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Dissertations / Theses on the topic 'Contrapunto'
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Montaldo, Acosta Ilmar Piero. "Contrapunto: Música y literatura en Aquí está la música." Master's thesis, Universidad Nacional Mayor de San Marcos, 2019. https://hdl.handle.net/20.500.12672/10647.
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Plasma la idea de elaborar un libro de cuentos, donde todos los protagonistas estén ligados a la música. Temáticamente el libro de cuentos titulado Aquí está la música; se agrupa en torno a la música, donde los personajes están envueltos de una u otra manera en este universo, donde lo musical forma parte de sus historias. Se encuentran en el libro tres elementos claves como son los personajes que están ligados a la música y las historias están situadas en Perú, y que los instrumentos musicales utilizados no sólo es la guitarra sino también el piano, el violín, el violonchuelo, la armónica, el charango, etc. El siguiente trabajo explica y reflexiona sobre el libro en tres aspectos; lo intertextual, lo paratextual y lo interactivo; además de identificar los rasgos de los personajes-músicos creados, para así reflexionar sobre su construcción.<br>Tesis
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Macías, Peraza Rigoberto. "El lenguaje contrapuntístico de Francisco de Peñalosa y Cristóbal de Morales a través de sus motetes." Doctoral thesis, Universitat Autònoma de Barcelona, 2013. http://hdl.handle.net/10803/116221.
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La presente Tesis se hizo con la intención de realizar un estudio del lenguaje contrapuntístico de la música del pasado desde la doble visión de la teoría y la práctica, un enfoque que hasta la fecha no ha sido muy empleado. Para lograr esta tarea ha sido necesario delimitar nuestro objeto de estudio en un contexto espacial y temporal muy concreto. Por ello hemos optado por realizar una aproximación al análisis del repertorio musical de los motetes de Francisco de Peñalosa y Cristóbal de Morales, dos compositores representativos del desarrollo musical del Renacimiento hispano desde el último tercio del siglo XV hasta la primera mitad del XVI. Para abordar el análisis hemos recurrido a los tratadistas españoles de la época que escribieron sobre teoría del contrapunto y la posterior recepción de todos ellos por parte de Pedro Cerone. Así, los objetivos de la Tesis fueron hacer, primeramente, un estudio de la teoría del contrapunto del contexto musical hispano del Renacimiento, para así determinar una metodología de análisis histórico; después aplicar esta metodología al análisis del repertorio de motetes de Peñalosa y Morales con la finalidad de definir su lenguaje contrapuntístico; y finalmente, determinar la relación existente entre la teoría histórica del contrapunto y la práctica musical.<br>This thesis was made with the intention of making a study of the contrapuntal language of music of the past from the double vision of theory and practice, an approach that to date has not been widely used. To accomplish this task it was necessary to define our object of study in a context very specific spatial and temporal. We have therefore chosen to make an approach to the analysis of the musical repertoire of motets by Francisco de Peñalosa and Cristóbal de Morales, two representative composers of Spanish Renaissance musical development from the last third of the 15th century to the first half of the 16th. For our analysis we used the Spanish treatises of the time who wrote about the theory of counterpoint as well as the subsequent reception of them all by Pedro Cerone. Thus, the objectives of this thesis were done, first, a study of the theory of Spanish Renaissance counterpoint to determine a methodology of historical analysis, then apply this methodology to the analysis of the repertoire of motets by Peñalosa and Morales, and finally determine the relationship between historical theory of counterpoint and musical practice.
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Montero, Miranda Claudia. "Contrapunto: mujeres de clase media a través de revistas: Chile y Argentina, 1920 – 1939." Tesis, Universidad de Chile, 2006. http://repositorio.uchile.cl/handle/2250/108934.
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En 1939 Leonor Llach escribe que “no hay fuerza como la del papel impreso”. Con esa misma idea en mente, sesenta años después, me enfrento a una serie de revistas escritas por mujeres durante la primera mitad del siglo XX. Pero no lo hago para escribir una historia política del feminismo de Argentina y Chile; tampoco para hacer historia social de las mujeres. Más bien, lo que me motiva es relevar las producciones culturales de mujeres feministas desde la perspectiva de la historia cultural e indagar, desde su escritura, la práctica política que desarrollaron a través de la producción de discursos feministas. En este sentido, no pretendo buscar “orígenes” de ciertos acontecimientos, sino dar cuenta de la heterogeneidad de un proceso que se inscribe dentro de una realidad cambiante y que consideró formas de sociabilidad, soportes de comunicación y modos de educación, dentro de una dinámica propia .
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Taghizadeh, Popp Jamshid. "Contrapunto sobre la relación entre el derecho y los valores desde la prespectiva de Jorge Millas." Tesis, Universidad de Chile, 2004. http://www.repositorio.uchile.cl/handle/2250/107425.
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Memoria (licenciado en ciencias jurídicas y sociales)<br>Esta investigación la consideramos importante, ya que generalmente las memorias se refieren al pensamiento de autores extranjeros o de chilenos que siguen doctrinas foráneas, olvidándose que existen en nuestro medio personajes que han forjado sus ideas, sin ser meros imitadores de modelos extranjeros, como es el caso, en filosofía del derecho, del intelectual que inspira esta memoria. Se ha dicho que Jorge Millas era kelseniano, lo cual es cierto, pero se olvida que el pensamiento del filósofo vienés es sólo su punto de partida para ir más allá y descubrir la íntima relación que existe entre el derecho y los valores; sin abandonar una perspectiva positivista, mucho antes de que diversos filósofos del derecho de fama mundial llegaran a la misma conclusión.
Lo anterior hace más interesante este estudio, ya que Millas llegó a la conclusión de que existe una íntima relación entre el derecho y los valores, partiendo, justamente, no desde el iusnaturalismo tradicional, sino que desde una perspectiva positivista; camino que se llevó a cabo tiempo después en Europa y Estados Unidos, lo cual hace de don Jorge Millas un precursor del reconocimiento que se le ha otorgado a la importancia y relación de los valores con el derecho por parte de pensadores positivistas modernos, tal como Herbert Hart y sin perjuicio de considerar las nuevas corrientes que han hecho resurgir este tema, tales como el constitucionalismo de principios, o el pensamiento de neoiusnaturalistas como Ronald Dworkin o apositivistas como Robert Alexy, quienes no sólo reconocen su relación, sino que han demostrado la necesaria vinculación y función que cumplen en todos los ordenamientos jurídicos.
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Galán, Gómez Santiago. "La teoría de canto de órgano y contrapunto en el renacimiento español: La sumula de canto de organo de Domingo Marcos Durán como modelo." Doctoral thesis, Universitat Autònoma de Barcelona, 2014. http://hdl.handle.net/10803/284900.
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La presente Tesis investiga los fundamentos de la teoría sobre polifonía y contrapunto en España a finales del siglo XV y principios del XVI. Partiendo de la edición crítica del primer tratado impreso en España sobre polifonía, escrito por Domingo Marcos Durán y titulado Sumula de canto de organo, contrapunto y composicion vocal y instrumental, pratica y speculativa, edición crítica realizada por primera vez, nuestro trabajo ha establecido el contexto en el que se desarrolló esta teoría, en relación a los precedentes históricos tanto españoles como europeos, y en relación al contexto humanístico del momento. Se han determinado en primer lugar las relaciones entre los teóricos españoles de finales del siglo XV y sus contemporáneos del resto del continente, así como el papel que la enseñanza universitaria de la música tuvo en toda Europa, pero especialmente en España y en concreto en Salamanca, foco cultural que origina la principal producción musical del momento, como el mismo tratado objeto de esta Tesis.
El estudio del contenido mismo del tratado de Marcos Durán ha permitido establecer con precisión el tipo de conocimientos que se consideraban necesarios para la formación del cantante en aquellos años, tanto en lo que respecta a la lectura rítmica, en la que se ha podido establecer peculiaridades propias en cuanto a la notación musical, como en lo que se refiere a la consecución de diversas voces consonantes a partir de un canto dado. Esta técnica, tal como se deduce de las enseñanzas de la Sumula, conducía especialmente a la improvisación de voces consonantes, lo cual era posible gracias al uso de herramientas de aprendizaje en forma de tablas de intervalos y de solmisación. Este mecanismo de aprendizaje de lo que se denominaba contrapunto se ha podido determinar con precisión en este estudio, y además se ha podido profundizar en el uso de las notas alteradas o conjuntas en este contexto de contrapunto improvisado, un aspecto particular de la tratadística española como se demuestra en el estudio de este tratado de Domingo Marcos. También se ha podido estudiar el compendio de ejercicios vocales que cierra el tratado, determinando su importancia y originalidad en el contexto de la época. La Tesis incorpora la edición crítica completa de la Sumula de Domingo Marcos, con la transcripción completa de todos los ejemplos musicales a notación moderna.
Como complemento y en forma de apéndice, en la Tesis se incluye la edición provisional de un nuevo tratado teórico español del siglo XV, relacionado con la Universidad de Salamanca, escrito por Pedro de Osma y que se consideraba hasta ahora perdido. En el curso de nuestra investigación hemos podido localizar el tratado e incorporarlo al estudio, pues se relaciona íntimamente con el contexto de teoría musical en Salamanca en la segunda mitad del siglo XV y con el autor que ha sido objeto de nuestra Tesis, de quien constituye un precedente directo.<br>This thesis investigates the fundamentals of the theory of polyphony and counterpoint in Spain in the late fifteenth and early sixteenth century. Based on the critical edition of the first printed treatise on polyphony in Spain, written by Domingo Marcos Duran and entitled Sumula de canto de organo, contrapunto y composicion vocal y instrumental, pratica y speculativa, presented here edited by the first time, our work has established the context in which this theory was developed in relation to historical precedents both in Spain and the rest of Europe, and in relation to the humanistic context of the moment. In the first place we determined the relationship between the Spanish theorists of the late fifteenth century and his contemporaries in the rest of the continent, and the role that the teaching of music had in the universities throughout Europe, but especially in Spain and particularly in Salamanca, the cultural focus which originated the main musical production of the moment, as the same treatise object of this thesis.
The study of the content of the treatise of Marcos Duran has allowed to establish precisely the type of knowledge that was deemed necessary for the formation of the singer in those years, both in regard to rhythmic reading, which has been established in terms of characteristic notational particularities, as in regard to the achievement of various consonants voices over a given chant. This technique, as is apparent from the teachings of the Sumula, led especially to improvised consonant voices, which was made possible by the use of specific learning tools in the form of tables of intervals and of solmization syllables. This particular mechanism of learning of what was then called counterpoint, has been determined accurately in this study, and also we have been able to deepen our knowledge of the use of the altered notes or conjunctae in the context of improvised counterpoint, a particular aspect of the Spanish treatises as demonstrated by this study of the Domingo Marcos treatise. We have also been able to study the compendium of vocal exercises that closes the treatise, determining their importance and originality in the context of the time. The thesis incorporates the complete critical edition of the Sumula by Domingo Marcos, with the full transcript of all the music examples in modern notation.
Completing and as an appendix in the thesis we incorporate the provisional edition of a new found Spanish theoretical treatise of the fifteenth century, associated with the University of Salamanca, written by Pedro de Osma that was considered lost until now. In the course of our research we have been able to locate the treatise and incorporate it into our study, because it is closely related to the context of music theory in Salamanca in the second half of the fifteenth century, and to the author who has been the subject of our thesis, for who constitutes direct precedent.
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Jarzębska, Alicja. "Krzysztof Penderecki's 'Ars contrapuncti." Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70767.
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Beckett, Christine Alyn. "Attentional direction in two-part contrapuntal dictation." Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=41102.
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This study explored undergraduate music majors' strategies in two-part dictation. Sixty volunteers answered a questionnaire on their musical background, learning styles, and dictation methods. They then took part in three dictation sessions. Two sessions directed attention to rhythm first or pitch first, and one session was a non-directed control dictation. Treatments were counterbalanced across 6 groups (n = 10). Dependent measures were pitch and rhythm accuracy scores on dictations. Analysis of variance showed no order effects. A repeated measures MANOVA (pitch and rhythm by 3 conditions) showed a significant effect for condition ($p < .0001$). Higher rhythm accuracy resulted from the rhythm-first condition, compared to the non-directed ($p < .05$) and pitch-first ($p < .0001$) conditions. Pitch accuracy was not affected by condition. Accuracy was unrelated to any of the covariates examined (instrumental information, years of theory and counterpoint study, keyboard skill, learning style and private strategy). Results suggest that in polyphonic dictation, attending to rhythm first and pitch afterwards may be an effective way of maximizing rhythmic accuracy.
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Fritsch-El, Alaoui Lalla Khadija. "Arab, Arab-American, American: Hegemonic and Contrapuntal Representations." Doctoral thesis, Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2005. http://nbn-resolving.de/urn:nbn:de:swb:14-1127973189644-22995.
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Arab, Arab-American, American: Hegemonic and Contrapuntal Representations, explores the US mainstream discourse on the Arabs in the 1990s in different cultural texts: academic, popular and media, including Hollywood. The project investigates how these representational practices participate in the reconfiguration of American public opinion vis-à-vis the Arabs. It also focuses on the ways in which the various discourses that produce or even invent the &quot;Other&quot; are undeniably linked to the local and global power relations associated with their specific locations. Inspired by Edward Said's contrapuntal methodology, Gayatri Spivak's anti-essentialist postcolonial critique, and Ella Shohat and Robert Stam's polycentric multiculturalism, the book also makes space to examine counter-narratives and Arab perspectives. Arab, Arab-American, American´s analysis of the representation of Arabs in the US dominant media and Hollywood unravels the limits of liberalism and the &quot;vestigial thinking&quot; of Eurocentrism, at the heart of which demonizing or patronizing Arabs is still the norm. The book also offers a rigourous analysis of US foreign policy in the Arab world and addresses both the reality of imperialism in relation to its enablers, and the economic terrorism of neoliberalism in its various linkages with Islamic fundamentalism.
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Mackay, James S. "Contrapuntal strategies in William Byrd's 1589 Cantiones Sacrae." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36644.
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v.1. Text (246 leaves) -- v.2. Figures and musical examples (145 leaves)<br>William Byrd's motets with Latin text are a little-known contribution to the sacred vocal repertoire. Most important among these works are three books of Cantiones Sacrae, published 1575, 1589 and 1591, respectively. The 1589 Cantiones Sacrae was Byrd's first harvest from a backlog of motets that had been accumulating since 1575. This collection lies at a midpoint between Byrd's earliest published works and his full maturity, as seen in the Masses of 1592--95.<br>This study will describe the contrapuntal strategies that characterize Byrd's 1589 Cantiones. I will examine Byrd's deeper-level tonal organization and its derivation from cantus firmus technique. I will show how Byrd uses musical material in cantus firmus values (the breve and semibreve) to shape his subject material and his cadence points, and how this shaping plays out over the course of an imitative point.<br>I will then examine Byrd's introductory gestures in the 1589 Cantiones, identifying 24 presentation types that characterize different degrees of beginning. These types contain one or more melodic subjects in a recurring temporal relationship, and form a vertical interval pattern or harmonic motive. Next, I will discuss Byrd's variation techniques by which he develops these presentation types: textural change, transposition, melodic inversion and invertible counterpoint. Byrd's presentation and variation of subject material divides an imitative point into distinct phases of tonal and contrapuntal activity, providing insight into its overall form and tonal design.<br>Finally, I will apply these analytical tools to a complete analysis of Tristitia et anxietas, from the 1589 Cantiones, thereby showing how Byrd establishes central pitches in the middleground. Through this analysis, I will summarize Byrd's contrapuntal strategies, both long-range and local, that typify his middle-period sacred vocal style, as viewed through the lens of the 1589 Cantiones Sacrae.
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MacKay, James Scott. "Contrapuntal strategies in William Byrd's 1589 "Cantiones Sacrae" (England)." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ64610.pdf.
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Politte, Paul Edwin. "Contrapunteo: The Question of "National" Theater in Turn-of-the-Century Argentina and Mexico." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11196.
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This project explores the phenomenon of National Theater in both Argentina and Mexico, specifically reevaluating the former's exemplarity and the latter's "failure." I propose that Fernando Ortiz's notion of contrapunteo is useful when thinking about the tensions found in National Theater, and I deploy this understanding to argue that, contrary to critical opinion, the "frivolous" Mexican theater scene was a key factor in the Mexican Revolution.<br>Romance Languages and Literatures
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Siddique, Soofia. "Remembering the revolt of 1857 : contrapuntal formations in Indian literature and history." Thesis, SOAS, University of London, 2012. http://eprints.soas.ac.uk/13540/.
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Cranford, Dennis R. (Dennis Ray). "Harmonic and Contrapuntal Techniques in the Late Keyboard Works of Cesar Franck." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc279361/.
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This study examines the five late keyboard works of Cesar Franck: the Prelude, Chorale, and Fugue and the Prelude. Aria, and Finale for piano, and the three organ chorales. The study focuses on harmonic and contrapuntal techniques and their interrelationships, placing the discussion in the context of an analysis of the whole piece. The primary goal is to identify the salient characteristics of each piece; a secondary goal is to identify common harmonic and contrapuntal aspects of Franck's style.
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Leal, Jonathan J. "Across Borders and Barlines: Chicana/o Literature, Jazz Improvisation, and Contrapuntal Solidarity." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc500033/.
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In this study, I examine Chicana/o writings and Black and Brown musical traditions as they entwine in urban centers and inform local visions of inclusion and models of social change. By analyzing literature and music from South Texas, Southern California, and Northeastern Michigan, I detail how the social particularities of each zone inform Chicana/o cultural productions rooted in the promise of empowerment and the possibility of cross-cultural solidarity. I assert that highlighting localized variations on these themes amplifies contrapuntal solidarities specific to each region, the relationship between different, locally conceived conceptions of Chicana/o identity, and the interplay between Brown and Black aesthetic practices in urban centers near national borders. Through literary critical and ethnomusicological frameworks, I engage the rhetorical patterns that link poetry, jazz improvisation, essays, musical playlists, and corridos to illumine a web of discourses helping to establish the idiosyncratic yet complimentary cultural mores that shape localized social imaginaries in the United States.
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McGlennan, Martin Catherine L. "A contrapuntal examination of selected works by Roger Vailland and Ousmane Sembène, 1950-1960." Thesis, University of Glasgow, 2001. http://theses.gla.ac.uk/731/.
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Martin, Catherine L. McGlennan. "A contrapuntal examination of selected works by Roger Vailland and Ousmane Sembene, 1950 - 1960." Thesis, University of Glasgow, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.366341.
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Michopoulou, Aikaterini. "Contrapuntal and keyboard idioms in the 'artificioso' collection (1641) of Giovanni Pietro Del Buono." Thesis, University of York, 2006. http://etheses.whiterose.ac.uk/9951/.
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Music in the early seventeenth century is marked by important stylistic changes. The co-existence of the art of 'strict' counterpoint and of the evolvement of the traits of the stile moderno and the experimentation resulting from Vicentino's theories constitutes a composite phenomenon in regard to music in southern Italy. Giovanni Pietro Del Buono is one of the composers who incorporates and merges all the above elements in a very artful and fascinating collection of seventy-two canons; twelve oblighi and fourteen sonatas, all based on the hymn Ave Maris Stella which is used as a cantus firmus. The concept of 'artificioso' compositions, which depicts music as an art with an important intellectual side, reflects the scientific development and supremacy of intellectual culture in the seventeenth century. Many collections containing pieces composed with particularly complex compositional techniques appeared at that time. In the present thesis a collection so far overlooked is examined and conclusions are drawn concerning Del Buono's particular compositional idiom. An analytical account of the canons and oblighi proves that they are not only products of the stile antico and of the Roman school, but have influences from both the traits of the stile moderno and the Neapolitan musical idiom. A detailed account is provided of some of the sonatas, revealing techniques related to hexachordal theory and Vicentino's theories concerning chromaticism. Also proved is the fact that the manuscript containing the resolutions of the canons and oblighi is not an original manuscript by Del Buono, as scholars have previously stated, but is, in fact, from a later date, written by an unknown scribe. In the second part of the thesis an edition is included of the whole collection in modern transcription.
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McGlennan, Martin Catherine L. "A contrapuntal examination of selected works by Roger Vailland and Ousmane Sembène, 1950-1960." Connect to e-thesis, 2001. http://theses.gla.ac.uk/731/.
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Thesis (Ph.D.) - University of Glasgow, 2001.<br>Ph.D. thesis submitted to the Faculty of Arts, Department of French Language and Literature, University of Glasgow, 2001. Includes bibliographical references. Print version also available.
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Flenady, Liam Joseph. "Composing Contrapuntal Worlds: Developing an Aesthetics and Practice of Counterpoint in the 21st Century." Thesis, Griffith University, 2017. http://hdl.handle.net/10072/365379.
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This doctoral project centres on the composition of a series of works for different instrumentations that attempt to answer the question: “What could be an artistically satisfying aesthetics and method of composing music based on rethinking counterpoint beyond its historical forms?” This dissertation functions as a supplement to these compositions. It outlines the rationale and methodology of the project, before detailing the aesthetics of counterpoint that have been developed across the course of this research project. The core chapters then chart the development of my compositional approach by showing how each work relates to four core research themes: 1. Relation of parts—how the compositional logic
structures relations between simultaneous parts; 2. Form—how the form of a work relates to its contrapuntal logic; 3. Scope of world—how individual parts are structured and to what extent the contrapuntal logic involves a homogeneous or heterogeneous aesthetic; and 4. Compositional process—how the contrapuntal logic influences the compositional process itself.
‘<br>Thesis (PhD Doctorate)<br>Doctor of Philosophy (PhD)<br>Queensland Conservatorium<br>Arts, Education and Law<br>Full Text
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Doyle, Susan. "Ambiguity and Ambiguous Identities in Caryl Phillips's Crossing the River." Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-23161.
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In the first chapter of Crossing the River (1993), Caryl Phillips depicts the dilemma of a fluid identity for the peoples of the African diaspora and their descendants by using ambiguity to simulate feelings of contradiction, liminality and a double consciousness. The first character, Nash Williams, struggles with his cultural identity as an emancipated, black slave and missionary who is repatriated in Africa to convert the pagans of Liberia. A postcolonial reading of Nash’s hybrid position illustrates his experiences of unhomeliness, of religious doubt and realisation in the shortcomings of mimicry. The second character, Amelia Williams is divided by her dual identity as the wife of a slave owning-slave liberator in antebellum America. Via a contrapuntal reading of Amelia as the antagonist of the tale, her hostile manner supports the suggestion that she sought to control the peculiar situation which was threatening her livelihood, depreciating her social status and debasing her imperialist values. Her proslavery standpoint could not, however, be established unequivocally. Nevertheless, both Amelia and Nash are unmistakably troubled by inner conflicts engendered through slavery and polarised ideologies.
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Jones, Nelson Alissa. "Job in dialogue with Edward Said : contrapuntal hermeneutics, pedagogical development, and a new approach to biblical interpretation /." St Andrews, 2009. http://hdl.handle.net/10023/790.
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Jones, Nelson Alissa D. "Job in dialogue with Edward Said : contrapuntal hermeneutics, pedagogical development, and a new approach to Biblical interpretation." Thesis, University of St Andrews, 2009. http://hdl.handle.net/10023/790.
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Biblical interpretation in the contemporary context of globalisation faces a variety of challenges. This thesis addresses the challenges presented to the discipline by the incorporation of poststructuralism, postcolonialism, and liberation theologies, particularly the problem of interpretive ghettoisation and the ethics of contemporary biblical interpretation. It proposes one possible answer to the question of how the field of biblical hermeneutics can move beyond the segregation passively encouraged by subjectivity and self-determination toward the integration of academic and vernacular hermeneutics in the interests of justice for the dominated and the reconstitution of the dominant. This thesis first presents the interpretive theories of Edward W. Said, addresses the major criticisms of his work, and proceeds to discuss the adaptation of his concept of contrapuntal reading to the interpretation of biblical texts. Second, it presents a survey of current work in the field which attempts to overcome the gap between academic and vernacular hermeneutics and critiques these approaches in light of Said’s concepts. Third, it presents the book of Job as an appropriate context in which to explore the possibilities of contrapuntal hermeneutics. This section analyses various academic and vernacular interpretations of the book of Job and places these interpretations in contrapuntal dialogue over the course of three chapters. The first of these chapters explores the possibilities for dialogue between those interpretations that view suffering as a key theme in the book and those that do not; the second chapter explores interpretations of the book of Job and the issue of suffering in various Euro-North American psychological contexts and in various African contexts of HIV/AIDS; and the third chapter juxtaposes academic and vernacular interpretations of the book of Job in various Asian contexts. Finally, the study closes with an argument for pedagogical reform based upon the ethical and interpretive insights of contrapuntal hermeneutics.
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Alvarez, Jaimes Javier. "Contrapunteo entre los discursos sobre violencia en El Tiempo, crónicas independientes, y el hip hop de la comuna 13 de Medellín, 2002-2012." Thesis, University of British Columbia, 2015. http://hdl.handle.net/2429/55663.
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Since 2002, the San Javier district known as Comuna 13 in Medellín, Colombia, has occupied a space in the imagination of Colombians as a violent and dangerous area. Comuna 13, a marginalized neighborhood in the city’s urban sprawl, had been receiving for decades the displaced victims of the violence of the armed conflict in the countryside as well as people from other towns and rural areas attracted by Medellín’s reputation as a progressive and developed city. This thesis analyzes the news articles referring to Comuna 13 in El Tiempo, a widely circulated newspaper in Colombia and a powerful tool of manufacturing public consent, articles which persistently associate the area with violence in the public perception as a result of military operations Mariscal and Orión, launched by the government to disband groups of urban guerrillas that had taken hold in this segregated area of Medellín. Key discussions of the place, including Comuna 13: Crónica de una guerra urbana (2007) by Ricardo Aricapa and Crónicas en el barrio El Salado by Albeiro Ospina dialogue with the discourse of the press, while giving voice to the residents who account for their own versions of violence. These narratives are contrasted with the political actions of youth movements through hip hop which empowers them to create their own poetics of space. The four elements of hip hop (rap, graffiti, breakdance and DJing), practiced by young residents, who have taken to the streets occupying them with sounds, movements and images, become tools in the production of space, reconfiguring in epic dimensions their own perception of Comuna 13.<br>Arts, Faculty of<br>French, Hispanic, and Italian Studies, Department of<br>Graduate
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Mushakavanhu, Tinashe. "Anarchies of the mind : a contrapuntal reading of the poetry and prose of Percy Bysshe Shelley and Dambudzo Marechera." Thesis, University of Kent, 2017. https://kar.kent.ac.uk/69686/.
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The thesis examines the historical and contemporary engagements of philosophical anarchism in the selected writings of Percy Bysshe Shelley and Dambudzo Marechera in a bid to establish an anarchic poetics that emerges between them. Both use poetry and prose to express opposition to values and relations characterising authoritarian societies while also expressing alternative social, political and personal values. The unusual pairing of two writers who wrote and lived in very different times inevitably prompts an enquiry into the various trajectories of philosophical anarchism, Romanticism and postcoloniality in world literature. The aim is to blur the stereotypical nature of writers and writings from specific regions of the world and instead argue for an interliterary and intertextuality tradition as the new critical idiom. This thesis also analyses the social functioning of poetry and fiction in social reform and political revolution. Juxtaposing the perspectives of and writings from different spatio- temporal and cultural locations is necessary to emphasise the continuity of ideas, the evolution of theory and philosophy and the historical interconnectedness of humanity as explained by Edward Said's notion of 'contrapuntal juxtaposition.' The writings of Shelley and Marechera do raise important questions about society and the state and continue to address serious political issues. As will be demonstrated, the literature of Shelley and Marechera is not static, it grows and develops with each new reading, it is continually changing, and for this reason it is essentially moving. This study contributes to the fields of literary anarchist theory, postcolonialism as well as Romantic studies by extending a conceptual bridge between the political and literary histories of ideas in which Shelley and Marechera are both ambassadors.
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Saayman, Jasper Jacobus. "The influence of J.S. Bach's contrapuntal style in the 'Well-tempered clavier' on selected piano fugues by Romantic composers." Master's thesis, University of Cape Town, 2011. http://hdl.handle.net/11427/10636.
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Includes bibliographical references (leaves 188-197).<br>This dissertation is concerned with a comparative study of the relationships between the contrapuntal language of J.S. Bach, as evinced in the Well-Tempered Clavier, and fugues for the piano by selected Romantic composers. The research involves a preliminary investigation into the decline of Bach's music in the Classical era and the resurgence thereof in the Romantic era.
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Ibarra, Ramírez Miguel. "Zampoña, lakita y sikuri en Santiago de Chile : trenzados y contrapuntos en la construcción de sonoridades andinas en y desde el espacio urbano-metropolitano." Tesis, Universidad de Chile, 2016. http://repositorio.uchile.cl/handle/2250/142551.
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Magíster en artes, mención musicología<br>El desarrollo de la investigación se centra en las dinámicas ocurridas entre una serie de sucesos y relatos generados en torno al siku, elementos que desde mediados del siglo pasado aparecen en el Santiago de Chile. En poco más de medio siglo, las distintas músicas que incorporan dicho instrumento presentan también distintas lógicas de construcción y apropiación identitaria.
Zampoña, flauta de pan, siku y lakita son denominaciones que nos dejan ver la presencia de conceptualizaciones e ideologías relacionadas a distintos usos, funciones y significados, evidenciando el desarrollo de las prácticas musicales en cuanto correlatos de un devenir sociocultural. Tanto la diversidad de términos y prácticas musicales presentes, como también sus formas de interrelación, nos dejan entrever una variedad de formas de comprender y construir la noción de un instrumento y su espacio musical, social y cultural. En nuestro tema de estudio cohabitan, se relacionan y diferencian zampoñeros, sikuris y lakitas, representando distintas sonoridades e identidades musicales dentro de un proceso inter/transcultural.
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Rodríguez, González Hortencia Naizzara. "Apuestas literarias en el Caribe colombiano: Luis Carlos López, Oscar Delgado y Jorge Artel. Poesía y periodismo en contrapunteo con el provincianismo nacional (1990-1948)." Thesis, Universidad de las Américas Puebla, 2012. http://catarina.udlap.mx/u_dl_a/tales/documentos/dctd/rodriguez_g_hn/.
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Inagi, Shinji, and Shinji Inagi. "The Use of "Computer-Assisted Contrapuntal, Intervallic, and Motion Analysis" as a Tool to Help Determine the Authorship of Organ Works in the Neumeister Collection." Diss., The University of Arizona, 2016. http://hdl.handle.net/10150/621077.
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The noted Bach scholar Christoph Wolff and two other researchers made one of the more noteworthy musicological finds of the late twentieth century in 1984, when they first rediscovered and then published MS LM 4708 of the John Herrick Music Library of Yale University. This MS, which was published under the title The Neumeister Collection, contains 82 organ chorales, many previously unknown, by members of the Bach circle. Of those 82 chorales, five pieces appear without attribution and six works have been published that were previously attributed to other composers. Wolff's edition, which lists composers for all 82 chorales, relies largely upon stylistic analysis when assigning attributions for pieces with multiple attributions. This document introduces a new analytic tool that can be used to generate information relevant to questions of authorship in the Neumeister chorales; this important tool is a computer program called MATLAB. MATLAB can compile and tabulate information about the melodic, intervallic, and contrapuntal content of musical compositions by analyzing XML computer files produced by standard music software programs such as Finale or Sibelius. This data then can be used to generate graphs that can be compared between compositions. Such analysis sheds new light upon the musical choices of composers represented in The Neumeister Collection and makes possible more informed judgments about pieces with multiple attributions.
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Bhat, Javaid Iqbal. "Romance, Freedom and Despair: Mapping the Continuities and Discontinuities in the Kashmir English Novel." Ohio University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1459246248.
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Marney, Dylan. "The Application of Musico-Rhetorical Theory to Stretto, Double, and Triple Fugue: Analyses of Contrapuncti V-XI from J.S. Bach's The Art of the Fugue, BWV 1080." Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/301477.
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Analysis of Johann Sebastian Bach's (1685-1750) keyboard works and the study of fugue are often complemented by an understanding of Baroque rhetorical theory. In the Baroque Era, the principles of oration and argument established by Greek rhetoricians were thought of as analogous to musical ideas and forms. Notable Baroque theorists Joachim Burmeister (c. 1566-1629) and Johann Mattheson (1681-1764) related the fugal process to an active and elaborate discourse. They connected the basic parts of rhetorical disposition to fugue in an attempt to define and clarify its skeletal framework. While the concept of musico-rhetorical disposition schemes seems to be an attractive design for many Baroque theorists, it is difficult to apply such an analysis to stretto and double/triple fugues. This type of analysis sectionalizes the fugue in restrictive ways, linking particular musical techniques to different areas as would divide an oration. This document suggests that specific rhetorical figures do not need to be seen as fitting pre-set standard areas (e.g., propositio, confutatio, conclusio), but can derive from the context of each particular fugue, since they serve a prevailing musical function. Bach's stretto and double/triple fugues from The Art of the Fugue, BWV 1080 are particularly difficult masterpieces to comprehend, and there is little precedence for the application of rhetorical figures to fugues of these types. This document examines Contrapuncti V-XI from The Art of the Fugue, and can serve as a model for rhetorical analyses of complex fugal processes.
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Marney, Dylan. "The application of musico-rhetorical theory to stretto, double, and triple fugue| Analyses of "Contrapuncti V--XI" from J. S. Bach's "The Art of the Fugue", BWV 1080." Thesis, The University of Arizona, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3594949.
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<p> Analysis of Johann Sebastian Bach's (1685-1750) keyboard works and the study of fugue are often complemented by an understanding of Baroque rhetorical theory. In the Baroque Era, the principles of oration and argument established by Greek rhetoricians were thought of as analogous to musical ideas and forms. Notable Baroque theorists Joachim Burmeister (c. 1566-1629) and Johann Mattheson (1681-1764) related the fugal process to an active and elaborate discourse. They connected the basic parts of rhetorical disposition to fugue in an attempt to define and clarify its skeletal framework.</p><p> While the concept of musico-rhetorical <i>dispositio</i> schemes seems to be an attractive design for many Baroque theorists, it is difficult to apply such an analysis to stretto and double/triple fugues. This type of analysis sectionalizes the fugue in restrictive ways, linking particular musical techniques to different areas as would divide an oration. This document suggests that specific rhetorical figures do not need to be seen as fitting pre-set standard areas (e.g., <i>propositio, confutatio, conclusio</i>), but can derive from the context of each particular fugue, since they serve a prevailing musical function. Bach's stretto and double/triple fugues from <i> The Art of the Fugue, BWV 1080</i> are particularly difficult masterpieces to comprehend, and there is little precedence for the application of rhetorical figures to fugues of these types. This document examines <i>Contrapuncti V-XI</i> from <i>The Art of the Fugue,</i> and can serve as a model for rhetorical analyses of complex fugal processes.</p>
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Shiao, Yuang-Chiang, and 蕭淵泉. "A Contrapuntal Reading of E.M. Forster's Liberalism." Thesis, 1997. http://ndltd.ncl.edu.tw/handle/57773134340792736368.
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碩士<br>國立臺灣大學<br>外文研究所<br>85<br>This thesis aims at exploring, in a "contrapuntal" way, the problematics of E. M. Forster's discourse of liberalism. Forster's discourse of liberalism finds its clear expression in his dual and dialectical vision of Western traditional liberalism. And Forster embodies this visionof by creating in his novels the dynamic narratives and the round characters. Forster presents this vision in order to debunk the exclusive mechanism inherent in Western traditional liberalism, be it the narcissistic insularity of Englishenment's cllectivism or the secluded sublimity of Romantic individualism. Although Forster unremittingly questions the essentialist streak in Western traditional liberalism through his double vision, he himself, however, relies upon "stock notions" to study and understand other peoples and cultures, an approach that ensnares him in the dilemma of exxentialism. It is this contradction in a contrapuntal way. Simultaneously a positive and a negative reading of Forster's double vision is what I mean by a contrapuntal reading. This contrapuntal reading constitutes the bulk of my thesis. By using this reading strategy as a point of departure, I will try to expose the predicament of modern liberalism in its attempt to transcend the distinction of race, class, and culture.
This thesis contains five chapters and deals with three of Forster's novel: A Room with a view, Howards End, and A Passage to India. Chapter One surveys briefly Western traditional liberalism. Chapter Two embarks on Forster's dual and dialectical vision of this liberal tradition. Chapter Three grapples with the intrinsic contradiction in the tradition, while Chapter Four focuses on Forster's "stock notions" that drive him to the fallacy of essentialism or totality, a fallacy that impairs his liberlism. Chapter Five is Conclusion that concerns itself with the dilemma of modern liberalism and brings home to the reader its insufficiency to rearch the ideal of non-reifying ethnical harmony.
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"Contrapuntos del Apocalipsis: Poéticas de la Catástrofe en la Narrativa Argentina del Siglo XXI." Tulane University, 2019.
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archives@tulane.edu<br>Esta tesis examina una serie de narrativas de la literatura argentina del siglo XXI agrupadas en torno a la idea de catástrofe como instancia coyuntural y mecanismo textual para pensar la contemporaneidad. A partir de la figura de la catástrofe, el presente trabajo investiga cómo diferentes novelas argentinas problematizan aspectos de sus contextos de producción y articulan lecturas de la sociedad desde sus especificidades estéticas. La hipótesis general de esta investigación es que estas novelas no efectúan una narración alternativa del orden capitalista, sino que dejan ver la forma en que el mismo sistema opera a través de una instrumentalización de la catástrofe, que naturaliza las crisis y administra la realidad. En este sentido, este trabajo atiende especialmente a los procedimientos narrativos de los textos con el objeto de observar cómo los mismos desarrollan modos de percepción que permiten dar cuenta de la textura esquiva de lo contemporáneo.
La tesis se divide en tres capítulos y cada capítulo funciona como una indagación singular de la catástrofe en diálogo con una problemática específica y a partir de un determinado tipo de textualidad. El primer capítulo estudia narrativas del fin del mundo en torno a la crisis argentina de 2001 y analiza las novelas El año del desierto (2005) de Pedro Mairal y Promesas naturales (2006) de Oliverio Coelho. El segundo capítulo examina las novelas Desmonte (2015) de Gabriela Massuh y Distancia de rescate (2016) de Samanta Schweblin y se pregunta por las transformaciones del campo argentino en relación con actividades de la agroindustria como son la megaminería a cielo abierto, el monocultivo de soja transgénica y el uso de agroquímicos. Finalmente, el tercer capítulo examina narrativas argentinas de post ciencia-ficción que exploran el lado tecnológico de la catástrofe en el mundo globalizado de los últimos años. Esta “catástrofe suave” se caracteriza por el estallido de internet en todas las esferas de la actividad humana y la progresiva mercantilización de cada momento a través del procesamiento digital de datos. Las dos novelas analizadas en este capítulo son Cataratas (2015) de Hernán Vanoli y Kentukis (2018) de Samanta Schweblin.<br>1<br>Jose Fernando Salva
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Chen, Pin-Han, and 陳品含. "Contrapuntal Otherworldliness in Vladimir Nabokov''s Lolita, Speak, Memory and Pale Fire." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/18690731805197846279.
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碩士<br>國立中興大學<br>外國語文學系所<br>102<br>Abstract
A contrapuntal structure of this world and the otherworld(s) has been the main theme in Vladimir Nabokov’s works. In other words, many of Nabokov’s works are inspired from his speculation on the possibilities of the otherworld(s). The otherworld(s) or the beyond is like a counterpoint accompanying to both his scientific and literary compositions.
In this thesis, I take Lolita, Speak, Memory and Pale Fire as examples to examine the inherent otherworldliness in Nabokov’s works. On this, pattern is the key which suggests not only possible anonymous creative forces but also possible invisible dimensions to this world. Therefore, in my analysis of the three works, I direct the reader’s attention to representations of Nature, Fate and the Hereafter. To Nabokov, writing is a mimetic experience to imitate the role of the anonymous creative force beyond. Writing itself reflects not only the fictional world but also the real world. It is an investigation into the mystery of the universe. The contrapuntal structure of this world and the otherworld (s) demonstrates Nabokov’s metaphysical concern on the mystery of life and the universe. More than a magician of words, Nabokov is also a ponderer on possibilities beyond this world.
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CHIU, AN-CHI, and 邱安琪. "Robert Wilson's Late Style by Contrapuntal Reading:Taking 1433 - The Grand Voyage as an Example." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/zatbzz.
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碩士<br>國立臺北藝術大學<br>戲劇學系碩(博)士班<br>107<br>1433-The Grand Voyage uses Zheng He's imagination as a cultural carrier. Robert Wilson uses a highly personal signature style to deconstruct the dialectical relationship between history and power. The marginality of his theatre works can be linked to the performing art of Noh .The ritual and intermediary of 1433-The Grand Voyage , revealing the state of existence of Asian society. The aesthetics of Noh ,that Wilson often use in his work ,is more than a cultural collage. In contrast to the script of Guo Bao-kun, The descendants of Zheng He, it demonstrating the self-disintegration of contemporary Asian society. 1433-The Grand Voyage , as a way of Wilson’s contemporary Asian theater practice , it re-excavating the special context of Asian culture due to it distinctive geography , shaping the subjectivity of Asian theater through a Western vision. Tang Mei-yun's performance enriched the diversity of cross-sectoral cooperation. Liu Ruo-yu's original script , together with Wilson's style, interweaving with personal mood and poetic dreams fits the inner core of contemporary Asian audiences. The thesis intends to reproduce its creative intentions and cultural attitudes. The unusual imagery of the works of 1433 - The Grand Voyage add a strong humanistic touch to Wilson's late style.
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Fritsch-, el-Alaoui Lalla Khadija [Verfasser]. "Arab, Arab-American, American: hegemonic and contrapuntal representations / vorgelegt von: Lalla Khadija Fritsch-El Alaoui." 2005. http://d-nb.info/976925583/34.
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Pei-Wen, Kao. "The Integration between Colonizer and Colonized: A Contrapuntal Reading of Joseph Conrad's Heart of Darkness." 2005. http://www.cetd.com.tw/ec/thesisdetail.aspx?etdun=U0001-0201200621353900.
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Baldischwieler, Thomas [Verfasser]. "Antonio de Nebrija, Las introduciones latinas contrapuesto el romance al latin (1486) / vorgelegt von Thomas Baldischwieler." 2004. http://d-nb.info/978538285/34.
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Kao, Pei-Wen, and 高珮文. "The Integration between Colonizer and Colonized: A Contrapuntal Reading of Joseph Conrad''s Heart of Darkness." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/76453756750297826455.
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碩士<br>國立臺灣大學<br>外國語文學研究所<br>94<br>Abstract
My thesis is a rereading of Joseph Conrad’s Heart of Darkness based on the dialectic model of contrapuntal reading proposed by Edward Said. In the process of contrapuntal reading, the reader is expected to deal with the canonical texts involved with colonial issues from the different perspectives of the colonizers and colonized. Accordingly, in my rereading of the novella, I shall proceed from the dominant perspective of the colonizer to its antithesis in the marginalized perspective of the resistant colonized figure, and finally to a synthesis that attempts to integrate their perspectives. My central argument is to demonstrate how Marlow’s dominant narrative of his colonial experience discloses the duplicity and inequity of European colonization in Central Africa (thesis) and how Marlow’s native helmsman displays his resistance to colonial rule and thus transforms the unequal power relations of colonialism (antithesis). Finally I shall concentrate on the racial integration and mutual recognition between the colonizers and colonized through their contesting yet intertwined experiences of colonialism (synthesis).
On the whole, I want to convey two agendas in my thesis – human agency and interracial brotherhood. The affirmation of human agency to confront the adversity of external situations is displayed by the three figures in the novella – Marlow, the native helmsman, and Kurtz – with their development into mature humanity through the harrowing experiences of colonial enterprise. The prospects of brotherhood are realized by the integration between Marlow and his native crews and between Kurtz and his native disciples. The racial integration between the colonizers and colonized must be based on their mutual acceptance of racial and cultural differences and their recognition of the common humanity between Africans and Europeans. With their mutual recognition and reciprocal services, then it is possible to attain the status of racial harmony in the colonial society.
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Calello, Maria Cecilia, and 柯美詩. "On Costa Rica's Diplomatic Shift: A Contrapuntal Reading and Discourse Analysis of Central American Online Newspapers." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/30756053062040745403.
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碩士<br>中國文化大學<br>新聞學系<br>101<br>The present Master Thesis extensively examines news texts by Central American online newspapers related to the Costa Rica’s diplomatic alliance switch from Taipei to Beijing. The diplomatic shift of Costa Rica (June 2007), with a prior one-year secret round of talks between San José and Beijing, was disclosed as result of an appeal at the Constitutional Chamber of the Supreme Court by the newspaper “La Nación” (La Tribuna, 2011, March 4). The shift was highly controversial and covered by many Central American online newspapers, by the international press and evaluated by scholars and analysts. The theoretical framework is composed by the Contrapuntal Approach (Said 1983, 1993 and 1997), drawn from Post-colonialism and Orientalism. The methodology includes Discourse Analysis (van Dijk 1995, 1998, 2001 and 2011) and Political Discourse Analysis (Fairclough and Fairclough, 2012). Combining three instruments (i) “The structure of practical reasoning” and (ii) “The structure of practical reasoning (counter-claim)” by Fairclough and Fairclough (2012) and (iii) “Discourse Structure of News Stories” by Bell (1991 and 1996), a new instrument is proposed: the Integrated Model of Contrapuntal Approach, Discourse Structure and Practical Reasoning. The sample collected is from three articles by La Nación (Costa Rica), elPeriódico (Guatemala) and Panamá América (Panama), which are broadly analyzed. An extensive Research Question is formulated: taking into consideration the Contrapuntal Reading (Said 1983, 1993 and 1997) that discloses the complex interactions of international relations in the post-colonial world and acknowledges alternatives to the official discourse, how are the counterforces of resistance and power presented in the news texts in the three Central American online newspapers about the overall process of Costa Rica's diplomatic shift?
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Cheng, Yi-Fang, and 鄭宜芳. "Crystallized Form: a Study on the Contrapuntal Structure between Music and Dance in Stravinsky and Balanchine's "Agon"." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/51155747347447555210.
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碩士<br>國立臺灣藝術大學<br>表演藝術研究所<br>99<br>Music and dance, two types of art, display idea of works and innate feelings of human by different ways. However, the common point is that these forms of music and dance both require the passing of time to be performed and realized. Besides, due to the analogies between music and dance, they work with each other more closely. Among the collaborations of composers and choreographers in the twentieth century, Igor Stravinsky and George Balanchine’s work are certainly the best models. Stravinsky and Balanchine had created many masterpieces of choreomusical works, such as Agon.
The core concept of this study is that the relationship between music and dance should be a counterpoint rather than translation. Since music and dance are both independent and autonomic arts, the values of these works can be interpreted as the communication from works themselves. First, the aesthetic viewpoints and work characteristics shared by Stravinsky and Balanchine were discussed. Second, based on a textual analysis of Agon, assisted with a choreomusical analysis and “counterpoint” position, and incorporated with the viewpoint of the relationship between music and dance basic elements; we try to study the choreomusical interactions in Agon, indicate fineness, harmony and symmetry underneath this choreomusical architecture, and finally explain what is so-called “watching the music, hearing the dance”.
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Dickson, Wendy Martha. "Contrapuntal convictions and the Irish Ethos: A comparative study of the works of Sean O'Casey and Eugene O'Neill." Thesis, 2001. http://hdl.handle.net/2009/3177.
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Guhrs-Carr, Pamela Anne. "AGENCY, POWER AND CONTROL OF SPECIAL KNOWLEDGE IN THE PRODUCTION OF ART AND RITUAL. A contrapuntal examination of two disparate cultural examples: western conceptual artist Joseph Beuys and Zambian Kunda women’s rock art images and chisungu coming-of-age rituals, and how these resonate with my identity and art practice." Thesis, 2017. https://hdl.handle.net/10539/26323.
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Tam, Louise. "Governing Through Competency: Race, Pathologization, and the Limits of Mental Health Outreach." Thesis, 2012. http://hdl.handle.net/1807/33677.
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This thesis examines how cultural competency operates as a regime of governmentality. Inspired by Foucauldian genealogy, institutional ethnography, and Said’s concept of contrapuntality, this thesis problematizes the seamless production of racialized bodies in relation to mental disorder. I begin by elaborating a theoretical framework for interpreting race and madness as mutually constructed ordering practices. I then analyze what cultural competence produces and sustains in a position paper published by the Ontario Federation of Community Mental Health and Addiction Programs. I argue the Federation dismisses ongoing institutional violence—suggesting it is simply the perception, as opposed to the everyday reality, of discrimination that causes problems such as low educational attainment among youth of colour. To further support this claim, I deconstruct narratives of low self-esteem, maladaptive coping, depression, and denial of mental illness in the community needs assessments of two of the Federation’s member organizations: Hong Fook and Across Boundaries.