study. What historical conditions produced Kevin Volans’s etudes and how are they constructed? In response to this question, this dissertation presents a written analysis of Kevin Volans’s piano etudes using the notions formulated by Michel Foucault (1926-1984) in his genealogies. The genealogical theoretical framework accommodates a multiplicity of analytical approaches while providing the tools to synthesise a plurality of findings. The author has used Foucault’s genealogical model to underpin the analysis of both the historical context surrounding the etudes and the scores themselves. The goal is to gain a thorough understanding of the musical material of the etudes in terms of the ideological landscape which produced them. Part one of the dissertation lays out the broader epistemic conditions which produced the etudes. The initial two chapters trace nodes of influence in parallel spheres: the ideological and musical landscape of Volans’s life and issues surrounding the genre of the piano etude are juxtaposed to set the scene for the textural analysis. The third chapter of part one traces the transcription sources and outlines the most distinguishing characteristics of the etudes. Together, these spheres yield the epistemic conditions within which the textural analysis can take place. The three chapters in part two focus on the scores of the etudes. They each deal with the organisation of the material by applying slightly different existing and modified analytical parameters. Chapter 5 analyses the stratified, almost sedimentary forms evident in the etudes. By mapping out levels of non-hierarchically layered groupings of material in the etudes, strong reference points within the structure of each are identified. Chapter 6 takes a semiotic viewpoint, reading the musical images through the lens of metonymy, metaphor and allegory. The final chapter seeks to understand the organic and mechanical composition techniques used in the etudes. The conclusion reunites the scattered findings of the preceding chapters by tracing the genealogical web of power relations between them. This web of power relationships represents both the internal and external dynamics at play within Volans’s etudes.

Thesis (M.F.A.)--Kent State University, 2009. / Title from PDF t.p. (viewed Jan. 21, 2010). Advisor: Kirk Mangus. Keywords: Chickenware, ceramics, craft, pottery, Kevin, McCreary. Includes bibliographical references (p. 15).

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In this paper I will thoroughly analyze the thesis film, Bicycle Season, as it relates to specific areas of film production. The goal is to determine the effectiveness of specific approaches to narrative filmmaking, when the intention of the narrative to portray believable human behavior in moments of dramatic conflict. I will discuss this thesis from the point of conception on a screenwriting level; analyze the steps along the way as they relate to film production, and conclude at the point of final screening to an audience. Direct feedback from audience members in test screenings will serve as a measurement of achievement of said goals for the narrative.

Thesis advisor: James F. Keenan / Kevin T. Kelly takes to heart the pastoral approach to moral theology. A Roman Catholic priest of the Liverpool Archdiocese in England, Kelly has distinguished his long career by being both a moral theologian and a pastor at the same time. Through his moral theology, he strives to proclaim the good news of salvation not only to but also out of the experience of those who ordinarily are dismissed as sinners and hence excluded from the moral conversation. In more than forty years of ministry in seminaries and in parishes, he has devoted himself to such issues as those concerning the divorced and remarried, gays and lesbians, the unmarried but cohabiting, and those infected with HIV/AIDS. Throughout his writing, the question he unwaveringly puts before himself and his readers is: What is the Spirit saying in the lives of these people? Is it condemnation? Is it edification? Is it a cry for healing? Is it a call for justice? And what does this mean for the way we understand and practice moral theology? This study articulates Kelly's distinctively pastoral method of moral theology. Through an investigation primarily of his writings, it shows that his method, in responding to the demands of scripture and tradition, is infused with compassion and characterized by the interplay of experience and dialogue, with a keen interest in the perspective of those in the margins of the moral theological discourse. In the process, this research arrives at insights into the value of the pastoral character of moral theology and outlines some specific contours it takes as it engages the various moral issues that people face in their lives. There are four chapters to this dissertation. Chapter 1 presents what the pastoral character of moral theology means and what Kelly himself envisions as the role that moral theology plays in the church. To be pastoral is to be mindful of the needs of the community, particularly of people in distress. For moral theologians, this is a call to attend to the reciprocal relationship between moral principles and human experience. It therefore summons them to attend to the movement of the Spirit in the "messy and dirty" reality of everyday life and to teach in the church in a way that honors the never-ending process of learning from the Spirit through one another, a process which admits of and profits from disagreement even with the hierarchy. The next two chapters present the pastoral approach of Kelly at work. Chapter 2 offers a detailed treatment of his position on divorce and remarriage, an issue to which he devoted many of his earlier writings. Drawing from the personalist understanding of marriage enshrined in Vatican II and supported by contemporary scholarship on relevant scripture texts, Kelly argues that the church's ministry to the divorced and remarried cannot go forward and be truly pastoral unless the church modifies its stance with regard to the indissolubility of marriage and communion for the divorced and remarried. Chapter 3 follows Kelly as he grapples with human and ecclesial experiences through which the Spirit speaks. Responding to the diversity of teachings from the various Christian churches on such issues as contraception and in vitro fertilization, he explores the dignity of the human person as a common ground which these teachings uphold and on which moral theology can and should be constructed. Impelled to address in his capacity as a moral theologian the tragic phenomenon of the HIV/AIDS pandemic, particularly the structures of oppression that intensify the spread of this disease, he outlines basic features that Christian sexual ethics must have if it is to avoid collusion with such destructive and sinful structures. From Kelly's frameworks and foundations for the renewal of moral theology and sexual ethics, three themes stand out: the changing character of morality, the broader vision of wrongness beyond discrete self-contained acts by self-contained agents, and the re-thinking and re-configuring of sexual relationships. The study culminates with Chapter 4 in which I identify Kelly's pastoral method of moral theology as it emerges from all of the above. I portray it as being inspired by scripture and tradition, driven by compassion, and performed in the interlocking spheres of experience and dialogue. Furthermore, I elaborate on the three dimensions--communal, critical, and personal--of both experience and dialogue. Apart from providing a structure for the analysis of Kelly's legacy to moral theology, this articulation of his method offers a template for the pastoral practice of moral theology in the church. / Thesis (STD) — Boston College, 2010. / Submitted to: Boston College. School of Theology and Ministry. / Discipline: Sacred Theology.

Canadian remembrance of the Great War (1914-1918) in the early twenty-first century is often associated with grand gestures at national monuments like the opening of the new Canadian War Museum in 2005 and the restoration of the Vimy Ridge Memorial in 2007. However, these sites of memory, what Pierre Nora terms lieux de mémoire, are not part of the everyday environments of memory, the milieux de mémoire, of most Canadians. In my investigation of three contemporary works of Canadian literature: The Danger Tree by David Macfarlane, Broken Ground by Jack Hodgins, and Unity (1918) by Kevin Kerr, locally-based storytellers describe the continued influence of the Great War on their individual Canadian communities. The fictionalized narrating personas in these three works create what I refer to as bio-geographies: first-person accounts of the narrator’s particular social and memory environments. While the bio-geographers in these three texts lack first-hand experience of the Great War, their writing reflects the continued repercussions of the conflict in the weeks, years, and decades after the 1918 armistice. The Great War differentially affected thousands of communities in Canada and Newfoundland. Constructing a coherent national narrative that accounts for the multiple lived experiences of individuals in communities across North America is virtually impossible. Turning to local representations of the Great War (in the case of the three bio-geographic texts: depictions of communities in Newfoundland, British Columbia, and Saskatchewan) provides a sense of the nation as a diverse landscape of memory with multiple vantage points. Negotiating the complex terrain of self, place, and memory, the bio-geographers in the three works I examine create representations of the past that reveal how sites of memory, lieux de mémoire, come to be firmly embedded in the ongoing lived experiences of comunity members, the milieux de mémoire.

Canadian remembrance of the Great War (1914-1918) in the early twenty-first century is often associated with grand gestures at national monuments like the opening of the new Canadian War Museum in 2005 and the restoration of the Vimy Ridge Memorial in 2007. However, these sites of memory, what Pierre Nora terms lieux de mémoire, are not part of the everyday environments of memory, the milieux de mémoire, of most Canadians. In my investigation of three contemporary works of Canadian literature: The Danger Tree by David Macfarlane, Broken Ground by Jack Hodgins, and Unity (1918) by Kevin Kerr, locally-based storytellers describe the continued influence of the Great War on their individual Canadian communities. The fictionalized narrating personas in these three works create what I refer to as bio-geographies: first-person accounts of the narrator’s particular social and memory environments. While the bio-geographers in these three texts lack first-hand experience of the Great War, their writing reflects the continued repercussions of the conflict in the weeks, years, and decades after the 1918 armistice. The Great War differentially affected thousands of communities in Canada and Newfoundland. Constructing a coherent national narrative that accounts for the multiple lived experiences of individuals in communities across North America is virtually impossible. Turning to local representations of the Great War (in the case of the three bio-geographic texts: depictions of communities in Newfoundland, British Columbia, and Saskatchewan) provides a sense of the nation as a diverse landscape of memory with multiple vantage points. Negotiating the complex terrain of self, place, and memory, the bio-geographers in the three works I examine create representations of the past that reveal how sites of memory, lieux de mémoire, come to be firmly embedded in the ongoing lived experiences of comunity members, the milieux de mémoire.

Thesis (M.A.)--University of Delaware, 2008. / Principal faculty advisor: Bernard L. Herman, Dept. of Art History. Includes bibliographical references.

Canadian remembrance of the Great War (1914-1918) in the early twenty-first century is often associated with grand gestures at national monuments like the opening of the new Canadian War Museum in 2005 and the restoration of the Vimy Ridge Memorial in 2007. However, these sites of memory, what Pierre Nora terms lieux de mémoire, are not part of the everyday environments of memory, the milieux de mémoire, of most Canadians. In my investigation of three contemporary works of Canadian literature: The Danger Tree by David Macfarlane, Broken Ground by Jack Hodgins, and Unity (1918) by Kevin Kerr, locally-based storytellers describe the continued influence of the Great War on their individual Canadian communities. The fictionalized narrating personas in these three works create what I refer to as bio-geographies: first-person accounts of the narrator’s particular social and memory environments. While the bio-geographers in these three texts lack first-hand experience of the Great War, their writing reflects the continued repercussions of the conflict in the weeks, years, and decades after the 1918 armistice. The Great War differentially affected thousands of communities in Canada and Newfoundland. Constructing a coherent national narrative that accounts for the multiple lived experiences of individuals in communities across North America is virtually impossible. Turning to local representations of the Great War (in the case of the three bio-geographic texts: depictions of communities in Newfoundland, British Columbia, and Saskatchewan) provides a sense of the nation as a diverse landscape of memory with multiple vantage points. Negotiating the complex terrain of self, place, and memory, the bio-geographers in the three works I examine create representations of the past that reveal how sites of memory, lieux de mémoire, come to be firmly embedded in the ongoing lived experiences of comunity members, the milieux de mémoire. / Arts, Faculty of / English, Department of / Graduate