x, 91 p. : ill., music / In this study I examine representations of antisemitism, fantasy, and cultural imperialism in the 1864 ballet The Little Humpbacked Horse, composed by Cesare Pugni and choreographed by Arthur Saint-Leon. As the creative team adapted the story from verse to ballet, they literally morphed the titular character into new fantastical forms. They also added Jewish, Muslim, and other oriental characters and ended the ballet with a parade of the Russian nations. Drawing on the works of Richard S. Wortman, Julie Kalman, and Roger Bartra, I place these transformations in the context of a larger Russian ambivalence around the shift from a rural and woodland economy to an urban one, the inclusion of Eastern provinces in the rapidly expanding nation, and the emancipation – and inclusion of – internal minorities. I then explain how the music, choreography, and focus of the ballet change as the relevance of these mid-nineteenth century concerns fades. / Committee in charge: Loren Kajikawa, Co-Chairperson; Marian Smith, Co-Chairperson; Anne Dhu McLucas, Member

The doctoral thesis compares the style of the “Romance of Horn”, “King Horn”, and “Horn Childe and Maiden Rimnild”. Each of them is a different version of the same story; the first is an Insular French romance, the second and third are Middle English romances. The stylistic analysis is both quantitative and qualitative, and it is developed employing the lemmatized edition of each witness of each version. The work begins with an introduction to the concept of style. The first chapter focuses on a review of the literature regarding each version, considering specifically the witnesses and textual criticism, metre and genre, language, date, and style. For the Insular French version, a specific review of the literature about the author is offered. The second chapter introduces stylometry and stylistic analysis with a brief literature review. Then, the protocols for the edition and lemmatization of each witness are described. Finally, the methods adopted for the stylistic analysis are explained. The third chapter develops the study of descriptions, anaphors, and formulas in each version. The collected data and their interpretations are considered altogether through the lens of a group of theoretical concepts: connotation, attribution, horizon of expectations and discursive tradition. Via these concepts, a trajectory of stylistic mutations is traced, and a link between style and socio-cultural context is displayed. The conclusions sum up all the information and inferences, suggesting further possibilities for new research. / La tesi sviluppa lo studio comparativo dello stile come osservato nel “Roman de Horn”, in “King Horn” e in “Horn Childe and Maiden Rimnild”, tre versioni della medesima vicenda, la prima in anglonormanno, le altre due in inglese medio. Nella tesi l’indagine stilistica è svolta in maniera qualitativa e quantitativa, lavorando sulle edizioni lemmatizzate secondo codifica TEI dei singoli testimoni di ciascuna versione. Dopo un’introduzione sul concetto di stile, il primo capitolo è dedicato a un’introduzione ai testi e ai testimoni delle tre versioni. Dopo un cappello introduttivo sui rapporti genetici tra le versioni, di ciascuna di esse si opera un'escussione della bibliografia esistente intorno a testimoni ed eventuale stemmatica, metro e genere, lingua, datazione, stile dell’opera; per la versione anglonormanna si aggiunge uno specifico approfondimento sull’autore. Nel secondo capitolo, si inquadrano stilistica e stilometria nel panorama accademico attuale, quindi si espongono i protocolli di edizione e lemmatizzazione adottata, infine i metodi di analisi adottati e le ragioni per cui circoscrivere l’indagine ai fenomeni di descrizione, anafora e formula. Nel terzo capitolo si procede ad analizzare in ogni versione le descrizioni e poi anafore e formule. Per le descrizioni, dopo aver offerto un quadro specifico per versione, si opera una sintesi sulla base dei concetti di connotazione e attribuzione, chiarendo una possibile traiettoria del mutamento stilistico. Parallelamente, dopo un’analisi di anafore e formule in ciascuna versione si offre una visione d’insieme alla luce dei concetti di orizzonte d’attesa e tradizione discorsiva, ponendo così in relazione stile e contesto socioculturale dell’Inghilterra medievale. Nelle conclusioni, si riassumono gli approdi dell’analisi, valutando metodi e risultati e proponendo possibili aperture a lavori futuri.

This, the first study at doctoral level of any white female jazz instrumentalist, provides an overview to the long, active and enduring musical career of British-born, New York-based jazz pianist, Marian McPartland (born 1918). For over six decades, besides being a pianist and a composer, she has been prominent in the professional roles of educator, writer, record producer and recording artist, radio broadcaster and advocate. The scope and impact of this multi-layered career are conveyed through the medium of a Website profiling significant aspects of her professional life through textual, aural and visual presentation. Although not claiming to be exhaustive, this Website brings together a comprehensive collection of data covering all aspects of Marian McPartland's career. Data have been gathered and collated from material in the public domain, and all such sources are acknowledged and referenced. The Website is navigable through three links at the bottom of the Home Page - 1) Historical Perspective; 2) Selected Analyses; and 3) Marian McPartland In Context. Part One of the Website provides access to Marian McPartland's various professional roles in jazz, as well as public profiles, and is consolidated by listings of support material. Part Two of the Website contains formal analyses of four of her compositions, each preceded by a short introduction. The analyses are based on scores transcribed from her recorded improvisations. A discussion of her stylistic approach follows the analyses. Part Three of the Website contextualizes Marian McPartland as a woman in jazz during its major historical and stylistic movements. An Introduction and a Conclusion provide the academic framework for this study. The Introduction outlines the rationale for the study, the dimensions of the study, the methodologies used, and the research process. The Conclusion provides critical commentary on Marian McPartland's musical career, and deductions are made about her significance in and contribution to jazz, based on the evidence presented in the Website. A CD of the entire Website completes the presentation of this thesis, included under Supplementary Material in the back pocket of the thesis. This overview of Marian McPartland's entire career makes an original contribution to knowledge on this jazz artist, and, in a broader sense, provides an important resource for future research in the area of jazz music and musicians.

English, Afrikaans and Zulu summaries / While there is increasing interest in the effect of landscape on ancient imagination, less attention has been paid to the impact of restless karst hydrology on ancient beliefs. By identifying shared themes, this study compares and contrasts the way Hittites and Aegean people in the Late Bronze and Early Iron Ages reshaped peripheral karst landscapes into physical and imagined transitional zones. Karst geology underpins much of the Aegean and Anatolian landscape, allowing subterranean zones to be visible and accessible above ground via caves, springs, sinking streams, sinkholes and other unusual natural formations. In both cultures, certain dynamic landscapes were considered to be sacred porous points where deities, daemons, heroes and mortals could transit between cosmic realms. Evidence suggests that Hittites and Aegean people interpreted dramatic karst landscapes as liminal thresholds and spaces situated between the world of humans and the world of deities. Part One investigates physical zones of transition via the karst ecosystems of rural sanctuaries. Part Two considers the creative interpretation in myth and iconography of karst phenomena into metaphysical zones of transition. The examples reveal the way in which Hittites and Aegean people built their concept of the sacred on the extraordinary characteristics of karst geology. Numinous karst landscapes provided validity and a familiar reference point for the creation of imagined worlds where mortal and divine could connect. / Vandag is daar toenemende belangstelling in die effek van die landskap op die verbeelding van die mensdom in die oudheid - maar minder aandag word bestee aan die impak van die rustelose karst landskap op die mens se gelowigheid in die oudheid. Deur die identifisering van sekere gemene temas, vergelyk hierdie verhandeling die manier waarop die Hetiete en die Egeïese volkere in die Laat Brons- en vroeë Ystertydperke die omliggende karstlandskap herskep het in fisiese en denkbeeldige oorgangszones. Die Egeïese en Anatoliese landskap bestaan grotendeels uit karst geologie, met tot gevolg dat ondergrondse zones bo die grond sigbaar en toeganklik is in die vorm van grotte, bronne, sinkgate en ander uitsonderlike natuurlike formasies. In beide bogenoemde kulture is sekere landskapstonele beskou as heilige en poreuse punte waar gode, demone, helde en sterwelinge tussen die kosmiese zones kon beweeg. Die getuienis van die tyd suggereer dat die Hetiete en die Egeïese volkere die dramatiese karst landskappe as grense of drempels tussen hulle wêreld en dié van die gode beskou het. Deel Een ondersoek die fisiese oorgangszones deur te kyk na die karst ecostelsels waarin plattelandse heiligdomme hulle bevind het. Deel Twee beskou die kreatiewe gebruik van karst verskynsels as voorstellings van metafisiese oorgangszones in die gekrewe bronne en ikonografie. Die geselekteerde voorbeelde dui aan die manier waarop die Hetiete en Egeïese volke hulle konsepte van heiligdom gebaseer het op die buitengewone verskynsels van karst geologie. Numineuse karst landskappe het hulle idees gestaaf en ‘n bekende verwysingspunt uitgemaak waar die menslike en die goddelike met mekaar in kontak kon kom. / Ngenkathi intshisekelo ekhulayo yethonya lokwakheka komhlaba emcabangweni wasendulo, kunakwe kancane umthelela we-karst hydrology engenazinkolelo ezinkolelweni zasendulo. Ngokukhomba izingqikithi okwabelwana ngazo, lo mqondo uqhathanisa futhi uqhathanise indlela amaHeti nabantu base-Aegean kweLate Bronze kanye ne-Early Iron Ages abuye abuye abumbe kabusha imigwaqo ye-karst yomngcele ibe yizingxenye zesikhashana zomzimba nezicatshangwe. I-Karst geology isekela kakhulu indawo yezwe i-Aegean ne-Anatolian evumela ukuthi izindawo ezingaphansi komhlaba zibonakale futhi zifinyeleleke ngaphezu komhlaba ngemigede, iziphethu, imifudlana ecwilayo, imigodi yokushona nokunye ukwakheka okungokwemvelo okungajwayelekile. Kuwo womabili amasiko izindawo ezithile eziguqukayo zazithathwa njengezindawo ezingcwele zokungena lapho onkulunkulu, amademoni, amaqhawe nabantu abafayo bengadlula phakathi kwezindawo zomhlaba. Ubufakazi bukhombisa ukuthi amaHeti nabantu base-Aegean bahumusha imidwebo emangazayo yekarst njengemikhawulo yemikhawulo nezikhala eziphakathi komhlaba wabantu nezwe lonkulunkulu. Ingxenye yokuqala iphenya izindawo eziguqukayo zomzimba ngokusebenzisa imvelo ye-karst yezindawo ezingcwele zasemakhaya. Ingxenye Yesibili ibheka ukutolikwa kokudala kunganekwane nakwizithonjana zezinto ze-karst kube izingxenye eziguqukayo zenguquko. Izibonelo ziveza indlela abantu abangamaHeti nabantu base- Aegean abawakha ngayo umqondo wabo ongcwele ngezimpawu ezingavamile ze-karst geology. Amathafa amahle we-karst ahlinzeka ngokusebenza kanye nephuzu elijwayelekile lesethenjwa lokwakhiwa kwamazwe acatshangelwe lapho abantu abafayo nabaphezulu bangaxhuma khona. / Biblical and Ancient Studies / M. A. (Ancient Near Eastern Studies)