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1
Bagley, Paul Michael. "Mysticism in 20th and 21st century violin music." Thesis, University of Maryland, College Park, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3643907.
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<p> “Mysticism,” according to the Oxford dictionary, can be defined as “belief in or devotion to the spiritual apprehension of truths inaccessible to the intellect.” More generally, it applies to the aspects of spirituality and religion that can only be directly experienced, rather than described or learned. This dissertation examines how mysticism fits into the aesthetic, compositional, and musical philosophies of four prominent composers of the 20<sup>th</sup> and 21<sup>st</sup> centuries—Ernest Bloch, Olivier Messiaen, Sophia Gubaidulina, and John Zorn, with a cameo by the Jewish composer David Finko—and how their engagement with the concept of mysticism and the mystical experience can be seen in a selection of their works featuring the violin: Bloch's <i>Baal Shem</i> suite and <i>Poème mystique</i>; Finko's <i>Lamentations of Jeremiah,</i> Zorn's <i>Kol Nidre,</i> <i>Goetia,</i> <i> All Hallow's Eve,</i> and <i>Amour fou</i>; Gubaidulina's <i> In tempus praesens</i>; and Messiaen's <i>Quartet for the End of Time.</i> These works exemplify the mysticism shared by these composers, despite their different religious and cultural backgrounds, particularly their belief in the transcendental nature of music. This belief is expressed in their works through programmatic, melodic, harmonic, rhythmic, and formal elements, all of which display, to a greater or lesser degree, the influence of mystical philosophy and symbolism.</p>
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Clarke, Jennifer. "The Effect of Digital Technology on Late 20th Century and Early 21st Century Culture." [Tampa, Fla. : s.n.], 2003. http://purl.fcla.edu/fcla/etd/SFE0000108.
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Catterson, Amy Koehler. "Close Reading in Secondary Classrooms| A 21st-Century Update for a 20th-Century Practice." Thesis, University of California, Berkeley, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10281978.
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<p> Close reading is an enigmatic term with a simple definition: special attention to texts. Key shifts in the Common Core State Standards have led to a renewed interest about close reading instruction among researchers and practitioners of K-12 education. Close reading is particularly salient in secondary settings, where calls to raise text difficulty and increase literacy instruction in the disciplines have placed new demands on middle and high school teachers. But even though close reading is now widespread in secondary classrooms, there is very little research to date on close reading instruction. As such we still do not know how these practices will affect students’ reading skills and motivation.</p><p> In this dissertation, I offer three article-length contributions to the research base on secondary close reading instruction. First, I synthesize practice-based research on close reading instruction with the aim of identifying best practices for close reading in secondary classrooms. I then present two empirical articles that address gaps in the research literature on adolescent close reading instruction.</p><p> In chapter 1, previously published in <i>Adolescent Literacies: A Handbook of Practice-Based Research</i>, P. David Pearson and I offer a vision for a 21<sup>st</sup>-century close reading pedagogy. This vision was influenced by a historical account of close reading’s place in adolescent classrooms over the past 75 years and a review of research on secondary close reading instruction. We argue that a 21<sup>st</sup>-century close reading pedagogy must encompass considerations of the reader and his or her sociocultural contexts, accept digital and everyday texts as candidates for close readings, and include purposes for reading beyond knowledge building. In light of these goals, we suggest five principles of adolescent close reading instruction: background knowledge, authentic reading and writing, metadiscursive awareness, critical literacy, and dialogically organized discussion.</p><p> In chapter 2, I draw on the principles of close reading instruction outlined in chapter 1 to co-design tests of close reading instruction with a high school chemistry teacher. In this formative experiment, I tested the effect of background knowledge activation on amount and types of questions written about a scientific article; I also tested whether allowing students to choose texts to read about a scientific issue affected the amount of information written on that topic and their motivation to read. In a challenge to Common-Core-era recommendations that background knowledge should be held at bay when closely reading texts, I found that students who had their background knowledge activated with pre-reading activities prior to closely reading an article wrote more argument-generating questions than students who did not engage in pre-reading activities. I also argue that students who were able to choose a text to read closely about a scientific topic online recorded as much accurate information about that topic as students who were assigned a text to read by their teacher.</p><p> In chapter 3, I explore an understudied area of close reading instruction: students’ everyday digital close reading practices. This article is an ethnographic case study of students’ out-of-school digital close readings and their teachers’ approach to digital close reading instruction in the classroom. By comparing these two realms through the lens of cultural historical activity theory, I am able to surface tensions and synergies that may lead to recommendations for close reading instruction that leverages students’ existing funds of knowledge about digital literacies. Specifically, I found that when teachers designed digital close reading instruction in the service of promoting student-directed learning, it aligned well with students’ goals when they performed everyday close readings of digital texts at home. </p><p> Together, these three chapters suggest new directions for adolescent close reading instruction and research. In chapter 4, I synthesize across the three articles to highlight common themes and conclude with ideas for future research and lingering questions about the nature of close reading. </p><p>
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Sage, Elizabeth M. "The image and the body in modern fiction's representations of terrorism : embodying the brutality of spectacle." Thesis, University of Sussex, 2013. http://sro.sussex.ac.uk/id/eprint/44737/.
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My research arises from a critique of the tendency within terrorism debates to equate the terrorist act with the production of spectacular images. Chapter 1 uses the work of Luce Irigaray to critique this trend in terrorism discourses, arguing that such a characterisation relies on a repression of the very materiality that terrorist action exploits. Moreover, placing the concept of terror in an Irigarayan framework reveals that the concept of terrorism is bound up with concepts of masculinity. In developing this critical approach, I build on the thinking of both Irigaray and Gayatri Spivak in turning to literary representations of terrorism to find a means of articulating a new understanding of the concept of terrorism and its place within our culture. Chapter 2 brings together the figure of the woman terrorist in terrorism studies, Nadine Gordimer's Burger's Daughter(1979), and Doris Lessing's The Good Terrorist (1985) in order to critique the portrayal of the feminine in terrorism discourses. Chapter 3 then moves on to ask how the global reach of terrorism discourses after September 11th, 2001, has impacted on our understanding of masculinity and femininity, looking at the relationship between the body and subjectivity in Ian McEwan's Saturday (2006). Finally, Chapter 4 examines how Don DeLillo's Falling Man (2007) figures the body as a site of resistance to such global narratives of terror, as he explores the possibility of an embodied ethics opening up a suspension of photographic and filmic modes of perception. By setting up a dialogue between terrorism studies and literary fiction, I reintroduce the body to our conceptualisation of terrorism. In doing so, I show how literature can open up new ethical horizons in an otherwise closed rhetoric.
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Kelly, Caleb, and n/a. "Cracked and Broken Media in 20th and 21st Century Music and Sound." University of Canberra. Creative Communication, 2007. http://erl.canberra.edu.au./public/adt-AUC20070601.135617.
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From the mid 20th century into the 21st, artists and musicians manipulated,
cracked and broke audio media technologies to produce novel, unique and
indeterminate sounds and performances. Artists such as John Cage, Nam June
Paik, Milian Kn��k, Christian Marclay, Yasunao Tone, Oval and Otomo
Yoshihide pulled apart the technologies of music playback, both the playback
devices � phonographs and CD players � and the recorded media � vinyl records
and Compact Discs. Based in the sound expansion of the 20th century musical
avant garde, this practice connects the interdisciplinary Fluxus movement with
late 20th century sound art and experimental electronic music. Cracked and
broken media techniques play a significant role in 20th century music and sound,
and continue to be productive into the 21st. The primary contribution of this
thesis is to provide a novel and detailed historical account of these practices. In
addition it considers theoretical approaches to this work. After considering
approaches through critiques of recording media, and concepts of noise, this
thesis proposes novel theorisations focusing on materiality and the everyday.
Ultimately it proposes that these practices can be read as precursors to
contemporary new media, as music and sound art cracked open the fixed
structures of �old media� technologies for their own creative purposes.
6
Allen, Claire. "Beyond postmodernism : London fiction at the millenium." Thesis, University of Northampton, 2010. http://nectar.northampton.ac.uk/8845/.
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Ortega, Selena. "Chavez Ravine and Boyle Heights| 20th and 21st Century Displacement of Mexican Communities." Thesis, California State University, Los Angeles, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10245743.
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<p> This study examines and analyzes displacement, under the guise of redevelopment, in urban Mexican communities in Los Angeles-- Chávez Ravine (1944-1959) and Boyle Heights (2000-2015). This investigation also chronicles and interprets the urban renewal process as a systematic attack on the Mexican working- class and disenfranchisement of their communities. This analysis presents qualitative evidence to show the individual impacts associated with involuntary displacement. Furthermore these cases of displacement blocked the economic mobility of displaced residents of Chávez Ravine and Boyle Heights and the impact extends beyond those directly displaced. Beyond gentrification, a review of these cases, within approximately seven decades of displacement patterns, reveal the broader politics of contesting Mexican social and economic status in Los Angeles. Redevelopment maintains an economic and social order that intergenerationally disadvantages Mexican populations.</p>
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Levi, Rachel M. "A Digital Crisis? Art History and Its Reproductions in the 20th and 21st Century." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/689.
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This thesis analyzes the emergence, presence, and use of digital reproductions in the scholarship of art history and how these reproductions impact individual encounters with art. It will address matters related to the authenticity of reproductions, the development of modern technologies, and the rise of new media, reflecting on issues related to integrating technology into the discipline and proposing how to deal with the digital reproductions in the study of art history.
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Fisher, Kathryn. "From 20th Century troubles to 21st Century international terrorism : identity, securitization, and British counterterrorism from 1968 to 2011." Thesis, London School of Economics and Political Science (University of London), 2012. http://etheses.lse.ac.uk/548/.
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This thesis is an exploration into the consequential interrelation of official British discourse, identity, securitization, and counterterrorism from 1968 to 2011. Through a relational-securitization approach, the thesis narrative explains how discourse is both constitutive and causal for outcomes in a particular case. It is a relational mechanism based analysis that investigates how observed rhetorical commonplaces came together to influence intersubjective understanding and security practice. The ways that identities were temporarily stabilized across discourse through particular configurations was essential to how British counterterrorism emerged, was maintained, and became normalized. The thesis does not argue that possible insecurities categorized as “terrorism” do not exist, or that a security response is in itself surprising. However, how this response unfolded was not predetermined, and instead depended upon a securitization of terrorism along distinctive patterns of us/them construction. These patterns influenced the trajectory of counterterrorism by enabling certain outcomes to arise over others. Collective understandings of identity shape the conditions of possibility for political action. As such, discourses of securitization have a causal impact over intersubjective understanding and counterterrorism ractice. Historical moments, such as the 1974 Birmingham pub bombings or 11 September 2001 attacks, can facilitate a more rapid passage of exceptional measures. But the maintenance and normalization of these powers depends upon us/them and inside/outside boundary markers. Violent acts may thus influence outcomes, but they do not determine their substance or direction. Reasserted and/or reconfigured perceptions of distance and danger stabilizing the threat and referent in particular ways played a key role in counterterrorism’s transition from emergency response to permanent practice. Through a relational-securitization approach, analysis can better map out how processes of identity construction were essential to the securitization of terrorism, and contributed to the emergence, legitimation, and normalization of British counterterrorism from 1968 to 2011.
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Dufresne, Jean-Louis, Johannes Quaas, Olivier Boucher, Sébastien Denvil, and Laurent Fairhead. "Contrasts in the effects on climate of anthropogenic sulfate aerosols between the 20th and the 21st century: Contrasts in the effects on climate of anthropogenic sulfate aerosolsbetween the 20th and the 21st century." Wiley, 2005. https://ul.qucosa.de/id/qucosa%3A13970.
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In this study, we examine the time evolution of the relative contribution of sulfate aerosols and greenhouse gases to anthropogenic climate change. We use the new IPSL-CM4 coupled climate model for which the first indirect effect of sulfate aerosols has been calibrated using
POLDER satellite data. For the recent historical period the sulfate aerosols play a key role on the temperature increase with a cooling effect of 0.5 K, to be compared to the 1.4 K warming due to greenhouse gas increase. In contrast, the projected temperature change for the 21st century is
remarkably independent of the effects of anthropogenic sulfate aerosols for the SRES-A2 scenario. Those results are interpreted comparing the different radiative forcings, and can be extended to other scenarios. We also highlight that the first indirect effect of aerosol strongly depends on the land surface model by changing the cloud cover.
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Clarke, Jennifer 1974. "The effect of digital technology on late 20th century and early 21st century culture [electronic resource] / by Jennifer Clarke." University of South Florida, 2003. http://purl.fcla.edu/fcla/etd/SFE0000108.
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Title from PDF of title page.<br>Document formatted into pages; contains 65 pages<br>Thesis (M.L.A.)--University of South Florida, 2003.<br>Includes bibliographical references.<br>Text (Electronic thesis) in PDF format.<br>ABSTRACT: Recently, artists have begun using digital technology to create new cultural forms in the fields of art, literature, and music, and a new cultural form known as interactive digital multimedia has emerged, which combines elements from the new artistic, literary, and musical forms. Many of these artists have produced works that explore the interactive capabilities of digital technology. These interactive digital cultural forms have encouraged collaborative efforts that would have otherwise been difficult or even impossible to achieve before the advent of digital technology. In addition, this element of interactivity has redefined the traditional relationship between artist and audience. As the line between creator and consumer becomes increasingly blurred in interactive digital cultural forms, it becomes necessary to use terms such as "source artist" and "mix artist" to better define this new artist/audience relationship.<br>ABSTRACT: Postmodern theorists such as Roland Barthes and Michel Foucault anticipate this new artist/audience relationship in their writings. More recent theorists, such as Margot Lovejoy, George Landow, and Paul Théberge, writing after the advent of digital technology, have suggested that interactive digital cultural forms and the changing nature of the artist/audience relationship present opportunities for cultural creation and participation that extend the opportunities afforded by traditional artistic production and consumption. Works such as the As Worlds Collide website, Stuart Moulthrop's Victory Garden, the music of the Chemical Brothers, and Peter Gabriel's multimedia CD-ROM EVE are examples of these new interactive digital cultural forms. These works present navigable constructs (often incorporating elements culled from other source artists) that can be experienced and "re-mixed" by subsequent mix artists who choose to interact with these works.<br>ABSTRACT: The increased agency provided by these interactive works brings with it new responsibilities for both the source artist and the mix artist. By encouraging collaboration and experimentation, redefining the artist/audience relationship, and expanding the responsibilities of the source artist and the mix artist, interactive digital media extend the possibilities for cultural creation and participation. As digital technology develops, so do the opportunities for cultural development among society as a whole.<br>System requirements: World Wide Web browser and PDF reader.<br>Mode of access: World Wide Web.
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Garnevičiūtė, Rimutė. "Catholic Funeral Rites and Customs in Lithuania (in the Late 20th and Early 21st Century)." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2014. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2014~D_20140617_092523-49736.
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The dissertation, which is based on the author’s own fieldwork data collected in Lithuania (using a specially designed questionnaire and the observation method), focuses on an exhaustive analysis of the Catholic funeral since 1990 until present. The dissertation analyses funerals’ gradual falling under the influence of the market economy and questions regarding the continuity and transformation of the tradition in the context of globalization. It also discusses regional and local differences of funeral rites and customs. The relationship between folk customs and the liturgy of the Catholic Church in the Catholic funeral is analysed for the first time as well as the religious expression (devotional practices, devotions, folk piety, and folk religiosity) of Catholics (community) in it, thus making a contribution to the study of the relevant problem of folk piety. While analysing questions regarding the development of customs, major attention is focused on the analysis of their purpose, therefore, the research object also involves folk beliefs. The present research has shown that in the late 20th and early 21st century Lithuania, some elements of the Catholic funeral underwent transformations, but it did not change the funeral as a whole. In the period of intensive globalization, the continuity of the Lithuanian funeral tradition is assured by the change of its separate elements while adjusting to living conditions and considering the guidelines of the Church.<br>Disertacijoje, remiantis autorės Lietuvoje atliktų lauko tyrimų (pateikėjų apklausos pagal specialiai parengtą klausimyną bei stebėjimo) duomenimis, nuosekliai analizuojamos katalikų laidotuvės nuo 1990 metų iki mūsų dienų: gilinamasi į laipsnišką laidotuvių perėjimą rinkos žinion bei tradicijos tęstinumo ir transformacijos klausimus globalizacijos kontekste; įvertinami laidotuvių apeigų ir papročių regioniniai bei lokalūs savitumai; pirmą kartą Lietuvoje nagrinėjamas liaudiškųjų papročių ir Katalikų bažnyčios liturgijos santykis katalikų laidotuvėse bei katalikų religiją išpažįstančio žmogaus religinė raiška jose (maldingos praktikos, pamaldumai, liaudiškasis pamaldumas, liaudiškasis religingumas), tokiu būdu disertacijos tyrimu siekiama prisidėti prie aktualios liaudiškojo pamaldumo problemos tyrinėjimo. Gvildenant papročių kaitos klausimus, pagrindinis dėmesys skiriamas jų paskirties analizei, todėl tyrimo objektas yra ir su konkrečiu apeiginiu veiksmu susiję tikėjimai. Atliktas tyrimas patvirtina prielaidą, kad XX–XXI a. sandūroje Lietuvoje pakito kai kurie katalikų laidotuvių elementai, tačiau tai nepakeitė laidotuvių kaip visumos. Intensyvios globalizacijos laikmečiu laidotuvių tradicijos tęstinumą Lietuvoje sąlygoja laidotuvių elementų kaita taikantis prie gyvensenos sąlygų ir atsižvelgiant į Bažnyčios nurodymus.
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Oliveira, Fernanda Marcello de. "Changes in the South Atlantic Subtropical Gyre circulation from the 20th into the 21st century." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/21/21135/tde-09042018-125458/.
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Through analysis of large-scale ocean gyre dynamics from simulation results of the ocean component of the Community Earth System Model version 1 - the Parallel Ocean Program version 2 (CESM1-POP2) - this study builds upon existing research suggesting recent changes in the circulation of global subtropical gyres with respect to the South Atlantic Ocean. Results all point to an increase in the total counterclockwise circulation and a southward displacement of the sub- tropical gyre system. The northern boundary of the South Atlantic Subtropical Gyre (SASG) is represented by the bifurcation of the southern branch of the South Equatorial Current (sSEC) into the North Brazil Undercurrent/Current (NBUC/NBC) to the north and the Brazil Current (BC) to the south. The sSEC Bifurcation Latitude (SBL) dictates the partition between waters flowing poleward and those flowing equatorward. Although a northward migration of the SBL would be expected with the gyre spin up and associated poleward transport increase, the SBL migrates southwards at a rate of 0.051o/yr, in conjunction to a substantial increase in the equatorward advection of waters within the sSEC-SBL-NBUC system, which is included in the upper-branch of the Atlantic Meridional Overturning Circulation.<br>Através de análises da dinâmica de grande-escala do giro oceânico, proveniente dos resultados de simulação da componente oceânica do Community Earth System Model versão 1 - o Parallel Ocean Program versão 2 (CESM1-POP2) - este estudo se baseia em estudos prévios sugerindo mudanças recentes na circulação dos giros subtropicais globais, com respeito ao oceano Atlântico Sul. Os resultados apontam para uma intensificação da circulação anti-horária e um deslocamento para sul de todo o sistema do giro subtropical. A borda norte do Giro Subtropical do Atlântico Sul (GSAS) é representada pela bifurcação do ramo sul da Corrente Sul Equatorial (CSEs) em Subcorrente/Corrente Norte do Brasil (SCNB/CNB) para norte e Corrente do Brasil (CB) para sul. A Latitude da Bifurcação da CSEs (LBC) determina a partição entre as águas fluindo em direção ao pólo e aquelas fluindo em direção ao equador. Embora seja esperada uma migração para norte da LBC com a aceleração da circulação do giro e consequente aumento do transporte em direção ao pólo, a LBC migra para sul a uma taxa de 0.051o/ano. Esta migração ocorre em conjunto à um aumento substancial na advecção de águas em direção ao equador com o sistema CSEs-LBC-SCNB, o qual está incluso no ramo superior da Circulação de Revolvimento Meridional do Atlântico.
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Smith, Olga. "Between reality and fiction : the art of French photography since the 1970s." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610275.
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Munk, James N. "Agency, physicality, space : analytical approaches to contemporary Nordic concertos." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:d4c79a2a-0836-4921-b33c-9a3fd2aa0f8a.
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The concerto enjoys a position of centrality within the oeuvres of many contemporary Nordic composers: the genre often functions as a vehicle for the exploration of advanced compositional techniques and aesthetic preoccupations, and the resulting works are well-represented on recordings and in the concert hall. Yet this repertory has largely been neglected in scholarship. Through detailed analysis of works by Per Nørgård, Kaija Saariaho, Magnus Lindberg, and Pelle Gudmundsen-Holmgreen, this thesis develops analytical technologies for a genre which has received less musicological attention than it deserves. Placing a particular emphasis on the theatrical aspects of concerto performance, the project explores the application of three lines of enquiry, each of which has been theorised in some detail: agency (Cone, Maus, Cumming), physicality (Clarke, Cox, Larson), and space (Brower, Williams). Each of these lines of enquiry has been directed at the concerto sporadically, if at all – even though concertos make particularly compelling and potentially enriching case studies for the theoretical models in question. This thesis represents the first sustained attempt to explore the concerto with reference to these bodies of literature. The analytical models developed have wider applicability, to concertos both within and without the Nordic arena. I draw attention at numerous points to ways in which they can illuminate works by Ligeti, Birtwistle, Musgrave, Berio, and Lutosƚawski, among others. The project also has wider implications for our understandings of Nordic identity, virtuosity, and musical modernism at the turn of the twenty-first century.
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Quintanilla, Octavio. "Love Poem with Exiles." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28465/.
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Love Poem with Exiles is a collection of poems with a critical preface. The poems are varied in terms of subject matter and form. In the critical preface, I discuss my relationship with poetry as well as the idea that we inherit poems, and that if we are inspired by them, we can transform them into something new.
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Belling, Huw. "Dimensions of allusion : synthesis affecting craft in the works of Huw Belling and in 20th and 21st century composition." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:fa0579cf-6405-4ab0-a5bb-90c28a9d36a8.
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This examination of my own works (presented largely in chronological order) and of related music by others, broadly concerns itself with appropriation and allusion on the part of twentieth and twenty-first century composers. It considers how the deliberate synthesis of existing works affects the responding composers' own output. To this end, whether surveying my own music or others', I do so within a four-pronged framework: 1. The philosophical premise and aesthetic of pieces which somehow appropriate existing composition (as claimed overtly by the composer, or inferred from available research). 2. The compositional procedure and techniques employed in the process of composing works which allude to or synthesise other pieces. 3. The product resulting from the interaction of the above two factors (naturally the latter is more concrete). 4. Critics' and scholars' responses: the basic phenomenology of the allusive element, synthesis, or stylistic appropriation, and the ethical problems surrounding any appropriation. My analyses address one or more of these connected points. They raise a number of significant questions. Is synthesis and re-composition (the latter taken to be more specifically referential) affective or effective? That is to say, is it aesthetically prescriptive? Can composers manage to quarantine 'Les objets trouvés' from their individual practice? Of interest are composers with individual credibility as innovators, whose craft is its own defence against criticism on dogmatic grounds. I consider what is to be gained, in terms of technique, and in terms of developing an aesthetic, from the process of specifically engaging with other pieces, and explore the effects of differing methods of synthesis as compared across compositional practices.
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Ceraolo, Francesco. "The aesthetics of the Wagnerian Gesamtkunstwerk in the 20th and 21st Century : from Appia to postdramatic theatre." Thesis, Queen Mary, University of London, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610955.
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Dufresne, Jean-Louis, Johannes Quaas, Olivier Boucher, Sébastien Denvil, and Laurent Fairhead. "Contrasts in the effects on climate of anthropogenic sulfate aerosols between the 20th and the 21st century." Universitätsbibliothek Leipzig, 2015. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-189523.
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In this study, we examine the time evolution of the relative contribution of sulfate aerosols and greenhouse gases to anthropogenic climate change. We use the new IPSL-CM4 coupled climate model for which the first indirect effect of sulfate aerosols has been calibrated using
POLDER satellite data. For the recent historical period the sulfate aerosols play a key role on the temperature increase with a cooling effect of 0.5 K, to be compared to the 1.4 K warming due to greenhouse gas increase. In contrast, the projected temperature change for the 21st century is
remarkably independent of the effects of anthropogenic sulfate aerosols for the SRES-A2 scenario. Those results are interpreted comparing the different radiative forcings, and can be extended to other scenarios. We also highlight that the first indirect effect of aerosol strongly depends on the land surface model by changing the cloud cover.
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Hoffmann, Andrew. "The City as a Trap| 20th and 21st Century American Literature and the American Myth of Mobility." Thesis, Marquette University, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=13809920.
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<p> This dissertation reads twentieth and twenty-first century U.S. multicultural literatures, women’s literature, and science-fiction film and literature to identify a tradition of literary representation of long-standing patterns of economic entrapment in American cities.” I argue that the capitalist ideologies of opportunity and spatial, economic, and social mobility associated with American cities have been largely false promises, and that literature provides an avenue to investigate the ideological matrices and cultural narratives that American capitalism uses to situate bodies where it needs them, primarily in urban centers. I claim that this entrapment remains more or less a constant in American cities despite the fact that both capitalism and the space of the city have radically changed since the late 1930s. I further claim that the persistence of this entrapment across different instantiations of both the American city and American capitalism speak to its normalization, acceptance, and the fact of its continuing legacy. As the ideological narratives are culturally projected as ones of the promise and freedom of mobility in cities, and as the historical conditions of entrapment have proven so resilient, literature and film have constituted important tools for exposing just how these capitalist ideologies generate consent for hegemonic capitalism. The dissertation seeks to understand how a large percentage of urban populations are interpellated by the very capitalist machinery which fixes them in space and class while simultaneously denying them the benefits of American capitalism.</p><p>
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McNeese, Lauren. "The Shrinking Opera Diva: The Impact of Sociocultural Changes upon the Casting of Women in the 20th and 21st Centuries." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984190/.
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For most of the twentieth century, opera singers were not beholden to the ideal physical standard of women dictated by popular culture, but rather focused on serving the music and perfecting their artistry. Unprecedented sociocultural changes throughout the twentieth century exposed the shifting ideals of each generation and how they were promoted through mass media and advertising. This thesis surveys the time period of the 1890s to the present day for the purpose of analyzing cultural trends, philosophies and technologies that shaped the century. Societal pressure to make the body a project and the focus of one's own intense attention now reflects back onto the opera stage where audience members expect to see what society has dictated to be an acceptable female form. Artistic and stage directors are influenced by society's decree that only thin is beautiful, imbedding into the mindset of the art form notions that now affect how female professional opera singers are depicted and even employed.
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Lin, Syaru Shirley, and 林夏如. "National identity, economic interest and Taiwan's cross-strait economic policy 1994-2009." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B43761896.
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Jones, Marc Owen. "Methods of repression in Bahrain during the 20th and 21st century : from the civil list to social media." Thesis, Durham University, 2016. http://etheses.dur.ac.uk/11554/.
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Despite being afflicted by cyclical bouts of unrest over the past century, repression in Bahrain as a concept has not been the focus of considerable academic attention. This is the first interpretive historical and contemporary study of repression in Bahrain. It addresses the limitations of regime-type analysis and quantitative studies of repression, which tend to focus on the co-variation between repression and demobilization. Using a template analysis, a virtual ethnography and framing theory, this thesis offers a new conceptualisation of repression. Several episodes of contention in Bahrain are analysed, including; tribal resistance to the British reforms of the 1920s, the rise of the Higher Executive Committee in the 1950s, the leftist agitation of the 1970s, the 1990s Intifada, and the 2001 Uprising. Using evidence from multiple sources, including recently released Foreign and Commonwealth Office files, social media, and historical records, this thesis argues that Bahrain's protecting powers have had a marked impact on the severity, nature and type of repression in Bahrain, as well as the structure of the repressive apparatus. While the British mitigated the excesses of Al Khalifa's treatment of political opposition, their declining influence following Independence saw the rise of a Saudi-Al Khalifa dual authority structure that created a new approach to repressive choices. Crucially, Bahrain's protecting powers influenced the nature and type of repression that was applied to political opposition. Yet despite this meta-narrative of outside influence, this research complicates generalisable theories of repression, showing that repressive choices are often contingent on a complex mix of the availability of resources, elite attitudes, strategic objectives of power holders, and the nature of threat. For this reason, the research sheds light on repression in Bahrain, but also highlights the value of conducting case studies and long term studies that allow researchers to compare and contrast the reasons motivating repressive choices. The new conceptualisation also emphasises the rising importance of social media and rhizomatic actors as tools of repression.
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Mason, Anthony, and n/a. "Australian coverage of the Fiji coups of 1987 and 2000: sources, practice and representation." University of Canberra. Communication, 2009. http://erl.canberra.edu.au./public/adt-AUC20090826.144012.
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For many Australians, Fiji is a place of holidays, coups and rugby. The extent to which we
think about this near-neighbour of ours is governed, for most, by what we learn about Fiji
through the media. In normal circumstances, there is not a lot to learn as Fiji rarely appears
in our media. At times of crisis, such as during the 1987 and 2000 coups in Fiji, there is
saturation coverage. At these times, the potential for generating understanding is great. The
reporting of a crisis can encapsulate all the social, political and economic issues which are a
cause or outcome of an event like a coup, elucidating for media consumers the culture, the
history and the social forces involved. In particular, the kinds of sources used and the kinds
of organisations these sources represent, the kinds of themes presented in the reporting, and
the way the journalists go about their work, can have a significant bearing on how an event
like a coup is represented. The reporting of the Fiji coups presented the opportunity to
examine these factors. As such, the aim of this thesis is to understand the role of the media
in building relationships between developed and developing post-colonial nations like
Australia and Fiji.
A content analysis of 419 articles published in three leading broadsheet newspapers, The
Sydney Morning Herald, The Australian and The Canberra Times, examined the basic
characteristics of the articles, with a particular focus on the sources used in these articles.
This analysis revealed that the reports were dominated by elite sources, particularly
representatives of governments, with a high proportion of Australian sources who provided
information from Australia. While alternative sources did appear, they were limited in
number. Women, Indian Fijians and representatives of non-government organisations were
rarely used as sources. There were some variations between the articles from 1987 and those
from 2000, primarily an increase in Indian Fijian sources, but overall the profile of the
sources were similar.
A thematic analysis of the same articles identified and examined the three most prevalent
themes in the coverage. These indicated important aspects of the way the coups were
represented: the way Fiji was represented, the way Australia's responses were represented,
and the way the coup leaders were represented. This analysis found that the way in which
the coups were represented reflected the nature of the relationship between Australia and
Fiji. In 1987, the unexpected nature of the coup meant there was a struggle to re-define how
Fiji should be understood. In 2000, Australia's increased focus on Fiji and the Pacific region
was demonstrated by reports which represented the situation as more complex and uncertain,
demanding more varied responses.
A series of interviews with journalists who travelled to Fiji to cover the coups revealed that
the working conditions for Australian media varied greatly between 1987 and 2000. The
situational factors, particularly those which limited their work, had an impact on the
journalists' ability to access specific kinds of sources and, ultimately, the kinds of themes
which appeared in the stories. The variation between 1987 and 2000 demonstrated that
under different conditions, journalists were able to access a more diverse range of sources
and present more sophisticated perspectives of the coup.
In a cross-cultural situation such as this, the impact of reporting dominated by elite sources
is felt not just in the country being covered, but also in the country where the reporting
appears. It presents a limited representation, which marginalises and downplays the often
complex social, cultural and historical factors which contribute to an event like a coup.
Debate and alternative ways of understanding are limited and the chance to engage more
deeply with a place like Fiji is, by and large, lost.
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Mukdamanee, Vichaya. "(De)contextualising Buddhist aesthetics." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:ee1e2b7f-1c97-40ec-be69-160a3a35cf03.
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'(De)contextualising Buddhist Aesthetics' is a practice-led artistic research project focusing on the interchanging transition between Buddhist and artistic practices. Essentially inspired by the concept of vipassana meditation, I created a series of performances involving repetitive actions centring on the tasks of re-arranging readymade objects into multiple precarious configurations. Many exercises challenge the laws of gravity and other physical limitations of objects, as well as encouraging the learning experience through the process of trial and error. During the course of mindful observation of the performing body and objects, the mental state gradually gains moments of stillness and silence, which approach the meaning of emptiness (suññata) in Buddhism. Repeated failures generate intermittent feelings of exhaustion and disappointment, which naturally become part of the progress, and can be personally used to develop insight into the notions of impermanence and the non-self derived from dhamma (Buddhist teachings). The video and photography documentations were edited and altered to generate a visual experience that echoes my thoughts and feelings developed during the proceedings; these moving images later inspired other series of hand-made artworks, including collages, drawings and paintings on paper and canvas, exhibited as part of the installations. Various techniques were applied so these objective components resonate a comparative experience of uncontrollability and controllability: dynamic and stillness, fast pace and slow rhythm, abstract and representation. Some two-dimensional pieces are transformed to three-dimensional and their displays keep changing from location to location, and from time to time, in conjunction with an unstable state of the mind. All artworks were created in various formats and interrelate and inform each other. They act together as evidence of the endless journey of artistic learning, which also mirrors the concept of self-learning in Buddhist meditation.
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Oprava, David E. "Once America : 50 expats, 50 interviews, 50 poems." Thesis, Swansea University, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.678534.
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Geeraert, Friedel. "Dietary Changes in Sweden and Belgium During the Late 20th and Early 21st Century and Their Implications for Sustainability." Thesis, Uppsala universitet, Institutionen för geovetenskaper, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-160436.
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This dissertation focuses on the changing food consumption patterns in Sweden and Belgium during the latter half of the 20th century and the beginning of the 21st century and the implications as seen from a sustainability point of view, both from a qualitative and quantitative perspective. It is shown that changes in agriculture, food processing, distribution and consumption during the period under assessment were considerable and had a clear impact on the food consumption pattern in both countries. Statistical data on the consumption of different food groups such as meat, milk and dairy products, fish, fruits, vegetables, cereal, potatoes, sugar, margarine and chocolate were compared. Overall, an increase in the consumption of meat, cheese, yoghurt, cream, fruits and vegetables was observed in both countries, while the consumption of milk, butter and potatoes decreased. For the sustainability assessment three parameters were chosen: land requirement, greenhouse gas emissions and energy use. The assessment was based on quantitative data about food consumption in 1960 and 2004. It was shown that the Swedish and Belgian diets in 2004 required more resources and emitted more greenhouse gas emissions than in 1960. The Belgian diet had higher values for all parameters than the Swedish, except when considering the values for the emissions of greenhouse gases in 1960 when the Swedish diet had higher values.
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Parry, Abigail. "Spook and the Jewel Thief & The Polyvalent Plaything : three forms of play in 20th and 21st century poetry." Thesis, Goldsmiths College (University of London), 2015. http://research.gold.ac.uk/12303/.
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This thesis identifies and explores three forms of play in poetry: specifically, the ‘interred’ (or etymological) pun, the hypogram, and the manipulation of what Johnson terms discordia concors, or harmonious discord. The precise mechanics of each are scrutinized with close readings of the work of Geoffrey Hill, Paul Muldoon and Jen Hadfield. Extrapolating from these analyses, the behaviour and potential uses of play are examined more broadly in relation to formal play, sonic play, punning, and oppositional texturing. It will be shown that the more ludic a poem, the greater the risk that it will turn in on itself; the anatomy of the poem is therefore compared to its etymological counterpart, the riddle. The thesis concludes that play, in this context, should be viewed as a fundamentally telic activity. The forms of play examined all function as what may be termed a contrivance of coincidence; successful contrivance behaves surprisingly algorithmically, and sensitivity to its mechanics means that play may be put to poetic purpose. A collection of poems – Spook and the Jewel Thief – is submitted in support of this thesis, and demonstrates some of the ways in which play may be deployed.
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Ward, Robert (Robert Clark). "Passion Settings of the 20th- and 21st- Centuries Focusing on Craig Hella Johnson's Considering Matthew Shepard." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862740/.
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Craig Hella Johnson (b. 1963) has emerged as a leader in choral music over the last 20 years. As the conductor of the Austin, TX based chorus Conspirare Johnson implemented the European model of bringing singers together from all over the country to assemble for concerts and recordings over a short period of time. He is known for his collage programs which bring together many styles of music bound by a central theme. Through these programs he has written and arranged many pieces which are now published and being performed by choirs across the globe. Johnson's most significant work to date is a 90 minute passion oratorio which details the story of Matthew Shepard, a college student murdered in a hate crime in 1998. Considering Matthew Shepard (2016) is a wonderful example of Johnson's composition and programming style. Though not a traditional passion story, it is part of the evolution of the genre in the 20th and 21st centuries. The passion oratorio has seen a resurgence in the past 50 years and has undergone a transformation in that time. These new works pay homage to the history of the genre but have begun to stretch it in terms of form and content. This study will highlight the evolution of the passion oratorio focusing on Johnson's Considering Matthew Shepard and offer some insight into the composers style and how this work represents a modern treatment of the passion oratorio.
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Bang, Kim Kristal. "Emma Lou Diemer’s Solo Piano Works Through 2010: A Study of Pedagogy and Performance in the Context of 20th- and 21st-Century Music Making." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1342104825.
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Khan, Jawed Aslam. "Measuring sustainability : UK wealth accounts for 25 years." Thesis, University of Stirling, 2016. http://hdl.handle.net/1893/24481.
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What is sustainability and how do we measure it? Sustainability could be achieved through sustainable development and much of the literature on sustainable development has taken human well-being to be the object to be sustained. By constructing a very large and extensive National Accounts consistent database, this study develops an original set of UK wealth accounts for 25 years – 1988 to 2012 – to measure UK sustainability. While doing so, this research calculates the monetary value of UK natural capital and human capital which is then added into produced capital to develop a first comprehensive wealth account for the UK. This thesis argues that both wealth accounting approaches - "top-down" and "bottom-up" - are conceptually the same. They only differ empirically because of the methodologies employed to calculate natural capital, human capital and total wealth. This thesis shows how these both approaches can be combined together to measure UK sustainability. This study concludes that since 2007 UK is not on a sustainable path. Despite a positive genuine savings, since 2007 UK wealth has a negative growth rate and wealth per capita is in decline. A positive genuine savings with a fall in wealth per capita shows that UK savings has not been sufficient to compensate for a fall in wealth and population growth. In order to reverse the trend, either UK has to reduce its population growth or it needs to reinvest in its capital asset bases. This thesis argues that an increase in population does not always decrease per capita wealth because an increase in population driven by a skilled work force increases the value of human capital and thus total wealth. This increase in wealth could offset an increase in population keeping per capita wealth intact. Furthermore, for UK, which is not a resource rich country, investment in human capital is needed to increase the rate of wealth growth.
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Clark, Douglas. "The neo-monument : monuments of dissent and their emergence in western culture in the late 20th and early 21st century." Thesis, Bath Spa University, 2017. http://researchspace.bathspa.ac.uk/10426/.
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This research addresses contemporary art practice and the monument in the 21st Century. In doing this, the notion of the monument in this research is considered to be an art object, conceived by artist(s) to memorialise, remind, instruct, or warn the public, as in the original derivation of the word ‘monument’. The late 20th Century started to see, in part, the democratisation of the monument. Here I propose that he traditional monument has always been political and a tool of the ruling elite. However, where previously the ‘Establishment’ influence was absolute, in recent times, some artists have sought creative space to place more controversial work in the public arena. Released from the restraints of authority, new monuments have been created that question the vicissitudes of our existence and it is this field of artistic practice that is the central issue in this research. Unlike monuments of the past, although they might have sprung from an historical event, these new monuments are less about memorial and more about the present. Often they ask demanding questions of our culture, our governments and of us, the people. Significantly, they are ‘monuments of dissent’ and because of their rejection of the status quo, it is proposed here that they should be termed ‘Neo-Monuments’. Whereas traditional monuments were normally to be found on the street, in the square or park, these spaces have now been augmented by an increasing number of publicly accessed galleries. We will see that there is now a more open-minded approach to critical, questioning even provocative monuments, and that we are seeing them both in galleries and in the public milieu. It will be argued that they are however still viable forms of communication. This research is informed by the creation, exploration, experimentation and analysis of my own art practice. Conclusions gained from this practice will be used to inform this research. Additionally, case studies of other artists engaged with the form and development of the neo-monument will be analysed to understand their rationale, and from this to determine what sets their work apart and allows them to be regarded as a neo-monument. This research will reflect on art-monuments created from the last quarter of the 20th Century until the present.
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Ruffing, Jason L. "A Century of Overproduction in American Agriculture." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc700066/.
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American agriculture in the twentieth century underwent immense transformations. The triumphs in agriculture are emblematic of post-war American progress and expansion but do not accurately depict the evolution of American agriculture throughout an entire century of agricultural depression and economic failure. Some characteristics of this evolution are unprecedented efficiency in terms of output per capita, rapid industrialization and mechanization, the gradual slip of agriculture's portion of GNP, and an exodus of millions of farmers from agriculture leading to fewer and larger farms. The purpose of this thesis is to provide an environmental history and political ecology of overproduction, which has lead to constant surpluses, federal price and subsidy intervention, and environmental concerns about sustainability and food safety. This project explores the political economy of output maximization during these years, roughly from WWI through the present, studying various environmental, economic, and social effects of overproduction and output maximization. The complex eco system of modern agriculture is heavily impacted by the political and economic systems in which it is intrinsically embedded, obfuscating hopes of food and agricultural reforms on many different levels. Overproduction and surplus are central to modern agriculture and to the food that has fueled American bodies for decades. Studying overproduction, or operating at rapidly expanding levels of output maximization, will provide a unique lens through which to look at the profound impact that the previous century of technological advance and farm legislation has had on agriculture in America.
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Hickmott, Sarah. "(En) Corps Sonore : towards a feminist ethics of the 'idea' of music in recent French thought." Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:eb562d0f-e9be-40f4-b0a3-9fa6da0a3136.
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This thesis explores the way music is characterized, used, or accounted for in recent (post-1968) French thought, focusing in particular on the work of Jean-Luc Nancy, Philippe Lacoue-Labarthe, and Alain Badiou. In spite of the differences in their philosophical-theoretical positions, all of these writers invoke music - both directly and indirectly - to negotiate their relationship to ontological, political, ethical and aesthetic concerns, particularly in terms of how it relates to the (im)possibility of a subject, the condition of truth, and the role of philosophical thought itself. The thesis situates these texts in a longer genealogy of musico-philosophical interactions and also brings them into dialogue with recent musicological approaches, thus showing how an inherited idea of what music 'is' is often assumed rather than critically re-evaluated. In short, by tracing the musical-transcendental baggage of an inherited metaphysical conception of music - one which often understands music in close relation to the feminine, (sexual) excess, and the beyond of language and/or the symbolic - the thesis shows that though music is instrumentalized by progressive thinkers as a way of shifting theoretical/philosophical paradigms, it nonetheless does so in a way that has a strong sense of continuity with previous thinking on music. Secondly, the thesis highlights the way in which music in its metaphysical-ontological guise is often conceived as synonymous with Western high art classical music (which is itself constructed as absolute and transcendent, and ontologically independent of its means of (re)production or context) whilst non-literate, popular, folk and world musics - on the occasions that they are considered and not simply ignored or denigrated - are notably considered almost exclusively in terms of their social-cultural or technological contexts. Finally, the thesis demonstrates that much of this takes place through a simultaneous instrumentalization of gender as an organisational category for philosophy, and one which all too often has the consequence of sending women - along with music - to the beyond of pre-, inter-, or post-signification.
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Kharroubi, Safwat. "The foiled state : a critical assessment of western donor aid provision and state-building in Palestine in the post-Oslo period." Thesis, Swansea University, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.678553.
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Augestad, Knudsen Rita. "Moments of self-determination : the concept of 'self-determination' and the idea of freedom in 20th- and 21st century international discourse." Thesis, London School of Economics and Political Science (University of London), 2013. http://etheses.lse.ac.uk/923/.
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This thesis examines how the concept of 'self-determination' has featured in high-level international discourse at key moments in the 20th and 21st centuries. The exact language of 'self-determination' was internationalised in 1918 by Woodrow Wilson in the political context of the First World War, and in reaction to Lenin’s earlier references to the concept, which he had developed between 1903 and 1917. Subsequently, 'self-determination' has been cited in important international legal settings, as in the League of Nations’ Aaland Islands case (1920–1921), in the UN Charter (1945), during the UN discussions on General Assembly Resolution 1514 (1960) and the International Covenants on Human Rights (1966), and at the International Court of Justice proceedings on Kosovo (2008–2010). Together, these uses of 'self-determination' constitute the 'self-determination moments' of my thesis. Taking a hitherto unexplored approach to 'self-determination', this thesis builds on previous scholarship on the concept – produced primarily within the fields of international law and international relations – and examines it from the perspective of intellectual and international history. Applying the methodology of Quentin Skinner, the thesis shows that the significant international mentions of 'self-determination' have sought legitimation. Specifically, the thesis argues that the central international references to 'self-determination' over the past hundred years have sought legitimation by invoking two different ideas of freedom: a 'radical' idea of freedom, and a 'liberal conservative' one. Based on a wide-ranging analysis of archival materials, published primary sources, original interviews, and relevant secondary works, the thesis finds that the liberal-conservative idea of freedom has dominated the international appearances of 'self-determination' at the selected 'self-determination moments'. However, it is the radical idea of freedom that has repeatedly triggered the re-emergence of ‘self- determination’ as a meaningful concept in international discourse, and kept its potency alive.
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Schaper, Benjamin. "Poetik und Politik der Lesbarkeit in der deutschen literatur." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:8e1e8c05-c0f9-4dda-ad9b-b208ded2432b.
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In 1990, German literary critics agreed that the end of the Cold War should mark the end of politically committed post-war literature. The political caesura prompted a debate about the future of German literature during which the concept of 'readability' evolved as a contested issue. It was championed in particular by the author Matthias Politycki and the publishers Uwe Wittstock and Martin Hielscher. Ever since, 'readability' has remained a benchmark for authors and critics alike in the battle for value and success. The thesis will establish a theoretical basis for 'readability' that draws on narratology, the Aristotelian concept of 'mimesis', classical rhetoric, and the poetics of contemporary authors who explicitly engage with 'readability'. Discussion will centre on the novel since this genre has been the focus of debate ever since the novel gained prominence with the rise of the reading middle classes in the eighteenth century. An analysis of the historical role of 'readability' will demonstrate that the debate as it manifested itself around 1990 developed out of a specifically German tradition, in which authors and critics alike viewed it as potentially in conflict with true art. In 1990, German literary critics agreed that the end of the Cold War should mark the end of politically committed post-war literature. The political caesura prompted a debate about the future of German literature during which the concept of 'readability' evolved as a contested issue. It was championed in particular by the author Matthias Politycki and the publishers Uwe Wittstock and Martin Hielscher. Ever since, 'readability' has remained a benchmark for authors and critics alike in the battle for value and success. The thesis will establish a theoretical basis for 'readability' that draws on narratology, the Aristotelian concept of 'mimesis', classical rhetoric, and the poetics of contemporary authors who explicitly engage with 'readability'. Discussion will centre on the novel since this genre has been the focus of debate ever since the novel gained prominence with the rise of the reading middle classes in the eighteenth century. An analysis of the historical role of 'readability' will demonstrate that the debate as it manifested itself around 1990 developed out of a specifically German tradition, in which authors and critics alike viewed it as potentially in conflict with true art. The thesis will demonstrate that 'readability' is key to understanding the debates about German literature in an era of globalisation when readers are more attracted to works by foreign authors than to works by German ones. It will examine how writers such as Helmut Krausser, Daniel Kehlmann, and Thomas Glavinic have exploited the opportunities of the changed parameters by writing and promoting 'readable' books. It will further explore to what extent 'readability' has opened up new avenues even for authors like Felicitas Hoppe and Ulrike Draesner, who distrust the quest for 'readability'. The thesis will conclude with a reflection on the prospects for 'readability' in the current literary landscape in Germany.
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Grant, Katie. "changes in glacier extent since the little ice age and links to 20th/21st century climatic variability on Noyaya Zemlya, Russian arctic." Thesis, University of Reading, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.529950.
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Gama, Lindokuhle Bagezile. "Black People in Post-Colonial South Africa A Genealogical Analysis of Dominant and Plural Narratives of Black People in 20th-21st century." Diss., University of Pretoria, 2019. http://hdl.handle.net/2263/72856.
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This disquisition is an inter-disciplinary investigation into some dominant hegemonic narratives of black people in 20th-21st century South Africa as they are found in public discourses. I contend that there exist hegemonic narratives of black people which can be seen within the African Nationalism debates in South Africa. While not all hegemonic narratives of black people are African nationalist discourses, I illustrate how nationalism is a proverbial vehicle for the dissemination of a ‘truth’ and or a ‘unitary’ understanding of black people in South Africa over others. To be sure, the African Nationalism debates evinces the power/-knowledge dynamics imbued in the meaning, functions, and performances of black people This is with the aim to foreground the less dominant everyday lived experiences and narratives of black people. I do this with the use of the genealogical method of analysis so as to suspend historiographies and/or approaches to historiography that essentializes and advance absolute origins surrounding discourses on black people in South Africa. I aim to throw the fault lines of these dominant narratives into relief by way of a genealogical reading of various different and alternative historiographies, which include the works of black authors, black philosophers and black thinkers. Certainly, a genealogical analysis will aid me in foregrounding the plurality of Blackness. Conversely, my study aims to consider the degree to which these singular lived experiences, those that counter dominant hegemonic narratives, reflect sectors of black society rather than just individual particularities so as to further understand the post-colonial black condition.<br>Mini Dissertation (MA)--University of Pretoria, 2019.<br>Andrew Mellon Foundation<br>Philosophy<br>MA Social Science (African European Cultural Relations)<br>Unrestricted
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Willi, Victor Jonathan Amadeus. "The fourth ordeal : a history of the Society of the Muslim Brothers in Egypt, 1973-2013." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:b54c3cfe-14af-4bf7-8e73-fc27e6ab4ce7.
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This thesis is an internal organisational history of the Society of the Muslim Brothers in Egypt between 1973 and 2013. Based on memoires of Brotherhood leaders, as well as oral history interviews conducted in 2012 and 2013 with different rank-and-file members and dissidents, the thesis situates the life trajectories and personal experiences of these individuals within a larger national and international context. The purpose is to provide a historical account that is able to explain the reasons for the Brotherhood's cataclysmic failure of the summer of 2013. In accounting for the fall, my key argument centres on the internal rivalry between two political factions representing different "schools of thought", or visions, about the kind of organisation the Brotherhood was supposed to be. Representatives of the respective coalitions competed against each other over hegemony and organisational resources, basing their claims on contrasting intellectual traditions, political cultures and organisational values that had co-existed, sometimes uncomfortably, within the ranks of the Society since the times of Hasan al-Banna. The adherents of the "Qutbist" school of thought put forward the idea of a closed, pyramid-shaped and exclusive organisation, while those closer to 'Omar al-Tilmisani's model aspired to a reformed Society that was open to outsiders, and where internal progression was based on meritocracy, transparency and some form of democracy. I argue that it is through the holistic analysis of the complex dynamics between internal organisational politics, the use of ideology, and the personal experiences of key organisational members, that we are best able to grasp the Brotherhood's failed experience in governance in 2013.
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Handa, Atsuko. "Bridging Sōseki and Murakami : the modernity of Japan through modernist and postmodern prose." Monash University, School of Languages, Cultures and Linguistics, 2004. http://arrow.monash.edu.au/hdl/1959.1/5230.
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Zaharchenko, Tanya. "Where the currents meet : frontiers of memory in the post-Soviet fiction of East Ukraine." Thesis, University of Cambridge, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708117.
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Turner, Robert Charles Grey. "Counterfeit culture : truth and authenticity in the American prose epic since 1960." Thesis, University of Cambridge, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709455.
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Matters, Emily Helene. "AENEAS IN THE ANTIPODES The teaching of Virgil in New South Wales schools from 1900 to the start of the 21st century." University of Sydney. Classics and Ancient History, 2005. http://hdl.handle.net/2123/716.
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Aeneas in the Antipodes offers an Australian perspective on the teaching of Virgil�s poetry in the secondary school. The study examines practices in the State of New South Wales from 1900 to the early years of the twenty-first century. The changing role of Latin in the curriculum is traced through a historical account showing the factors which caused a decline in the status and popularity of the subject from the beginning of the century to the 1970s. This decline, not confined to Australia, stimulated the introduction of new teaching methods with different emphases which were, to some extent, successful in preserving Latin from extinction in schools. Against this background of change, Virgil remained the Latin author most frequently studied in the final year of school. Because this poetry was so consistently prescribed for public examinations, a detailed investigation is made of the questions set and of the examiners� comments on candidates� performance, as evidence of changes in expectations and hence, in teaching methods. The influence of trends in Virgilian scholarship is assessed by means of a review of all the officially recommended commentaries and secondary works. The growth of literary criticism from the 1960s is shown to have had a marked effect on syllabuses and examinations, and consequently on the approach taken in the classroom. The role of local professional organizations in supporting the teaching of Virgil has been documented, showing how the disappearance of official support for Latin teaching was to some extent counterbalanced by an increase in voluntary effort. The resources and methods used to introduce Virgil to comparative beginners are classified and reviewed. An assessment is also offered of approaches made to teaching Virgil in English at both junior and senior secondary levels. The final chapter reviews the changes brought about since 2000. Current teaching practices are documented through classroom observations and teacher surveys, substantiating the impression that while most students at the beginning of the twenty-first century are less prepared than their predecessors to translate Virgil independently, they are expected to attempt a far more sophisticated analysis of the literary features Note: For appendix 3-10 please see hardcopy edition.
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Rydzewska, Joanna. "East meets West meets Auteur : transnational encounters with imagined identities in British and Polish cinema." Thesis, Swansea University, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.678569.
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Dolgoy, Rebecca Clare. "Bullet hole constellations : Berlin's Neues Museum : a case study in cultural memory." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:b5781e8a-8b8e-413b-8ea1-c00ee68be469.
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This dissertation explores a shift in cultural memory theory and praxis that loosely coincides with the turn of the century. With Berlin as its focus, I trace this shift through three of its museum institutions (the Jewish Museum, the Masterplan Museumsinsel, and the Neues Museum). I specifically look at three aspects: their museum practices (how history is expressed), the main narratives embodied in their spaces (what history is being expressed), and the critical contexts in which they are embedded (what do these practices and narratives mean in the wider cultural context). Throughout, I develop the idea of a cultural memory that emphasizes how we use the past, or what we do with our cultural inheritance. This runs counter to the cultural memory that sees remembering as a categorical imperative ('never forget' or 'lest we forget'), a memory that is clearly embodied in Libeskind's Jewish Museum and is typified in critical work that either prioritizes trauma (Caruth, LaCapra) or stresses cultivating specific empathetic responses (Landsberg's 'prosthetic memory,' Hirsch's 'postmemory'). My cultural memory hypothesis fits within the general German field of Cultural Memory Studies, as typified in the work of Jan and Aleida Assmann. The outcome of thinking about memory as use, appropriation, and transformation of cultural inheritance is the characterization of the past as an analytical tool. This notion sits well amidst current work by Dekel and Arnold-de Simine who read museum/memorial spaces as facilitators of civic engagement. This new cultural memory can be found embodied in the architectural and curatorial framing of the Neues Museum, in its phenomenological approach to history, its narrative of fragmentary wholeness, as well as in its placing of the twentieth century in long narratives of historical continuity. These characteristics allow me to read the Neues Museum as an example of contemporary thinking about modernism, and thus as part of a discourse that looks to restore and transform crucial mythological tendencies.
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García-Precedo, Juan Manuel. "Intrahistory, regeneration and national identity, past and present : the reflection of Nietzschean Unamuno on Arturo Pérez-Reverte and Luisa Castro." Thesis, University of Exeter, 2012. http://hdl.handle.net/10871/13792.
Full textAbstract:
This thesis analyzes the relevance of Miguel de Unamuno’s idea of Spain and its Nietzschean influence in two contemporary authors, Arturo Pérez-Reverte and Luisa Castro. My work contributes to a debate that is ever present in literature and politics: what is Spain and what defines Spanish identity. This debate has continued throughout the democratic period and reveals that Spain is still a controversial idea. The Constitution of 1978 might have shaped national identity but Spanish sociopolitical evolution has indeed questioned the idea of Spain emerged in the Transition. From my point of view, Arturo Pérez-Reverte and Luisa Castro evoke Unamuno’s ideological inheritance to offer a solution of what has been branded as the age-old problem of Spain. By the end of the nineteenth century, Unamuno introduced his theory of intrahistory in order to contravene the model of nation promoted by the political class during the Restoration. The author considered that this model imposed on society a metaphysical idealization, protected by reason, which distorted its actual national identity. Currently, the works of Arturo Pérez-Reverte and Luisa Castro reflect Unamunian intrahistory thus putting an end to this idealization. As seen in the chapters of this thesis, the combined analysis of the works by Pérez-Reverte and Castro reveals the implicit survival in our days of Nietzsche’s influence in Unamuno’s intrahistory. In this sense, they highlight the crucial role of individual subjectivity, work and interaction with their immediate environment, in the characterization of Spanish national identity. In so doing, their works reflect Unamuno’s implementation of Nietzschean theories on metaphysics, the Greek tragedy, the eternal recurrence and the overman. Pérez-Reverte and Castro’s works suggest that the solution to the problem of identity in Spain is to be found in Nietzsche’s influence on Unamuno’s intrahistory.
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Acker, Shaun Albert. "Writing the aerial dancing body a preliminary choreological investigation of the aesthetics and kinetics of the aerial dancing body." Thesis, Rhodes University, 2010. http://hdl.handle.net/10962/d1002361.
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This mini-thesis investigates some of the nineteenth century socio-cultural ideals that have structured a connection between virtuosic aerial skill and bodily aesthetics. It views the emergence of a style of aerial kineticism that is structured from the gender ideologies of the period. It investigates the continual recurrence of this nineteenth century style amongst contemporary aerial dance works and outlines the possible frictions between this Victorian style of kineticism and contemporary aerial explorations. From this observation, a possible catalyst may be observed with which to relocate and inspire a study of aerial kinetics sans the nineteenth century aesthetic component. This kinesiological catalyst may be viewed in conjunction with the theories of ground-based kinetic theorist, Rudolph Laban’s choreutic study of the body in space. Thus, it may be possible to suggest and introduce a possible practical dance scholarship for aerial dance. This mini-thesis includes an introductory choreological investigation that draws on and integrates the disciplines of kinesiology; choreutic theory; existing aerial kinetic technique; musicology; and the physical sciences.
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Wilson, Rachelle. "Historical Memory and Ethics in Spanish Narrative." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062813/.
Full textAbstract:
This study traces the current status of Spanish ethics as seen through the optics of historical memory. Starting from the Spanish Civil War in 1936, the thesis relates contemporary themes to their proposed origin throughout three additional distinctive eras of the 20th and 21st century in Spain: 1982-1996 (Socialist Spain), 1997-2010 (Post-modern Spain), and 2011-present (current Spain). Spanish narratives ranging from Los Abel by Matute, La magnitud de la tragedia by Monzó, "Fidelidad" of Ha dejado de llover by Barba and Las fosas de Franco by Silva are contextualized through their ethical architecture, in accordance with their socio-political context, and relationship to past historical traumas. This work proposes that the themes of anticlericalism, the pursuit of social equality, anti bureaucracy, and political distrust are trends culminating from Kohlberg's third level of morality. The thesis aims to be an exposition and legitimization of different ethical schemas that might otherwise be polarized as wrong and inferior by others.
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Von, Veh Karen Elaine. "Transgressive Christian iconography in post-apartheid South African art." Thesis, Rhodes University, 2012. http://hdl.handle.net/10962/d1002220.
Full textAbstract:
In this study I propose that transgressive interpretations of Christian iconography provide a valuable strategy for contemporary artists to engage with perceived social inequalities in postapartheid South Africa. Working in light of Michel Foucault’s idea of an “ontology of the present”, I investigate the ways in which religious iconography has been implicated in the regulation of society. Parodic reworking of Christian imagery in the selected examples is investigated as a strategy to expose these controls and offer a critique of mechanisms which produce normative ‘truths’. I also consider how such imagery has been received and the factors accounting for that reception. The study is contextualized by a brief, literary based, historical overview of Christian religious imagery to explain the strength of feeling evinced by religious images. This includes a review of the conflation of religion and state control of the masses, an analysis of the sovereign controls and disciplinary powers that they wield, and an explication of their illustration in religious iconography. I also identify reasons why such imagery may have seemed compelling to artists working in a post-apartheid context. By locating recent works in terms of those made elsewhere or South African examples prior to the period that is my focus, the works discussed are explored in terms of broader orientations in post-apartheid South African art. Artworks that respond to specific Christian iconography are discussed, including Adam and Eve, The Virgin Mary, Christ, and various saints and sinners. The selected artists whose works form the focus of this study are Diane Victor, Christine Dixie, Majak Bredell, Tracey Rose, Wim Botha, Conrad Botes, Johannes Phokela and Lawrence Lemaoana. Through transgressive depictions of Christian icons these artists address current inequalities in society. The content of their works analysed here includes (among others): the construction of both female and male identities; sexual roles, social roles, and racial identity; the social expectations of contemporary motherhood; repressive role models; Afrikaner heritage; political and social change and its effects; colonial power; sacrifice; murder, rape, and violence in South Africa; abuses of power by role models and politicians; rugby; heroism; and patricide. Christian iconography is a useful communicative tool because it has permeated many cultures over centuries, and the meanings it carries are thus accessible to large numbers of people. Religious imagery is often held sacred or is regarded with a degree of reverence, thus ensuring an emotive response when iconoclasm or transgression of any sort is identified. This study argues that by parodying sacred imagery these artists are able to disturb complacent viewing and encourage viewers to engage critically with some of its underlying implications.