Thesis (doctoral)--Stockholm University, 1996. / Abstract p. laid in. Includes bibliographical references (p. 125-132) and index.

Thesis (doctoral)--Stockholm University, 1996. / Abstract p. laid in. Includes bibliographical references (p. 125-132) and index.

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Only a few of RakJimaninov's compositions were popular with audiences during the lifetime of this Titan of the piano. Such youthful works as the Prelude in c# minor, op. 3, no. 2 and the Piano Concerto no. 2, op. 18 demonstrated only one facet of a creative process that evolved throughout his life. The purpose of this thesis, therefore, is to consider the extent of Rakhmaninov's stylistic evolution, especially the changes embodied in the large scale piano solo, Variations on a Theme of Corelli, written in the last decade of the composer's life. In the discussion of Rakhmaninov's lifelong stylistic development the author considers three distinct stages in his life as important landmarks. The first stage shows certain early influences upon the composer's creative powers, whether conscious, such as his acknowledged sensitivity to melody, or unconscious, such as medieval chant (Dies Irae), the sound of church bells, poetry and painting. The second addresses the question of the mixed legacy of Rakhmaninov's break with the past, when he left Russia in 1917 to re-settle in the United States the next year. On the one hand he never entirely broke his links with "Mother Russia," his fascination with the sounds of bells and chants, in his last decade of musical composition. For example, a comparison of the ancient Dies Irae theme with the La Folia tune that Corelli had used reveals striking similarities that Rakhmaninov undoubtedly found attractive, albeit unconsciously. On the other hand, he was inspired to seek a new conciseness of style and form in composition. The third stage relates to trends nurtured perhaps by his friendship with eminent string players and performers in America such as Fritz Kreisler. It is not surprising that Rakhmaninov's last two important works owe their themes to famous violin pieces: the Folia tune used by Arcangelo Corelli in the Corelli Variations and Paganini's well known 24th Caprice in the Paganini Rhapsody. These new directions in Rakhmaninov's music are most clearly present in the Corelli Variations, which are examined in terms of: (a) a new keyboard style; (b) string influenced variations; (c) elements of American jazz; and (d) a new clarity of structure. Finally, the writer examines similarities between the Corelli Variations and the Paganini Rhapsody that writers have sometimes touched upon. / Arts, Faculty of / Music, School of / Graduate

Sergei Eisenstein’s theory of collision montage can be applied to The Canterbury Tales because Chaucer’s writing is highly visual and often unconventional. This study analyzes several portraits and tales to demonstrate Chaucer’s literary collision montage technique. The opening lines of the General Prologue present the juxtaposition of the tripartite plant and humans to suggest commoners’ social immobility. The interruption of the Miller’s Tale clashes with the Knight’s to suggest the possibility of social mobility and to challenge traditional patriarchy. The latter half of the narrator’s description in the Wife of Bath’s portrait indicates a sexualized subtext through the juxtaposition of neutral images that undercuts her wealthy appearance. Chaucer’s literary collision montage technique is used to suggest the possibility of social mobility, and to reflect the disruption of the social hierarchy in late fourteenth-century England.

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Thesis (Ph. D.)--Stanford University, 1981. / Includes bibliographical references (leaves 301-316). Also issued in print.

Thesis (Ph. D.)--Stanford University, 1981. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 301-316).

Dissertação (mestrado)-Universidade de Brasília, Departamento de Artes Visuais, Instituto de Artes, Brasília, 2007. / Texto liberado parcialmente pelo autor. Conteúdo: Sumário, Resumo, Abstract, Introdução, Conclusão, Referências Bibliográficas, Filmografia de Eisenstein, Galeria de Imagens. / Submitted by Mariana Fonseca Xavier Nunes (nanarteira@hotmail.com) on 2010-09-18T02:45:44Z No. of bitstreams: 1 2007-Damiana Cerqueira Campos Rodrigues.pdf: 2638761 bytes, checksum: 63e4e92243ec1e88479af6ec13f8f6b3 (MD5) / Approved for entry into archive by Lucila Saraiva(lucilasaraiva1@gmail.com) on 2010-10-11T22:48:13Z (GMT) No. of bitstreams: 1 2007-Damiana Cerqueira Campos Rodrigues.pdf: 2638761 bytes, checksum: 63e4e92243ec1e88479af6ec13f8f6b3 (MD5) / Made available in DSpace on 2010-10-11T22:48:13Z (GMT). No. of bitstreams: 1 2007-Damiana Cerqueira Campos Rodrigues.pdf: 2638761 bytes, checksum: 63e4e92243ec1e88479af6ec13f8f6b3 (MD5) / Esta dissertação investiga a aparente dicotomia entre cinema e teatro, suas relações e oposições, bem como os reflexos da experiência teatral de Sergei M. Eisenstein em seus filmes. São analisados os artigos teóricos de Eisenstein, escritos na década de 1920, onde o diretor aborda assuntos pertinentes ao teatro e ao cinema, assim como sua produção cinematográfica e teatral da década, de forma a identificar e discutir as relações existentes entre teatro e cinema em sua obra prática e teórica enquanto cineasta. _____________________________________________________________________________________ ABSTRACT / This study investigates the apparent dichotomy between cinema and theater, their relations and oppositions, as well as the reflexes of the theatrical experiences of Sergei M. Eisenstein in his films. Eisensteins theoretical essays written on 1920s where the director discuss subjects refering to theater and cinema, as well as his films and theatrical productions of the decade are analized, in order to identify and discuss the existent relations between theater and cinema in his practical and theorical work as a filmmaker.