El presente trabajo de investigación tiene como objetivo describir el diseño de sonido minimalista y analizar en qué medida intensifica la narración en las películas Caché (2005), Das weiße Band (2009) y Amour (2012) al crear atmósferas de misterio y suspenso. La investigación es cualitativa interpretativa ya que se centra principalmente en la observación, descripción y análisis de productos ya realizados, y de los cuales se busca explicar cómo es que funciona el diseño de sonido minimalista de Michael Haneke en sus tres películas. La unidad de análisis es el diseño de sonido minimalista de Michael Haneke en sus tres películas, en especial en Caché (2005), Das weiße Band (2009) y Amour (2012). El instrumento para la recolección de datos en esta investigación es el análisis de contenido ya que permite una mejor exploración, descripción, análisis y entendimiento. Con esta investigación se busca mostrar una de las opciones en la que el diseño de sonido aporta a la narración audiovisual, en este caso al ser minimalista.

Master of Music / Department of Music, Theatre, and Dance / Reginald L. Pittman / The songs presented in this report are works I performed in my Master’s Recital on March 30, 2014. This report will take an in-depth analysis at the selected composers’ life and styles of writing and the works they created. The scores studied in this report include: “Thus saith the Lord: But who may abide” from George Frideric Handel’s Messiah, “Soave sia il vento” from Wolfgang Amadeus Mozart’s Cosí fan Tutte, “Liebesbotschaft,” “Ihr Bild,” and “Das Fischermädchen” from Franz Schubert’s Schwanengesang, Vincenzo Bellini’s “Vaga luna che inargenti,” Giuseppe Verdi’s “Il Poveretto,” Gaetano Donizetti’s “Che vuoi di più,” Reynaldo Hahn’s “Á Chloris,” “Si mes vers avaient des ailes,” and “L’Heure Exquise” from Chanson grises, and “Ships of Arcady,” “Beloved,” “A Blackbird Singing,” and “Nocturne” from Michael Head’s Over the Rim of the Moon.

This dissertation explores a family of theoretical models of humanitarian military intervention. A number of recent theorists, including Tesón, Caney, Buchanan, Orend, Moellendorf, and Wheeler, build their models from a perspective called ‘cosmopolitanism.’ They offer arguments based on the moral supremacy of human rights, the arbitrary character of territorial boundaries, and the duty to protect individual human beings exposed to serious and systematic violence by their own governments. I develop a model of intervention that recognizes the moral significance of political self-government. To the extent that international society should countenance a ‘duty to protect’ human rights, the duty ought to be constrained by a commitment to the values of self-government. The model developed in this dissertation also recognizes the significance of international law enforcement. Insofar as we should permit a role of enforcement for international human rights, that role should be constrained by formally accepted global principles and in particular by positive obligations to prevent and punish actions regarded as international crimes. These other global values are viewed with suspicion by cosmopolitan theorists, who tend to construe them in stark contrast to the vision of global responsibility for human rights protection. But I will show how these other values emerged simultaneously with cosmopolitanism and share many of its underlying intuitions. Because self-government and law enforcement are linked politically to the cosmopolitan vision, these two distinctive global values can be utilized as tools to fortify or expand cosmopolitanism by enlarging the global sense of responsibility for human rights. The aim of this project is to explain how these other values came to be neglected by cosmopolitan theorists, and why they should not be forgotten. / Thesis (Ph.D, Philosophy) -- Queen's University, 2013-09-25 12:11:55.056

A variety of optically active macrocyclic crown ethers that serve as "host" systems that are capable of differentiating between enantiomeric "guest" molecules during host-guest complexation have been prepared via incorporation of chiral elements into the crown ring skeleton. The ability of these crown ethers to recognize the enantiomers of guest salts, i.e., (+) a-methyl benzylamine and to transport them enantioselectively in W-tube transport experiments were studied. The ability of these crown ethers to perform as chiral catalysts in an enantioselective Michael addition was studied. The extent of asymmetric induction, expressed in terms of the enantiomeric excess (%ee), was monitored by measuring the optical rotation of the product and comparing to the literature value.

For the written component of my thesis, I am attempting to make sense of a current strain in contemporary painting which, generally speaking, tends towards reduction, humble materiality, lack of overt, didactic critique, and a scholarly interest in outmoded or overlooked art historical movements and figures. These are tendencies with which, as a painter, I feel both affinities and differences. Rather than rigidly define a “movement,” I will identify prevalent modes but also highlight individual strategies. I will begin by outlining some of the basic, underlying problems in painting today. I will then examine, as case studies, three young painters—Josephine Halvorson, Richard Aldrich, and Joe Bradley—who I feel exemplify and yet in some ways transcend this trend. I will speak about the work of each in terms of the context in which it is made. However, part of the point of this thesis is to see how individual works by these artists might be talked about apart from their “scene.” I will therefore examine a specific work by each artist in terms of the visual information it is supplies. I will go on to examine two critical reactions (and in one case a critical-fictional reaction) to this kind of work—that of Raphael Rubenstein’s “Provisional Painting” and Christopher K. Ho’s “Hirsch E.P. Rothko’s Hirsch E.P. Rothko”—in an attempt to assess how this type of work is being interpreted by the critical community. Lastly, I will provide my own explanations for why this work is being produced now, why (or if) it is relevant, and what problems it proposes for painters in the future. Although this is not a thesis that addresses my own work directly, it is my intention to use the art-critical process as a means to clarify my own concerns.

This thesis presents the personality of Michael Kácha, anarchist editor and publisher. Biographical sketch shows not only his editorial activity and journalism (for instance in journals Práce, Zádruha, Mladý průkopník, Klíčení) and his work as a publisher (Družstvo Kniha, Kacha Verlag), but pays attention also to his activities within workers' and anarchist, respectively anarcho-communist organizations, which is inextricably connected with his literary activity. A bibliography of texts of Michael Kácha and a list of books published with his participation is the part of this thesis.

This research report is an attempt to position Michael MacGarry’s sculptures within a context of critiques of nationalisms in the postcolonial state. Looking specifically at Zulu and Afrikaner nationalism in South Africa, I consider the constructed nature of nationalism and highlight how it is always an imposition of rigidity upon the organic flow of peoples through spaces. By exploring the theme of the phallic signifier in conjunction with multiple conceptions of the fetish in Michael MacGarry’s work, I explore the idea of competing nationalisms in South Africa. My research is a contribution to the existing literature on MacGarry in that it explores these readings of his work through a psychoanalytic framework. I show how MacGarry’s work engages psychoanalytic discourses in relation to social and political formations in order to critique the construction and reproduction of state control through representations of the body politic, a concept articulated by Nicholas Mirzoeff (1993). MacGarry has created his sculptures in such a way that they can be read through all major registers of the fetish: ethnographic, Marxist, psychoanalytic and Modernist

Thesis advisor: Scott T. Cummings / This Senior Honors Thesis evolved from a personal fascination with the intersection of art and science both in drama and on a grander theoretical scale. It is a three-part investigation with each part written in different voice with a different intention. The first is a short personal introduction offering insight to the genesis of the project. This is followed by a comparative dramaturgical analysis of two science plays, Bertolt Brecht's GALILEO and Michael Frayn's COPENHAGEN, examining the role of science in drama. The final component is a philosophical dialogue on the model of Brecht's MESSINGKAUF DIALOGUES which articulates larger philosophical questions in an examination of the similarities and differences between science and art. / Thesis (BA) — Boston College, 2006. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: Theater. / Discipline: College Honors Program.

Thesis (M.F.A.)--Boston University

PRODUCING COUNTRY: The Inside Story of the Great Recordings. By Michael Jarrett. Middletown, CT: Wesleyan University Press. 2014.