Thesis (Ph. D.)--University of Oregon, 2005. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 169-179). Also available for download via the World Wide Web; free to University of Oregon users.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1972. / Vita. Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (Ph.D.)--Ohio University, August, 2005. / Title from PDF t.p. Includes bibliographical references (p. 188-196)

Thesis (M.A.)--Dept. of Theatre. University of Missouri--Kansas City, 2004. / "A thesis in theatre." Typescript. Advisor: Felicia Hardison Londré. Vita. Title from "catalog record" of the print edition Description based on contents viewed Feb. 22, 2006. Includes bibliographical references. Online version of the print edition.

Susan Sontag’s reviews and descriptions of agony images is the keystone of war photography. From On photography(1977) to Regarding the Pain of Others(2003), Sontag wrote about how agony images could affect the majority of people. Media ruled photographs and used them as its own container. Through her book, the passiveness of the audiences was examined. She criticised the way of how people looked at an agony image. According to her, audiences constantly consumed other’s pain if the they are far away. She judged repeating formats and simplified messages from media which numb the sensation of people, the surfeit of similar horrendous images turned an audience into a consumer. “Is a photograph ever “real”? she asked. Firstly, within in my thesis I would like to to examine the relevancy of Sontag theory, her interests in emotion in charge of atrocity and pain. To found out the possible respond of the audience, in respect to war in contemporary art photography. When artists have the chance to turn their camera from those atrocity on sites, what could be the differences in audiences’ reactions from traditional war photojournalist. Moreover, Sontag’s concept “the audience as consumers” will be traced back to its basic elements. To scan the particular words and phrase which Sontag used in her two books. Secondly, use Regarding the Pain of Others(2003) as a starting point of the timeline, then search for the critical thoughts which against or support Sontag’s words during the decade. Furthermore, use different concepts of the agony images to examine the remarkable singular atrocity images and the art works relate to war and atrocity. To explore the change according to the interaction between atrocity and contemporary photography and their audiences. After all, use the dialects between the theories and the war in contemporary art photography to extent the perspective from Regarding the Pain of Others(2003) to get closer to our time — to build the the reference of how to see an agony image.

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The aim of this research is to show how the “new” musicology differs from the “old” with regards to the creation of knowledge about music, which I refer to as “musicological epistemology”. If epistemology is described in the contemporary era as “justified, true belief” (Huemer 2002: 435), this dissertation discusses how McClary, acting as a “new” musicologist, has justified her “true beliefs” in order to create postmodern knowledge about music in the contemporary era, and how these “true beliefs” differ from “old”/modernist musicological opinions concerning the meaning of music. In this dissertation I have included short descriptions of how I believe the various categories of “old” musicology functioned epistemologically. In order to demonstrate how musicological epistemology has changed in the contemporary era, I have undertaken an epistemological analysis of four of McClary's core articles/musicological narratives included in Reading Music: Selected Essays (2007). I have chosen one article from each of McClary’s main subjects of discourse from 1983 to 2007, namely “interpretation and polemics”, “gender and sexuality”, “popular music” and “early music”, in order to ascertain the “nature, scope and limits” of the knowledge she creates through the writing of these narratives. I have found that McClary has incorporated a variety of postmodern debates into her musicological writing, which separates her, epistemologically, from the “old” musicology. This “old”/“new” musicological split is particularly established in my epistemological analysis of “The blasphemy of talking politics during Bach Year” (1987) in which McClary vehemently criticizes key aspects of the “old” musicology, as well as enunciates how she believes the “new” musicology should function epistemologically. The epistemological analysis of “The cultural work of the madrigal” (2007) shows McClary’s epistemology in its mature form. With regards to McClary’s epistemology, I have discovered that the knowledge she is creating is subject to the reader’s acceptance of the postmodern debates that inform her postmodern intellectual context (relativism, identity and deconstruction for example), which establish the conditions under which her work can be considered as knowledge. I have referred to this type of knowledge as “conditional knowledge”, specifically in the epistemological analysis of “Living to tell: Madonna’s resurrection of the fleshly” (1990). McClary’s knowledge is also subject to the contexts in which she situates these essays (a feminist context, for example), which I have referred to as “context-based knowledge” in my epistemological analysis of “Construction of subjectivity in Schubert’s music” (1994). These forms of knowledge admit a subjective viewpoint and are generally of a socially responsible nature. These elements clearly articulate McClary’s acknowledgement of her postmodern intellectual context with regards to Lyotard’s call for greater toleration and sensitivity in his seminal work La condition postmoderne: rapport sur le savoir (1979) (The Postmodern Condition: a Report on Knowledge), the essential aspects of which are also discussed in this dissertation. The micronarrative format of her knowledge also relates to Lyotard’s theories, as well as McClary’s open avoidance of grand narratives in her writing. Through my analyses I have affirmed that McClary has produced these postmodern forms of knowledge whilst adhering to the accepted principles of epistemic rigour. Postmodern theory has revealed a relativistic and subjective view of human language and knowledge. McClary, acknowledging this postmodern realization, has taken control of the production of musical meaning and is creating musical knowledge that is meaningful and useful to marginalized groups in the social and musical world. / Dissertation (MMus)--University of Pretoria, 2013. / Music / unrestricted

This study investigates the relation between faith in a transcendent reality and faith in language, both verbal and visual, in the work of English novelist and critic Antonia Byatt. Her ideal conception of communication combines the immediacy and primal vigour of the visual with the methodical pragmatism of words. However, Byatt's characters who exemplify this effort at double vision - in particular Stephanie Potter Orton in the 1985 novel Still Life - find in their quests frustration and even death rather than fulfillment. My investigation focuses on A. S. Byatt's presentation of the way language attempts to represent and interact with three particular areas: fundamental personal experiences (childbirth, death, love), perceptual and aesthetic experiences (colour and form, painting), and transcendent experiences (supernaturalism and Christian religion). I consider all stages of her career to date - from her first novel The Shadow of the Sun (1964) to Babel Tower (1996). Although Possession: A Romance (1990) has garnered most of the critical attention accorded to Byatt, I argue that this novel is not generally representative of her principles or style. A neo-Victorian romance, part parodic and part nostalgic, combined with an academic comedy, Possession shares neither the sombre mythological and psychological fatalism of her 1960s fiction nor the modified realism of her middle-period fiction. Still Life and The Matisse Stories (1993) are the works that best elucidate Byatt's major preoccupations; they intently strive to combine the most powerful aspects of verbal and visual knowledge. The methodological basis for this study is pluralist; it emphasizes close reading, combined with phenomenological, biographical, and thematic criticism. As Byatt does, I rely principally on the ideas of writers and artists rather than theorists; she cannot be understood without specific reference to George Eliot, Donne, Forster, Murdoch, Van Gogh, and Matisse (among others). Byatt's quest for truth and transcendent meaning and her investigation of the trustworthiness of words have undergone recent changes; she seems more sharply aware of the limitations of language and the unattainability of absolute truth. Her writings in the 1990s about paintings and colour emphasize their intrinsic value rather than their ability either to revitalize the word or suggest the numinous. / Arts, Faculty of / English, Department of / Graduate

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Of all of Austen<&trade>s works, Lady Susan tends to stand alone in style and character development. The titular character of the novella in particular presents a literary conundrum for critics and readers of Austen. In an attempt to understand the character and why Austen wrote her, Lady Susan has been considered as a œmerry widow (Lane), a Machiavellian power figure (Mulvihill), and an indication of Austen<&trade>s familiarity with gossip and adultery (Russell). Despite these varied and colorful readings, critics have failed to fully resolve the differences between Lady Susan and Austen<&trade>s more beloved, maidenly heroines such as Elizabeth Bennet and Anne Elliott.This paper delves into one explanation that has hitherto been overlooked”Lady Susan<&trade>s relationship to the Restoration rake character trope. In light of Lady Susan<&trade>s philandering, independent, and mercenary ways, as well as her likeable yet reprehensible personality, the connection to the Restoration rake is readily apparent. Reading Lady Susan as a rake better informs critical understanding of this character and sheds new light on Jane Austen<&trade>s own perspectives on gender, while also forming a dialectic for critics and audiences for their own perspectives on gender, gender roles, and acceptable behavior. To accomplish this task, this paper explores Austen<&trade>s own early experiences with theatre and her predilection for theatrical allusions, the rake character<&trade>s genealogy and influence on literature, and a close reading of the novella in context of Restoration comedies.