In a 1962 article for Perspectives of New Music, Edward T. Cone presents a theory called stratification, interlock, and synthesis, based on the music of Stravinsky. According to Cone, stratification is the separation of musical ideas juxtaposed in time; interlock is the delayed continuation of a musical idea which has been interrupted; and synthesis is the assimilation or resolution of ideas that have been stratified. Using the disjointed structure of Stravinsky's Symphonies of Wind Instruments as the prime example, Cone identifies more subtle uses of the technique in several other of Stravinsky's works and suggests that the technique may be found consistently in Stravinsky's pre-serial compositions. / In response to this assertion, the present study seeks to determine the extent to which the technique of stratification, interlock, and synthesis may be found in The Rake's Progress, the great culmination of Stravinsky's "neoclassic" period. First, a critical evaluation of Cone's article is made, including a detailed examination of his analyses of the Symphonies of Wind Instruments, the Symphony of Psalms, the "Hymne" from the Serenade in A, and also an analysis of the fugue from Orpheus to which Cone alludes in an addendum to his article. Some general conclusions are drawn, and terminology is refined so that the theory may be systematically applied to other works. Then, the theory is applied to The Rake's Progress. The Rake is Stravinsky's longest work, yet is composed in the eighteenth-century "number" style, allowing for an expansive analysis on many different structural levels. / It is determined that the Rake does indeed display the technique of stratification in various ways. In certain "numbers," the technique is the primary structural force. In several cases, elements of the technique span entire scenes and involve the dramatic situation as well as the music itself. / Source: Dissertation Abstracts International, Volume: 50-02, Section: A, page: 0294. / Major Professor: Peter Spencer. / Thesis (Ph.D.)--The Florida State University, 1988.

Source: Dissertation Abstracts International, Volume: 40-06, Section: A, page: 3293. / Thesis (Ph.D.)--The Florida State University, 1979.

Continental Drift, a novel set in an unnamed Latin American republic, centers around the relationship between a young American entrepreneur, Drew Junkins, and his fiancee, Xinia Pecado, a professor at the National University. Drew's plans to run a thriving macadamia farm are badly set back when he discovers that his partner, Joe Gallivan, is interested principally in high-stakes illegal activities. Xinia is trying to raise her two children while pursuing a fast-paced academic career. She is still traumatized by the disappointment of her marriage and by the circumstances of her husband's death eight years earlier, and her frustrations are compounded by the clash between her family values and Drew's lifestyle. For in immersing himself in the culture, he has adapted his North American outlook to the "machismo" of the country gentleman, and he has become obsessed with writing a recent national history. / This conflict intensifies while Drew is vacationing with Xinia's family in a remote area. Here he becomes acquainted with her brother-in-law, the new Attorney General, who is dedicated to eliminating just the sort of operation Joe is running. Shortly afterward, at a New Year's party, Drew, gnawed by guilt over his association with Joe and over his indifferent treatment of Xinia, succumbs to momentary sensual weakness. Xinia, confronted with the proof of what she always hoped was merely her own insecurities about Drew, breaks off the relationship. Drew realizes finally how much he has come to depend on her. His subsequent dive into self-abuse, coupled with a related tragedy in Xinia's family, provide him with stark self-knowledge. / The novel is in part about the threat to idealism on both sides of an inherently exploitative relationship. Though the literary style is essentially representational, there is the reflexive suggestion that the novel overlaps with the history Drew is writing. Thus the twin themes, the cultural and the personal, converge in an inevitable resolution. / Source: Dissertation Abstracts International, Volume: 52-10, Section: A, page: 3596. / Major Professor: Janet Burroway. / Thesis (Ph.D.)--The Florida State University, 1991.

梁嘉賢. / "2007年8月". / 論文(藝術碩士)--香港中文大學, 2007. / 參考文獻(leaves 46-48). / "2007 nian 8 yue". / Abstract also in English. / Liang Jiaxian. / Lun wen (Yi shu shuo shi)--Xianggang Zhong wen da xue, 2007. / Can kao wen xian (leaves 46-48). / Chapter (一） --- 前言：一覺之間的疑 惑 --- p.1 / Chapter (二） --- 知覺：傳統的定義與印 象 --- p.4 / Chapter 2.1 --- 神聖的規範 / Chapter 2.2 --- 印象與符號 / Chapter (三） --- 超越真實：傳統影像的再現與接 收 --- p.8 / Chapter 3.1 --- 眼前的傳統 / Chapter 3.2 --- 真實以外 / Chapter 3.3 --- 符號慣性 / Chapter (四） --- 相遇：當代藝術形態中的混雜模 式 --- p.17 / Chapter 4.1 --- 從二元到多元的混雜 / Chapter 4.2 --- 文化超市 / Chapter (五） --- 再探：從混雜藝術中重拾傳統的意 義 --- p.25 / Chapter 5.1 --- 傳統精神融合其他媒介，擴展傳統藝術思想 / Chapter 5.2 --- 以傳統元素審視傳統 / Chapter 5.3 --- 利用傳統的文化價値確立個人身分 / Chapter 5.4 --- 傳統作爲創作材料的一部分 / Chapter (六) --- 結論 --- p.40 / Chapter 6.1 --- 創作者的起點 / Chapter 6.2 --- 混雜藝術的位置 / Chapter 6.3 --- 危與機的邊緣 / 參考書目 --- p.46 / 附錄 --- p.49

一提到「中國現代藝術」，就讓人立刻連想到一群極受注目的中國藝術家、藝評人、策展人和理論家，當中包括王廣義、徐冰、高名潞、栗憲庭、呂澎等人。他們現時在中國藝術圈的地位已不容置疑，而要研究文革後中國的藝術發展概況，他們的理論及研究已被確立並普遍為學者應用。由1990年開始，他們的出版、展覽、研討會，都圍繞著一班八十年代借用歐美現代藝術風格及主張來創作的青年藝術家，並稱他們的作品為「中國現代藝術」及「中國當代藝術」。但讓人不理解的是，這些藝評人等始終未能就「現代」和「當代」這兩個概念作出恰當的解釋，有時甚至混淆不清；而且自九十年代初開始，大部份有關他們所詮譯的「中國現代藝術」的研究、著作及展覽已見既定模式、參與藝術家及籌劃人，當中某些論點亦見牽強。基於這些問題，現在我們所理解的「中國現代藝術」能否代表中國真正的現代藝術？在現時「中國現代藝術」似乎是某一撮人的「現代藝術」的情形下，而他們又是如此具權威地發表觀點時，我們需要重新了解八十年代的政治社會及文化氣候，以及當時藝術圈的各種關係，從而對現在所認識的「中國現代藝術」作一個客觀的理解及評論。 / 中國美術家協會所出版的《美術》雜誌，就能讓我們探究八十年代的各類政治、社會、藝術狀況。透過對其文章及投稿人的分析後發現，當時有三個不同的藝術圈，各自因應政治氣候及藝術圈的屬性，去詮譯自己的「現代藝術」，它們在這論文分別被稱為「官方藝術的現代性」、「中國傳統藝術現代化」及「新藝術潮流」，而「新藝術潮流」亦演化成今天的「中國現代藝術」。八十年代的「中國現代藝術」的面貌與今天截然不同，究其原因，可利用法國社會學理論家皮埃爾．布迪厄的「場」、「習性」及「文化資本」理論作出分析。總括而言，透過《美術》的文本闡析，再配合社會學理論的支持，這個研究運用了嶄新角度去剖析「中國現代藝術的意義與內涵」，並讓我們進一步反思「文化製造」、「文化權力」及「藝術史撰寫」等一系列問題。 / The first names that come to mind when one talks about "Chinese modern art" are the group of high-profile Chinese artists, art critics, curators and theorists, including well-known names such as Wang Guangyi, Xu Bing, Gao Minglu, Li Xianting, Lu Peng etc. Their current standing within the Chinese art circle is almost indisputable. In terms of the study of the development of Chinese art in the post-Cultural-Revolution era, their theories and research have been well-established, and widely adopted by other scholars. Ever since 1990, their publications, exhibitions and symposiums have centered on a group of young artists, who borrowed from Euro-American modernist artistic styles and views to create in the post-Mao period. Furthermore, such art critics-curators have coined these artworks as "Chinese modern art" and "Chinese contemporary art". However, these art critics-curators have yet to come up with appropriate definitions for the notions of "modern" and "contemporary", allowing them to be used in confusing and ambiguous ways at times. Since the 1990s, the majority of their research, publications and exhibitions on "Chinese modern art" have developed into fixed models, with set participating artists and contributors. At the same time, certain arguments within such discourses are deemed unconvincing and far-fetched. In view of such issues, this paper begs to ask - whether the "Chinese modern art" that we have come to know nowadays, is a truthful representation of modern art in China? Under such circumstance where "Chinese modern art" seems to be a "modern art" history of a selected few; and, as these art critics-curators carry on professing their view however authoritatively, if we want to formulate a more objective understanding and commentary on the “Chinese modern art that we now know of, we will need to start afresh in our understanding of the political and cultural climate in the 1980s, and the various relations within the art field at the time. / Meishu, published by the China Artists' Association, provides us an entry point in which the political and artistic situations in the 1980s can be examined. An analysis on the articles and the contributors reveals that there were three different art circles, each formulating their own interpretation of "modern art", in accordance to the political climate and the nature of their own artistic field. They have been discussed in this paper as "Officialdom", "Modernization of Chinese traditional painting" and "New Trends in Art" ; among which, "New Trends in Art" became the "Chinese modern art" in today's term. Hence, the landscape of "Chinese modern art" in the 1980s was different from today's situation. To understand why there was such a difference, then, concepts of "fields", "habitus" and "cultural capital" proposed by the French social theorist, Pierre Bourdieu, can be adopted as analytical tools. All in all, through literary review of Meishu, with the support of sociological theories, this research offers a different angle to dissect the meanings and inner values of "Chinese modern Art", and allow us to further reflect on the various issues in relation to "cultural production", "cultural power", and "the practice of writing art history". / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Li, Ting Lin. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in also in Chinese; includes Chinese. / Abstract --- p.i / Acknowledgement --- p.iv / Table of Contents --- p.vi / Chapter CHAPTER ONE: --- INTRODUCTION AND BACKGROUND / Chapter A) --- WHY 1979 TO 1989? THE HISTORICAL CONTEXT --- p.1 / Chapter B) --- WHY MEISHU MAGAZINE? / Chapter 1. --- Magazines as a form of documentation of social and cultural developments --- p.4 / Chapter 2. --- The unique background and character of Meishu --- p.17 / Chapter C) --- THE DISCUSSION ABOUT MODERN ART: TWO PERIODS --- p.26 / Chapter D) --- THE VALUE AND STRENGTH OF THIS RESEARCH --- p.30 / Chapter E) --- SCOPE OF RESEARCH AND RESEARCH METHODOLOGY --- p.34 / Chapter CHAPTER TWO: --- MEISHUMAGAZINE--ITS BACKGROUND, ROLE AND SIGNIFICANCE / Chapter A) --- INTRODUCTION --- p.38 / Chapter B) --- THE BEGINNINGS OF MEISHU AND ITS LATER DEVELOPMENT --- p.41 / Chapter C) --- STRUCTURE OF THE CHINA ARTISTS' ASSOCIATION AND MEISHU --- p.42 / Chapter D) --- EDITORIAL LINE --- p.46 / Chapter E) --- CONTENT ANALYSIS / Chapter 1. --- Areas Covered and System of Classification --- p.57 / Chapter 2. --- Content Composition --- p.65 / Chapter 3. --- Trends and Later Developments --- p.75 / Chapter 4. --- Modern Art: Three Discourses --- p.80 / Chapter F) --- COMPOSITION OF MEISHU'S EDITORIAL GROUP --- p.86 / Chapter G) --- MEISHU AND THE TREND OF ART THOUGHT, JIANGSU PICTORIAL, AND FINE ARTS IN CHINA, AND THEIR FASCINATION WITH "NEW TRENDS IN ART" --- p.97 / Chapter H) --- CONCLUSION --- p.115 / Chapter CHAPTER THREE: --- DISCUSSION OF "CHINESE MODERN ART":A REVIEW FROM MEISHU ZAZHI 1979-1989 / Chapter A) --- INITIATION / "Chinese Modern Art": Celebrated yet illusory --- p.121 / Chapter B) --- "CHINESE MODERN ART IN THE POST-MAO PERIOD: CURRENT DISCUSSION1990-2010 / Chapter 1. --- The 1990s as a demarcation period --- p.125 / Chapter 2. --- A review of art publications from 1990 to 2010 --- p.129 / Chapter 3) --- Problems encountered with current discussion --- p.148 / Chapter C) --- DISCUSSION OF "CHINESE MODERN ART" IN WIDER CONTEXT: A PERSPECTIVE FROM MEISHU ZAZHI 1979-1989 --- p.169 / Chapter 1. --- Ideological liberty and Two Hundreds policy in the art field --- p.173 / 「牡丹好，丁香也好」 --- p.179 / Chapter 2. --- Officialdom --- p.188 / Contributors to "Officialdom" --- p.190 / Changes in viewpoints between 1979 and 1989 --- p.197 / "Modern" qualities in the art of "Officialdom" --- p.201 / China's interpretation of modern art of foreign countries --- p.214 / Attacks on "New Trends in Art" --- p.225 / Chapter 3. --- Modernization of Chinese traditional painting --- p.229 / Contributors to the discussion about "Modernization of Chinese traditional painting --- p.235 / Changes in viewpoints between 1979 and 1989 --- p.236 / The path to modernization: different ways of reforming Chinese traditional painting --- p.242 / Chapter 4. --- New Trends in Art --- p.262 / Contributors to "New Trends in Art" --- p.264 / Changes in viewpoint between 1979 and 1989 --- p.267 / Chinese modern art: a sphere of ideological liberty --- p.276 / Chapter CHAPTER FOUR: --- EVALUATING THE DISCUSSION ON MODERN ART IN CHINA FROM 1979 TO 2010 IN LIGHT OF PIERRE BOURDIEU'S SOCIOLOGICAL ANALYTICAL PERSPECTIVES --- p.303 / Chapter A) --- "FIELD OF ART" AND "HABITUS": DISCUSSION OF MODERN ART FROM 1979 TO 1989 --- p.306 / Chapter B) --- "FIELD OF COMMERCE" AND "FIELD OF PUBLICATION": DISCUSSION OF MODERN ART FROM 1990 TO 2010 --- p.318 / Chapter CHAPTER FIVE: --- CONCLUSION --- p.323 / ILLUSTRATIONS --- p.336 / TABLES AND CHARTS --- p.398 / INTERVIEWS WITH LI SONGTAO, TANG QINGNIAN, WANG XIAOJIAN, AND FEI DAWEI --- p.408 / APPENDIX I --- p.436 / APPENDIX II --- p.447 / APPENDIX III --- p.727 / APPENDIX IV --- p.753 / BIBLIOGRAPHY --- p.787

This thesis accompanies the digital edition of the 'Crónica particular de San Fernando', and includes a rationale for and an explanation of many of the implications of the decisions taken in the preparation of this edition. The edition is used as a case study for the digital editing of medieval prose in Castilian at the present time. To this end, there is an in-depth examination of the history, context and current situation of the digital editing of medieval texts, focussing specifically on prose, and in particular prose in Castilian. The text and contact of the Crónica particular de San Fernando are also studied, to inform the preparation of its digital edition. My central thesis is that the decisions made when preparing a digital edition should take into account the perceived needs of edition users, including both contemporary users and, as far as possible, future users. These decisions should be informed by the nature of the text itself, its context, and transmission, as these will affect how and by whom the edition is used. They should also be informed by an understanding of how digital editions differ from their print counterparts, in both preparation and usage.

<p> This dissertation examines integral, challenging contemporary poetry and fiction, and its relationship to notions of the criminal in multiple guises. The present focus on &ldquo;criminal&rdquo; excavates not only its literal meaning&mdash;the nature of crime, and its specific relation to penal law&mdash;but also brings to light how the &ldquo;criminal&rdquo; affects the construction of fiction and poetry, and the lives of various individuals (speakers) within the chosen texts. Intricately tied with the criminal are practices that transgress, and this study will also locate specific creations where poets and novelists construct transgressions that challenge contemporary ideas of narrative and poetic modes. This study argues that expanding the term &ldquo;criminal&rdquo; opens up not only the current field of &ldquo;criminal studies,&rdquo; but also examines contemporary poetry and prose. This dissertation argues that a new formulation of the criminal proliferates practices of subjectivities that are forced upon individuals and taken for granted, and that the &ldquo;criminal&rdquo; is intricately tied to works that transgress and experiment. </p><p> The criminal, at its most basic, involves the nature of crime; it relates to the penal law; guilty; characteristic of a criminal. Most studies of &ldquo;criminality&rdquo; fall under the term &ldquo;prison literature,&rdquo; which focuses on individuals who have been incarcerated, and subsequently chronicled their lives in writing. Other studies and novels focus specifically on the struggle of individuals in prison. These texts take incarceration as their primary focus. This dissertation looks to make a distinct break between &ldquo;prison&rdquo; writing and &ldquo;criminal&rdquo; writing, moving the focus from incarceration to other social boundaries; however, &ldquo;prison&rdquo; and &ldquo;criminal&rdquo; are two terms that often intersect and overlap. &ldquo;Criminal&rdquo; writing does not take incarceration as its jumping off point, though incarceration may play a role; instead, the &ldquo;criminal&rdquo; is a spatial way of being in the world that either marks one off from contemporary society, or borders on notions which denote one as outsider. This project looks to expand the field from literatures focusing primarily on incarceration to studies depicting acts of transgression and deviance that may not necessarily land an individual behind bars, but mark one as separate from societal norms, as an outsider. This study envisions the &ldquo;criminal&rdquo; as branching out from its basic definition to include a variety of ways individuals &ldquo;transgress&rdquo; from their present predicament. This includes but is not limited to illegal acts one partakes in but is not caught, and acts that jeopardize one&rsquo;s place in society. As such, the &ldquo;criminal&rdquo; is opaque, nebulous, harder to pin down; it works from the periphery, the margins, interstitial spaces; whereas &ldquo;prison&rdquo; writing already denotes the given fact that one is or has been incarcerated, calling to mind a fixed location and trajectory. </p><p> Both poetry and fiction illustrate this branching out in similar and disparate ways, and the focus on both showcases the plurality and broad reach of these genres. The central objects of study will be a range of contemporary American poetry and fiction: James Baldwin&rsquo;s <b>Giovanni&rsquo;s Room</b> (1956); Rosmarie Waldrop&rsquo;s <i>Driven to Abstraction </i> (2010); Joanna Scott&rsquo;s <i>Arrogance</i> (1990); and C.D. Wright&rsquo;s <i>One Big Self: An Investigation</i> (2007). These texts give voice to the myriad, opaque notions of the &ldquo;criminal,&rdquo; while at the same time blurring the lines of how poetry and prose function; each text, as well, marks off distinct breaks in the artists&rsquo; bodies of work. These texts transgress on multiple levels, in turn, mirroring and mimicking the slippery, proliferating term&mdash;&ldquo;criminal.&rdquo;</p><p>

Massachusetts Institute of Technology. Dept. of Modern Languages and Linguistics. Thesis. 1968. Ph.D. / Title-page illustrated in colors. Vita. / Bibliography: leaves 793-796. / Ph.D.

Massachusetts Institute of Technology. Dept. of Modern Languages and Linguistics. Thesis. 1966. Ph.D. / Ph.D.

Massachusetts Institute of Technology. Dept. of Modern Languages and Linguistics. Thesis. 1968. Ph.D. / Vita. / Bibliography: leaves 154-156. / Ph.D.