Thesis (Ph. D.)--University of North Carolina at Chapel Hill, 1997. / Includes bibliographical references (leaves 420-429).

Uppsatsens syfte är att undersöka Rupi Kaurs diktsamling milk and honey utifrån samspelet mellan bild och text. Rupi Kaur utnyttjar bildmediet i kombination med text, vilket leder till en särpräglad och utmärkande stil. 20 dikter med illustrationer valdes ut som material för studien. Materialet analyserades med hjälp av både lyrikanalys efter boken Lyrikens liv av Janss et al. samt Skåreus metod bildsemiotik som diskursanalys. Resultaten visade att bilderna och texterna är beroende av varandra, då många av de bildsatta texterna inte innehöll bildspråk eller metaforer i någon större utsträckning. Bilderna lyfter Kaurs texter och styr i viss mån tolkningen av texten. Rebecca Watts har kritiserat Kaur eftersom hon tycker att Kaurs poesi är "artless" och saknar finess. Watts missar dock Kaurs bilder i sin analys vilket gör att hon utelämnar halva dikten, eftersom Kaurs bilder måste ses som en enhet med både text och bild.

This essay is a reading of Daphne du Maurier’s 1938 novel Rebecca from a queer theoretical perspective. The analysis discusses the fluidity of the character Rebecca, who despite being dead haunts almost every page. She embodies both masculine and feminine traits and is suggested to have had a sexual relationship with her housekeeper. Furthermore, this same-sex desire plays an important part in the sexual awakening of the novel’s young protagonist, who develops an obsession with Rebecca. The essay also looks at Manderley, the gothic estate where most of the plot takes place. Manderley is a place for both heteronormative oppression and transgression. Rebecca is a modern gothic novel and the gothic will therefore be an important part of the analysis.

Until the recent publication of twelve choral compositions, Rebecca Clarke (1886-1979) was known solely as a professional violist and composer of chamber music and art songs. Clarke composed choral music throughout her active period from 1906 to 1944. In 2004, the first study of Clarke's complete compositional output provided an introduction to the choral music, but only covered selected works. The present study traces the development of Clarke's compositional style through chronological analysis of all twelve choral compositions and an incomplete fragment. Clarke's choral music reveals the selection of high quality, expressive texts; exploration of the timbral, registral, and textural potential of unaccompanied choral music; changes in the treatment of all musical elements; the persistent acquisition of new techniques; and reliance on English choral genres including the madrigal, glee, carol, part song and motet. Chapter one establishes Clarke's importance through a survey of publication, criticism, and scholarship. The chapter also examines the society in which Clarke lived and the issues women composers encountered. A biography then reveals that despite obstacles, Clarke tenaciously pursued compositional study, eagerly acquired new techniques, and expressed enthusiasm for each compositional project. Her skill was confirmed by success in competitions and festivals. Throughout her active period, Clarke supported herself as a professional violist who specialized in chamber music, and a busy performing schedule limited her compositional work. Chapter two documents Clarke's formative vocal- and chamber-music experiences and suggests that her thorough knowledge of chamber music influenced her approach to choral composition. The chapter continues with analysis of Clarke's first seven choral works. The first three are well-crafted part songs that demonstrate Clarke's assimilation of basic compositional techniques. The next four show the increasing complexity of Clarke's style that culminates in her mature masterpiece, "He That Dwelleth in the Secret Place of the Most High." Chapter three presents analysis of three choral arrangements, two works for women's voices, and a choral fragment for mixed voices. The last five complete choral compositions confirm elements of Clarke's mature style and demonstrate her interest in exploring the new challenges of choral arranging and writing for women's voices. While Clarke's choral arrangements of her own songs are idiomatic adaptations for unaccompanied, mixed voices, the last three compositions display the diversity of styles Clarke employed in her late works. Chapter four summarizes changes in Clarke's choral style from 1906 to 1944, examines reasons for her obscurity, and raises questions that merit further research. The appendix which follows clarifies Clarke's intentions and illustrates common editorial issues and solutions through comparison of choral manuscripts and published editions.

Thesis advisor: Marjorie Howes / "Material Minds and Modern Fiction" examines how modern women writers adapt discourses from experimental psychology in their fiction to confront the politicized issue of psychological sexual difference. Debates regarding the concept of the “gendered brain” were fundamental to the early twentieth-century women’s movement in Great Britain and the United States: defenders of the anti-suffrage and antifeminist position used the supposedly inherent differences between men and women’s brains to justify the denial of rights, whereas equality feminists insisted on the innate sameness of the human mind to bolster their claim to equal sociopolitical access. My dissertation attests that Rebecca West, Gertrude Stein, and Virginia Woolf draw on experimental-psychological theory in their literary works in a way that unsettles the premises of this debate, developing literary discourses that acknowledge psychological disparities between men and women without conceding to gender essentialism. Emerging at the end of the nineteenth century, experimental psychology was a disciplinary approach to psychological study that theorized cognition as a physiological process to be studied using the empiricist methodology of the natural sciences. The material mind—the idea that the human mind is no more or less than the human brain—was a foundational concept in the field. Employing an interdisciplinary method, my dissertation shows that experimental-psychological theory enabled modern women authors to approach the issue of gendered brains from a materialist perspective that maintained the equality-feminist claim to parity. West, Stein, and Woolf draw on diverse strands of experimental-psychological thought to craft distinctive aesthetic strategies that position sexual difference as the product of inequitable environmental exposures or social conditioning rather than an immutable feature of psychic life. My project testifies to the prominence of experimental-psychological theory in the modern era as well as the diversity of psychological schools that fall within its rubric. A recovery project of sorts, my chapters position the theories offered by modern experimental-psychological researchers as inextricably bound to expressions of feminism in modern fiction, serving as adaptable discourses for women writers seeking to use their literary medium to deconstruct the ideology of gender essentialism. / Thesis (PhD) — Boston College, 2017. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: English.

Syftet med denna studie är att studera hur Du Mauriers roman Rebecca och filmatiseringen baserad på denna skiljer sig åt med inriktning på dialogerna. Genom att tillämpa en stilanalys från Hellspong kommer stildragen från respektive dialog påvisas och kompareras. Analysen visar att dialogerna är väldigt lika vad gäller stildrag och att dialogernas funktion skiljer sig åt. Resultatet antyder dels att det krävs olika stilar för att förmedla olika teman, dels att stil inte är bunden till innehållet samt att medierna påverkar dialogernas funktion. Slutsatsen är att stilen inte går att ändra på om rätt historia ska förmedlas, oavsett vilket medium det rör sig om, det handlar rättare sagt om att anpassa stilen till sammanhanget utan att ta bort det essentiella. Vidare kan denna studie påvisa möjliga kännetecken för dialogformen där bland annat stildragen verbal och dynamisk ingår.

Den engelska kompositören Rebecca Clarke (1886–1979) komponerade vokalmusik med stor skicklighet och kvalitet men hennes verk är inte allmänt kända. I detta konstnärliga examensarbete analyseras ett av hennes viktigaste verk för soloröst och piano; The Seal Man (1922). Det är en romans som är baserad på en gammal keltisk legend om en man som är till hälften säl. Studien riktar fokus på Clarkes impressionistiska kompositionsstil och textens relation till musiken. Detta analyseras metodiskt genom instudering av partitur och läsning av författaren John Masefields (1878–1964) text som Clarkes The Seal Man är baserad på. Studiens resultat påvisar Clarkes skicklighet att i sin komposition gestalta olika karaktärer och stämningar i texten genom musikaliska medel samt influenser från Claude Debussy som var en av impressionismens främsta kompositörer. För mig som sångerska har noggrann analys av Clarkes stil och textens relation med musiken varit till stor hjälp för att uppnå min egna konstnärligt mogen interpretation av sången The Seal Man. / <p>Programm:</p><p>Rebecca Clarke - The Seal Man</p><p>Gösta Nystroem - Själ och landskap 1. Vitt land, 2. Önskan, 3. Bara hos den...</p><p>Benjamin Britten - On this Island Op. 11, 1. Let the florid music praise!, 2. Now the leaves are falling fast, 3. Seascape, 4. Nocturne, 5. As it is, plenty</p><p></p><p>Emmi Kauppinen, sopran</p><p>Chiara Schmidt, piano</p>

Many art historians have debated the identity of the couple in Rembrandt's the Jewish Bride (1667). The painting is most often identified as an Old Testament theme. This is due to the seventeenth-century Dutch practice of using biblical "types" as ideal models for the structuring of the new republic founded on the Israelite ideology of nation building. Three of these biblical female types that have been separately associated with the female figure in the Jewish Bride are, Rebecca, Ruth, and Esther. As these biblical women represented different notions of power through their respective narratives, this thesis argues that Rembrandt deliberately left the identity of the female figure ambiguous so that all three types could be referenced by viewers. Consequently, these powerful female prototypes provided significant role models for the women of the Dutch Republic as they strived to carve out similarly strong positions for themselves in this new society.

No description available.

This thesis serves to provide insight into the interpretation and performance of Rebecca Clarke’s Sonata for Viola and Piano (1919). To provide context to the analysis and interpretation, the life and work of Rebecca Clarke (1886-1979) is described. The viola sonata is analysed in terms of harmony, colours and technical elements for the purpose of aiding the interpretation and performance. The sonata is also cross referenced with other works by the same composer, to further pinpoint the stylistic elements and their importance for the result. From the analysis it is concluded that the common elements in Clarke’s music and in the sonata in particular, include modality, harmonic ambiguity, polytonality and a range of instrumental techniques. The meticulous notation and the overall instrumental ergonomics of the piece shows both that Clarke had a clear vision for her music, and that she knew the nature of both the viola and the piano well. In conclusion, I argue that in order to present a captivating performance of the piece, great care must be taken to the distinction and sensitivity of these elements in particular. / <p>R. Clarke: Viola Sonata</p><p>I. Impetuoso</p><p>II. Vivace</p><p>III. Adagio</p><p>S. Prokofiev: Romeo and Juliet, arr. V. Borisovsky</p><p>I. Introduction</p><p>III. Juliet as a Young Girl</p><p>IV. Dance of the Knights</p><p></p><p>Isela Halonen, Viola</p><p>Anna Christensson, Piano</p>