• Refine Query
  • Source
  • Publication year
  • to
  • Language
  • 10
  • 4
  • 3
  • 3
  • 3
  • 2
  • 1
  • 1
  • Tagged with
  • 32
  • 11
  • 9
  • 8
  • 8
  • 7
  • 6
  • 6
  • 6
  • 6
  • 6
  • 6
  • 5
  • 5
  • 5
  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
1

An analysis of and conductor's guide to Vincent Persichetti's Masquerade for band, Op. 102

Hart, Michael 01 May 2014 (has links)
The purpose of this study is to provide a detailed analysis of Vincent Persichetti's Masquerade for Band, which will include a conductor's guide focusing upon both technical and interpretive aspects, a brief biography of Vincent Persichetti, and background information pertaining to the creation of the composition. This document will provide the first significant and complete study of the composition since its creation in 1965. Specifically, the analysis will examine the means by which Persichetti achieves motivic and harmonic unity within the Masquerade. The formal structure is considered a theme and variations, however, it is atypical in that each variation incorporates borrowed material from Perischetti's textbook Twentieth-Century Harmony. Although each of the borrowed excerpts seem drastically different from one another on the surface, Persichetti acknowledged that each shared a unifying kernel. In Twentieth-Century Harmony, he explains that unifying kernels are short musical fragments of at least two notes that can form the nucleus of a work and from which motivic ideas and harmonic structure is derived. Previously, the kernel in the Masquerade had been unidentified. However, significant evidence suggests that the kernel which provides motivic unity among the borrowed material and which informs the octatonic harmonies is the intervallic relationship of a minor third first revealed in the theme as pitch-classes E and G.
2

Operamaskerad i Stockholm 1925

Widing, Gabriel January 2006 (has links)
I have examined the conditions for participation in an opera masquerade. Theoretical support has been found in Michail Bachtin, Richard Schechner and Judith Butler. The main study object has been a masquerade organised by the workers of The Royal Opera of Stockholm in 1925. The masquerade is examined as a social practise with distinct aesthetic framing. The analysis shows that the opera masquerade share some characteristics with the medieval carnival culture as described by Bachtin, but differ in many ways as well. It is easy to place the opera masquerade within the concept performance as discussed by Schechner, since it is framed in time, space and make use of certain social agreements. A look at the architecture shows that physical and social border between the stage and the auditorium had to be dissolved to let opera viewers become opera masquerade participants. Using Butler I discuss how the masquerade could challenge as well as preserve traditional gender structures.
3

"Ceci est mon corps" : l'intime et l'extime dans l'autoportrait photographique contemporain (États-Unis, Grande-Bretagne, 1970-2010) / "This is my body" : intimacy and extimacy in contemporary photographic self-portrait (United States and Great Britain, 1970-2010)

Melia, Juliette 29 June 2017 (has links)
Le corpus d’autoportraits photographiques allant des années 1970 aux années 2010 permet de constater trois invariants dans la façon dont les artistes se présentent : la mascarade, la nudité, et la textualité. Chacune de ces thématiques interagit avec les questions plus larges d’intime, d’extime et de politique, car mettre en jeu l’image intime de soi dans son art a souvent pour but d’accentuer ses prises de positions sur le monde. Une partie des artistes obscurcissent leur identité et se représentent dans une mascarade totale ou partielle qui interroge la valeur du masque. Le choix du masque, ainsi que l’espace sensible pour le spectateur entre le visage et le masque, révèlent paradoxalement certains aspects de l’identité, comme Cindy Sherman dont l’apparence reste floue malgré des centaines d’autoportraits mais dont les politiques de réécriture subversive des stéréotypes de représentation sont bien connues. Si la mascarade dans l’autoportrait semble mettre à distance la possibilité même de l’intime, l’autoportrait nu donne l’impression d’une révélation absolue de l’intime, qui devient extime du fait de son partage avec le public et des échanges que ce partage permet. Là encore, l’artiste qui dénude son corps est bien dans l’action politique lorsqu’il met à mal des normes et des tabous sociaux, comme l’interdiction de mettre en images et en mots son désir et sa sexualité. Une profondeur nouvelle dans l’extimisation de l’intime est atteinte lorsque le photographe associe des textes à son autoportrait. Pourtant, les artistes évitent la tautologie, écrivant au contraire en regard de leurs autoportraits des textes qui se les révèlent en se permettant toutes les libertés textuelles, allant de l’autobiographie parfois fictionnelle au poème, du journal intime au manifeste politique. Il s’agit de s’interroger sur le paradoxe de l’art intime : pourquoi se risquer à l’aporie de l’art intime qui se détruit en s’accomplissant lorsque l’artiste se représente justement par ce qui lui est le plus douloureux et le plus secret à partager ? Surmonter la douleur de l’art intime est au cœur de la politique d’une telle démarche. / The corpus of photographic self-portraits from the 1970s to the 2010s highlights three invariants in the ways artists present themselves : they use masquerade, nudity or add texts to their self-portraits. Each of these themes interacts with the larger issues of intimacy, extimacy, and politics, as using one’s intimate image in one’s art often emphasizes one’s views on the world. Some artists obfuscate their identity and present themselves in a total or partial masquerade that questions the value of the mask. Its choice, as well as the perceptible space between mask and face, paradoxically reveal aspects of the artist’s identity, as does Cindy Sherman whose appearance is eventually blurred by the hundreds of self-portraits, but whose politics of rewriting society’s representational stereotypes is well-known. If the masquerading self-portrait seems to diffuse the very possibility of intimacy, the nude self-portrait give the impression of a total revelation of intimacy, so much so that it become extimacy when it is shared with the public and allows a conversation to take place. Here too, artists who reveal their own bodies are political, because they refuse social norms and taboos such as the interdiction to picture one’s own desire and sexuality. A new depth in the extimisation of intimacy happens when the photographer associates texts to his self-portraits. However, artists are seldom tautological: on the contrary they reveal themselves through texts that make use of every freedom, from autobiography to fiction and poem, from diary to political manifesto. The point is to question the paradox of intimate art: why risk the aporia of intimate art, which destroys itself to happen when the artist shares his pain and his secret? Overcoming the pain of intimate art is at the heart of the politics of such a process.
4

Karnevalové scény v dílech ženských autorek osmnáctého století / Masquerade scenes in the eighteent century women's writing

Kazdová, Linda January 2012 (has links)
Conclusion. The objective of this work was to concentrate on eighteenth century female authors. Simultaneously popular and severely criticised during their time, the playwrights, short fiction writers and novelists succeeded in the establishing of the tradition of women's writing and established the foundations for the following generations. Nevertheless, they have usually been omitted from the canon. Only in the recent decades, with the increasing interest in the literary margins and gaps, have they been 'resurrected' and, to some extent, done justice to. This paper in particular focuses on the talented playwright Hannah Cowley, the prolific and versatile, mostly prose-writer and journalist Eliza Haywood and the renowned critic and a novelist Elisabeth Inchbald and their works. All the three women authors can be said to be innovative and original. They overcame the obstacles of social prejudice and left a rich textual legacy to their adherents. In particular, the paper attempted to analyse the masquerade scenes in Cowley's The Belle's Stratagem, Haywood's Masqueraders, or the Fateful Curiosity and Inchbald's Simple Story to attest to the importance of the masquerade and to register its varied textual reflections. The masquerade as a social practice and a cultural event was highly fashionable in the...
5

Brother Tarantino in the mosque: An analysis of the cultural and political instrumentality of satire in "The Lizard" (2004)

Tavernaro-Haidarian, Leyla 02 December 2008 (has links)
Against the backdrop of a possible US military attack on Iran, this report examines a film that advances the case for independent political reform from within Iran’s borders. The case study analyzes the cultural and political instrumentality of satire in Kamal Tabrizi’s film, The Lizard (2004). By determining the socio-political restrictions that inform Iran’s society and film industry, it demonstrates that The Lizard uses satire to transgress the value-system that the Iranian theocracy is upheld by. The study draws on narrative analysis to explore the film’s satiric devices of parody and masquerade and discusses their significance in creating new images of clergy that combine to build an alternative reality to the one portrayed in mainstream Iranian media. The report argues that this utopian space undermines the established order by redefining or rejecting the terms and dichotomies communicated through its official channels.
6

Secret Servants: Household Domestics and Courtship in Eliza Haywood’s Fiction

Iglesias, Marisa C 11 April 2008 (has links)
In Eliza Haywood's fiction, as in eighteenth-century Britain, social restrictions repress the sexual desires of upper class women and men. Therefore, the secret desires of this social class often rely on a different group: domestic servants. Sometimes acting as confidants and other times as active players in the scheming, these servants are privy to the inner secrets of the households in which they live. In Haywood's Love in Excess (1719), Lasselia (1723), Fantomina (1725), and The History of Miss Betsy Thoughtless (1751), the servant class plays significant roles in the narratives. Since the role of the servant is the central issue in my interpretation of Haywood's works, the historical background of the relationship between master and servant in the eighteenth-century is significant to my investigation. Conduct books, a popular genre of the times, were written to offer practical instruction to domestic servants. Haywood's A Present for A Servant Maid; or the Sure Means of gaining Love and Esteem (1743), offers a view of Haywood's own attitude toward the servant class. In addition to her career as a writer of amorous intrigue, Haywood worked as both actress and playwright, and, because of her experience, elements of the stage can be seen in her works. I explore the influence of the theatre in Haywood's fiction and connect it to the prominent role of servants in her work. Though Haywood demonstrates that the servants' loyalty can be bought for the highest price, they are not ruled by the same sexual passion as are their employers. This area is of particular interest to my study. I explore whether the motive of financial gain is greater than sexual desire, or whether it is an awareness that aristocrats are not truly available to the servant class that accounts for the differences in erotic responses. Additionally, I explore how servants affect Haywood's narrative by acting as agents of change and argue that the social restrictions placed on the upper class and the awareness of the sexual freedoms the servant class bring master and servant closer together.
7

The Blonde Paradox: Power and Agency Through Feminine Masquerade and Carnival

Burton, Laini Michelle, n/a January 2006 (has links)
Blonde hair is a potent and highly visible sign in western culture. Although the popularity and desirability of blonde hair in the West is well documented, since the 1950s, blonde hair has also generated many negative associations and these have contributed to myths around blondeness. In particular, women who dye their hair blonde find themselves in a paradoxical position; they simultaneously evoke desire and derision. This thesis uses the model of feminine masquerade outlined by Joan Riviere (1929) as a locus for discussing the transgressive potential of the knowing use of blondeness as a sign. When women wear blondeness in this way they embrace it as an oblique means to access privilege. This self-reflexivity allows women to enter sites of power that they are otherwise excluded from. Drawing on ideas of the carnivalesque, as described by Mikhail Bakhtin (1968), this thesis also proposes that the carnivalesque is employed by women in order to transgress patriarchal boundaries through an ironic masquerade of the archetypal blonde. These paradoxical meanings of blondeness are evoked in the work of performance artist Vanessa Beecroft. Beecroft stages both the reflexive awareness of today's blonde woman and the way in which she is shaped by socio-cultural forces beyond her control. Through reference to Beecroft's art, this dissertation builds upon the optimism and transgressive potential of Bakhtin's 'carnival' and Riviere's 'feminine masquerade' to re-present the identity/position of blonde women as one of agency and power.
8

The Performance of Femininity in the Works of Yinka Shonibare MBE

Dano, Rhonda L 06 May 2012 (has links)
Current scholarship on contemporary artist Yinka Shonibare MBE focuses on analyzing his deconstruction of identities through ready-made cultural paradigms epitomized by the use of Dutch wax textiles as an expression of “African-ness.” Through subversive tactics, Shonibare creates disoriented views of power that unveil the masquerade of identity. What is often unstated within this critique, however, is the role of the feminine performance. From the swinging maiden to the ballerina sur les pointes, women and femininity maintain an indelible role in Shonibare’s production. Thus, by evaluating gender with greater precision, I will highlight Shonibare’s dependency on stereotypes of femininity and the female body for cultural intelligibility.
9

Eliza Haywood's Feigning Femmes Fatale: Desirous and Deceptive Women in "Fantomina," <em>Love in Excess</em>, and <em>The History of Miss Betsy Thoughtless</em>.

Booth, Emily Kathryn 01 August 2001 (has links) (PDF)
Within the pages of Eliza Haywood's novels, masquerade is often used by female characters as a means by which to gain control or power. More specifically, Haywood's female characters often misrepresent themselves as a means by which to achieve sexual power and even to obtain sexual gratification. Haywood also explores the theme of women's uses of deception and even disguise as methods by which to skirt the confines of a male dominated society and as modes devoted to escaping the boundaries they inflict upon themselves in trying to maintain their virtue.
10

The visual culture of women's masking in early modern England

Gómez Todó, Sandra 01 August 2019 (has links)
The act of wearing a mask, of concealing one’s identity, has been one of the most enticing but controversial cultural practices since the 1500s. Masking evoked an even bolder act of self-fashioning when enacted by the female sex, since the gesture came to be read as a materialization of the deceitful and duplicitous character of woman’s nature, proclaimed by the major state and religious institutions of the early modern era. The ubiquity of this cultural and religious trope, however, has overshadowed a parallel dimension of this phenomenon: women’s appropriation of masking as means to obtain cultural agency and public (in)visibility in the context of a number of sartorial, theatrical, and entertainment practices. How visual representations of female masking served both maskers and audiences to navigate the social, moral, and cultural implications of this reality constitutes the subject of the present study. This dissertation explores the gendering of the act of (un)masking and its dissemination in visual culture during the early modern period in England, looking at four different cultural and chronological settings: the Carnival, the Stuart court masque, the Restoration urban space, and the Georgian masquerade. Through the examination of women’s uses of masks and their artistic representations in these different contexts, the author argues that the iconography of the (un)masked woman not only pervaded contemporary imagery, but also acted as a primary vehicle to comment on, formulate, and negotiate models of femininity throughout the early modern period. As this was a quintessential form of self-fashioning, central to a number of pageants, entertainments, and rituals, the analysis of women’s masking and its depictions reveals the core of early modern attitudes to power, gender, and class, in both the public and private realms. In order to flesh out such ideological discourses, this study considers a wide range of visual depictions and cultural practices, including drawings, prints, paintings, ephemera, costumes, fashion accessories, cosmetic customs, and architectural settings. In methodological terms, this dissertation applies an interdisciplinary, feminist, and art-historical perspective to the study of early modern masking in England, engaging at the same time with a number of interpretative tools from the fields of the history of costume, dance, theatre, and literature.

Page generated in 0.1256 seconds