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31	I Get a Thrill from Punishment: Lou Reed's Adaptations and the Pain They Cause Smith, Jonathan B. 17 March 2014 (has links) (PDF) This paper explores two adaptations by rock musician Lou Reed of the Velvet Underground and Metal Machine Music fame. Reed has always been a complicated and controversial figure, but two of his albums—The Raven (2003), a collaborative theater piece; and Lulu (2011), a collaboration with heavy metal band Metallica—have inspired confusion and vitriol among both fans and critics. However, both adaptations, rich in intertextual references, at once show Reed to be what music historian Simon Reynolds calls a portal figure—offering a map of references to other texts for fans, indicating his own indebtedness to prior art—and to also be an uncompromisingly unique and original artist. This thesis analyzes both The Raven and Lulu and their adaptive connections to their source texts (the collected works of Edgar Allan Poe and the Lulu plays by German modernist Frank Wedekind) through the lens of adaptation theory. Although both albums, especially Lulu, were vilified by fans and critics alike, an exploration of both texts and their sources reveals a more complicated reading of the albums, as well as shedding light on adaptation theory. Reed's adaptations, in particular, offer compelling new insights into notions of fidelity—between an adaptation and its source, as well as between Reed and his career—and also promote alternative forms of listening pleasure, which challenge cultural and music industry boundaries regarding contemporary music. Lou Reed and his adaptive practice occupy a crucial position in the adaptive process, in both rock and heavy metal music. Lou Reed Metallica Edgar Allan Poe Frank Wedekind Adaptation Theory Heavy Metal Rock Music Adaptation Earth Spirit Pandora's Box Lulu The Raven Classics Comparative Literature
32	Taxonomy of the Rufous-naped lark (Mirafra africana) complex based on song analysis Nymark, Marianne Kristine January 2021 (has links) The Rufous-naped lark Mirafra africana complex consists of 22 subspecies spread across the African continent. Several of the subspecies have recently been suggested to potentially be treated as separate species. In this study a comparative analysis was done on the song from seven of the subspecies: M. a. africana, M. a. athi, M. a. grisescens, M. a. kabalii, M. a. nyikae, M. a. transvaalensis and M. a. tropicalis. The results showed that M. a. athi, M. a. kabalii and M. a. nyikae are all very divergent from each other as well as from the other four subspecies. In contrast, M. a. tropicalis, M. a. grisescens, M. a. africana and M. a. transvaalensis are not clearly separable from each other. Based on the results, I suggest that M. a. athi, M. a. kabalii and M. a. nyikae can be classified as separate species, with M. a. africana, M. a. tropicalis, M. a grisescens and M. a. transvaalensis forming a fourth species (M. africana sensu stricto). Finally, I conclude that this study shows that more studies need to be done on the subspecies of the Mirafra africana complex. rufous-naped lark mirafra africana systematics taxonomy ecology zoology song analysis subspecies integrative taxonomy clinal variation LDA post hoc Tukey HSD test Raven Pro Zoology Zoologi Ecology Ekologi Biological Systematics Biologisk systematik

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I Get a Thrill from Punishment: Lou Reed's Adaptations and the Pain They Cause

Taxonomy of the Rufous-naped lark (Mirafra africana) complex based on song analysis