As a means for understanding a wide range of multimodal phenomena, multimodal analysis poses methodological challenges for the novice researcher intent on investigating multimodal communication, especially communication that involves multimodal musical performance (MMP), an understudied communicative act. As a response to these challenges, this project examines three approaches to multimodal analysis identified by Carey Jewitt in The Routledge Handbook of Multimodal Analysis as central to studying multimodality writ large: social-semiotic multimodal analysis (SSMA), multimodal discourse analysis (MDA), and multimodal interactional analysis (MIA). However, while these approaches each provide a theory and key concepts for analysis, they lack a practicable methodology—necessary for the novice research—and, thus, provide no concrete way to pursue multimodal analysis or to assess the strengths and deficits of a particular approach when applied to the analysis of MMPs. In this project, I conduct a critical analysis that includes a theoretical and pragmatic examination of these approaches to multimodal analysis and assess them for strengths and deficits in terms of a particular MMP because such a performance is an important and under-explored variety of multimodal text. Thus, this project asks three questions of each approach and its methods: 1) What are the strengths of each approach to multimodal analysis of musical performance as multimodal communication? 2) What are the deficits of each approach to multimodal analysis of musical performance as multimodal communication? 3) And, finally, given the strengths and deficits of competing approaches to multimodal analysis of musical performance as multimodal communication, what do we need moving forward in order to fully, robustly, and capaciously analyze and understand musical performance as multimodal communication? I respond to these questions by devising a synthesized, practicable methodology for each approach, one derived from the work in key chapters in The Routledge Handbook identified by Jewitt as employing a specific approach. I apply each of these methodologies to a single musical performance: video footage from Bob Dylan’s July 25, 1965 performance at the Newport Folk Festival—which is often seen as a pivotal moment in popular music history—collected on the 2011 blu-ray release of Murray Lerner’s concert film The Other Side of the Mirror: Bob Dylan Live At Newport Folk Festival 1963-1965. I assess the results of my application of each methodology and its methods to determine the strengths and deficits of each approach for analyzing MMPs. Finally, I offer two options to bolster strengths and address deficits of these three approaches to the multimodal analysis of MMPs, one crafted from combining approaches, and one crafted from a new perspective—that of sonic imaginations (Sterne)—thus informing methodology with attention to the sonic aspects of MMPs. This dissertation offers three key results important for the novice researcher. First, it provides a practicable methodology for each approach, a necessary step in the process of assessing an approach's strengths and deficits. Second, it offers the novice researcher insight into each methodology’s potential. For instance, analyses indicated that SSMA possesses, among its five strengths, a focus on the sign-maker, while at the same time, it possesses, among its three deficits, no mechanism through which to consider the multiple sign-makers involved in an MMP. Similarly, MDA possesses, among its six strengths, a focus on the multimodal phenomenon, while at the same time, it possesses, among its four deficits, a lack of a systematic means for delineating levels of discourse. And, MDA possesses, among its five strengths, a focus on interaction between social actors involved in an MMP, while at the same time, it possesses, among its five deficits, a requirement for a considerable amount of guesswork on the part of the researcher. Third, while demonstrating that no approach to multimodal analysis offers a “best” methodology for the analysis of MMPs, this dissertation offers two directions for methodological inspiration. It concludes that, through a deliberate courting of emotion by tapping into elements of music criticism and through a deliberate courting of messiness by embracing the union of emotion and analysis, methodologies for analysis can be crafted that align with the demands of MMPs. / A Dissertation submitted to the Department of English in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Fall Semester 2017. / October 25, 2017. / Composition, Methodologies, Multimodal Analysis, Music, Musical Performance, Sound Studies / Includes bibliographical references. / Kristie Fleckenstein, Professor Directing Dissertation; Davis Houck, University Representative; Kathleen Blake Yancey, Committee Member; Michael Neal, Committee Member.

複印本. / Thesis (M.A.)--香港中文大學. / Fu yin ben. / Includes bibliographical references (leaves 244-257). / Thesis (M.A.)--Xianggang Zhong wen da xue. / Chapter 第一章 --- 導論 --- p.1 / Chapter 一 --- 香港中學中文修辭教學的現況 --- p.1 / Chapter 二 --- 研究的動機與目的 --- p.13 / Chapter 三 --- 名詞詮釋 --- p.17 / Chapter 四 --- 有關文獻的探討 --- p.23 / Chapter 第二章 --- 研究設計 --- p.59 / Chapter 一 --- 研究的方法與步驟 --- p.59 / Chapter 二 --- 研究資料的蒐集 --- p.61 / Chapter 三 --- 研究對象 --- p.64 / Chapter 四 --- 研究工具 --- p.64 / Chapter 五 --- 調查實施程度及資料處理 --- p.79 / Chapter 六 --- 研究局限 --- p.80 / Chapter 第三章 --- 研究結果分析及討論 --- p.82 / Chapter 第四章 --- 結論與建議 --- p.189 / 參考書目 / Chapter (一) --- 中文部分 --- p.244 / Chapter (二) --- 英文部分 --- p.257 / 附錄 / Chapter (一) --- 本港七間教科書出版社中學中國語文中一至中五年級修辭格索引 --- p.258 / Chapter (二) --- 本港七間教科書出版社中學中國語文中一至中五年級修辭格總數量表 --- p.270 / Chapter (三) --- 教案舉隅 --- p.272

by Tang Wai-yu. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1994. / Includes bibliographical references (leaves 95-102). / ACKNOWLEDGEMENTS --- p.i / ABSTRACT --- p.ii / TABLE OF CONTENT --- p.iv / LISTS OF TABLES --- p.vii / LISTS OF FIGURES --- p.viii / CHAPTER / Chapter 1 --- INTRODUCTION --- p.1 / Background of the Study --- p.1 / Purpose of the Study --- p.3 / Significance of the Study --- p.4 / Chapter 2 --- REVIEW OF LITERATURE --- p.6 / Macrostructure Theory --- p.6 / Micro structure of Discourse --- p.6 / Macrostructure and Macrorules --- p.7 / Macro-operations --- p.8 / Cognitive Operations to Summarization --- p.11 / Brown & Day's Macrorules of Summarization --- p.11 / N. S. Johnson's Six Operations --- p.14 / Training Studies on Improving Summarization --- p.17 / Traditional Training Practice --- p.17 / Explicit Instruction Progrrammes --- p.18 / Mapping and Questioning Techniques --- p.19 / Direct Instruction Training --- p.20 / Research Studies of Direct Instruction --- p.22 / Instruction in Metacognition Strategies --- p.25 / Definition of Metacognition --- p.25 / Metacognitive Instruction --- p.27 / Summarization of Expository Text --- p.32 / Sensitivity to Text Structure --- p.33 / Fostering Awareness of Expository Text Structure --- p.35 / Scoring of Summarization of Expository Text --- p.38 / Summary Rule Usage Criteria --- p.38 / Identification of Main Idea --- p.40 / Quality of Writing --- p.40 / Chapter 3 --- METHOD --- p.42 / Definitions --- p.42 / Hypotheses --- p.44 / Subject --- p.44 / Materials --- p.45 / Rulesheets --- p.45 / Training and Testing passages --- p.46 / Questionnaire --- p.48 / Procedure --- p.48 / Pilot Study --- p.48 / Pretest --- p.50 / The Training Programme --- p.50 / Instructional principles --- p.50 / Strategies training --- p.51 / Instructional procedures --- p.52 / Control group --- p.54 / Posttest --- p.55 / Scoring --- p.55 / Rule Use --- p.55 / Main Idea --- p.56 / Quality of Writing --- p.56 / Data Analysis --- p.57 / Chapter 4 --- RESULTS --- p.59 / Reliability and Descriptive Statistics of Summary Test Scores --- p.59 / The Effect of the Training Programme on the Main Idea Score --- p.61 / Effects of the Training Programme on the Rule Use Scores --- p.63 / Effects of the Training Programme on the Writing Skill Scores --- p.66 / Effect of the Training Programme on Knowledge of Metacognitive Strategies --- p.72 / Chapter 5 --- DISCUSSION --- p.76 / Acquisition of Macrorules --- p.78 / Formulation of Main Ideas --- p.82 / Acquisition of Writing Skills --- p.84 / Acquisition of Metacognitive Strategies in Summarization --- p.85 / Chapter 6 --- LIMITATIONS AND SUGGESTIONS --- p.87 / Summary --- p.87 / Limitations --- p.89 / Instructional Implications --- p.90 / Awareness of Task Goals --- p.90 / Sensitivity to Importance --- p.90 / Use of Macrorules for Summarization --- p.91 / Selection of Materials --- p.92 / Recommendation for Future Research --- p.93 / REFERENCES --- p.95 / APPENDICES --- p.103

<p> This project arose from the desire to minister in the dominantly multicultural community of Renton, Washington. The project utilized interviews to reveal common factors that would enable gospel communication across several cultures: Filipino, Caucasian, African American, and Chinese. The scale used to develop the common factors included disquieting experiences, amorphous cultural zones, conception of &ldquo;beyondness,&rdquo; phenomenological triggers, soteriological metaphors, second faith, thickness of the cultural border, and the Hofstede cultural typology. </p><p> A variety of techniques were used to conceptualize the research such as cultural analysis, sociological and psychological approaches, and human resource theory in order to drive a multi-disciplinary understanding of the topic. Additionally, Meyer&rsquo;s Culture Map provided a business perspective on communicating, evaluating, persuading, leading, deciding, trusting, disagreeing and scheduling. The combination of the data gathered from the interview transcripts and the models allowed for a variety of conclusions, including that multicultural gospel communication is possible so long as the gospel communicator remains sensitive to differences among people. The project also yielded a set of eight best practices for effective multicultural gospel communication.</p><p>

This dissertation investigates the emergence of the memoir genre in France. Commynes, the author generally regarded as the first memoirist, initially conceived his memoirs as a collection of personal notes to be used by Angelo Cato for a more elaborate history of Louis XI’s reign, but gradually came to consider it an independent, firsthand account. The second half of the sixteenth century witnessed the appearance of an unprecedented and closely-knit group of firsthand historical narratives, circulating in manuscript form or published as memoirs. These texts were responding to the standards set by a new Renaissance historiography, which sought to transform traditional history into a science with political applications. As the early modern paradigm of historiography based on firsthand narrative sources faded away in modern times, memoirs lost their historiographical status and became part of French literature. Most scholars deem Renaissance memoirs rudimentary forms of autobiography that only fully matured in the age of Louis XIV. It is within and against this teleological literary scholarship that my thesis is situated. By re-placing Renaissance memoirs within their original rhetorical context, I argue that the author’s quest for individual self-expression, which has been considered a defining characteristic of memoirs, is an anachronistic and retrospective projection. My dissertation shows that memoirs were originally a collective enterprise and that communal values prevailed in Renaissance self-memorialization. The first formal group of memoirs appeared in the wake of civil and religious wars that endangered traditional forms of social and political representation. Their authors addressed relatively new topics such as the court favorite, reason of state, and national unity. However, all the evidence suggests that their life-writings did not mark a watershed between medieval corporatism and Renaissance individualism, as has been previously thought.

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When John F. Kennedy took office in January 1961, the United States entered a new era of Cold War diplomacy. During the era ridden with propaganda and imminent nuclear apocalypse, the presidential address served as a powerful tool to promote international peace while simultaneously threatening the opposition. Rather than fixate on President Kennedy’s rhetorical initiatives as they appear in transcriptions, the following identifies President Kennedy’s sociophonetic initiatives through linguistic methodology. By utilizing the phonetic software tool, Praat, the succeeding analysis produces a speaking profile for three of Kennedy’s 1961 speeches. With consistent content and context across each speech, President Kennedy’s ability to adapt his speaking style - dependent on the present audience - is distinguished. Considering Kennedy’s speeches were often influenced by speech writers, the President’s orality and sociophonetic variation provides evidence to his individual attempts to appeal to specific audiences. To further critique Kennedy’s use of language when appealing to his constituents, specific “signals” directed to the opposition are additionally analyzed. Beneficial to historians, rhetoricians, and linguists this work returns to a basis in orality in an effort to promote linguistic methodologies in the rhetorical domain. / A Thesis submitted to the School of Communication in partial fulfillment of the requirements for the degree of Master of Arts. / Spring Semester 2019. / April 15, 2019. / Cold War, John F. Kennedy, Praat, Presidential Rhetoric, Sociolinguistics, Style / Includes bibliographical references. / Davis W. Houck, Professor Directing Thesis; Arthur Raney, Committee Member; Gretchen Sunderman, Committee Member.

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