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Dissertations / Theses on the topic 'Fuguet'

Author: Grafiati
Published: 4 June 2021
Last updated: 8 February 2022

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1

Thomas, Paula Antonieta. "Sobredosis (de)generacional: Fracaso en el cuento "Pelando a Rocío" de Alberto Fuguet." BYU ScholarsArchive, 2015. https://scholarsarchive.byu.edu/etd/5854.

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La temprana obra de Alberto Fuguet (Chile, 1964-) presenta las múltiples facetas de los adolescentes y adultos jóvenes chilenos. Entre las muchas realidades expuestas, el fracaso social es, quizás, uno de los más representados, ya que se exterioriza repetidamente en las experiencias de los personajes y las páginas de las obras están impregnadas con una sensación de pérdida y vacío. Esta tesis se centra en la colección de cuentos Sobredosis (1990) de Alberto Fuguet, con especial énfasis en el cuento "Pelando a Rocío." Este análisis literario estudia como el texto despliega el fracaso social experimentado por la generación chilena de finales del siglo XX. Se propone una interpretación que resalta esta frustración generacional a través de la fragmentación de los personajes que se presentan a lo largo del cuento. El primer capítulo se enfoca en los protagonistas, principalmente los jóvenes, y en el comportamiento y las actitudes que demuestran a lo largo de sus interacciones sociales y personales, las cuales son superficiales e indiferentes. El segundo capítulo exhibe la fragmentación mediante la división física y simbólica que existe en la ciudad de Santiago, siendo la urbe el protagonista del segundo capítulo por medio de su limitante estructura. La fragmentación de los protagonistas del texto, tanto los individuos como la ciudad, apunta directamente al fracaso experimentado por la generación representada en este texto. Esta tesis menciona el contexto socio-histórico chileno, con especial énfasis en la historia del país durante la década del setenta, en base a la importancia de este contexto en la formación y en el desarrollo de los personajes. Este estudio presenta el problema social y generacional que resultó en la producción de individuos apáticos, representados en los protagonistas del texto.
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2

Lorenz, Teresa. "Familiar Patterns: Rejection and Fleeing in the Narrative of the McOndo Generation." Diss., The University of Arizona, 2011. http://hdl.handle.net/10150/145462.

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The purpose of this dissertation is to provide a new means of examining the way in which the domestic space influences the protagonists of the three following novels written by McOndo authors: Mala onda by Alberto Fuguet, Vidas ejemplares by Sergio Gómez and Fue ayer y no me acuerdo by Jaime Bayly. Until now little research has been conducted on the works of the McOndo generation with reference to the protagonists' typically dysfunctional familiar situations. Delving deeper into their sparsely related and virtually untold childhoods, this dissertation seeks to find the core of the protagonists' problems and explains how their childhood experiences have led to their near total destruction as adolescents and young adults. The narrative analysis is supported with the theoretical framework of Judith Butler, Sigmund Freud and Melanie Klein, whose scholarly contributions link gender, psychoanalysis and early childhood development to the protagonists' search for individual identity. The protagonists represented within the pages of these narratives live in what the McOndo authors refer to as the true reality of Latin America during the last three decades of the twentieth century. This globalized and virtual reality is anything but the exotic or magical space represented by Gabriel García Márquez‘s fictional city Macondo in Cien años de soledad. Instead, the backdrops of these narratives are crime-ridden (sub)urban spaces which are seemingly the spaces from which the protagonists long to flee. These adolescents and young adults who are troubled by familiar expectations, rejection and abandonment have another agenda in mind, however, and that is to escape from that which has caused the gravest threat to their wellbeing: their family. In an attempt to recuperate the missing link to happiness, the protagonists are faced with a challenge: whether or not they pardon their family. My study of psychoanalysis and gender formation leads to the conclusion that the unhealthy relationships between the protagonists and their parents result from the emotional loss of the parent(s) during early childhood. The physical loss of the parent(s) during adolescence or early adulthood is what leads the protagonist to flee, but is also what ironically leads them to forgiveness.
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3

Costa, de Moraes Wesley. "Masculinidades bajo Pinochet: simbologia y simbiosis en Mala onda y Tony Manero." Thesis, Virginia Tech, 2013. http://hdl.handle.net/10919/23252.

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This essay analyzes the connections between some of the theories about masculinities and the sociopolitical context of Chile under the dictatorship of General Augusto Pinochet in the movie Tony Manero, by Pablo Larrain, and the novel Mala onda, by Alberto Fuguet.
It proposes that the dictator and consequently the ideology of dictatorship are exacerbated representations of masculinity, and this study signals their inherent contradictions and repercussions in this country\'s social environment during its period of authoritarian regime. From this perspective, the protagonists of both fictional works, who come from different social and economic sectors of the Chilean society, can be considered oppressed individuals and oppressors themselves within this context, establishing different kinds of relationship with it. The oppression that they suffer is not only characterized by the authoritarian practices in force but also "and mainly" by the explicit and implicit guidelines of a "code of masculinity" that is put across by the regime and which affects society as a whole. Additionally, actively or passively and in a more or less conscious way, from the male groups to which they belong, both leading characters dominate (or try to do so) the groups of men from lower levels of the hierarchical social ranking and all groups of women. Therefore, oppression is an effective tool used to help maintain the structure of the dictatorship itself and, as a result, the ideological basis of men\'s domination.

Master of Arts
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4

QUEIROZ, Schneider Carpeggiani de. "Tu me acostumbrastes : como Alberto Fuguet repensou o legado do boom de Gabriel García Marquez." Universidade Federal de Pernambuco, 2007. https://repositorio.ufpe.br/handle/123456789/7787.

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Made available in DSpace on 2014-06-12T18:35:46Z (GMT). No. of bitstreams: 2 arquivo7505_1.pdf: 851604 bytes, checksum: 03e927de9bcc16e75a80299a9111c844 (MD5) license.txt: 1748 bytes, checksum: 8a4605be74aa9ea9d79846c1fba20a33 (MD5) Previous issue date: 2007
Esta dissertação dá início a um mapeamento da literatura hispano-americana contemporânea, procurando entender como seus escritores lidam com a herança do principal nome do "boom" da década de 1960, o vencedor do Prêmio Nobel Gabriel García Márquez . Optamos por centrar a análise dessa nova geração literária nas propostas do prefácio da antologia McOndo, organizada pelos autores chilenos Alberto Fuguet e Sérgio Gómez. O prefácio McOndo propôs um ponto final ao realismo maravilhoso e pediu aos seus integrantes que escrevessem pensando num mercado global, distante de qualquer clichê latino. Primeiramente, a dissertação se focou na pesquisa dos significados da palavra Macondo, cidade utópica criada por García Márquez para lidar com a história da América Hispânica. Em seguida, buscamos entender como o sonho utópico de Macondo serviu como ponto de partida para a crítica de Fuguet e Gómez. Nossa pesquisa compreendeu ainda que a geração literária surgida na década de 1990 na América Hispânica, da qual os autores chilenos fazem parte, sofre uma influência direta das ditaduras surgidas nos anos 1960 e 1970. Para entender a crítica que McOndo faz à herança do "boom", foi preciso mapear como o processo ditatorial vivido pelo Chile foi tratado por esses autores. Nossa escolha para essa análise foi o romance Baixo Astral, obra de estréia de Alberto Fuguet, que antecipa as propostas do McOndo de inserir a literatura hispanoamericana no mercado global dos anos 1990
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5

De, La Paz Alé Sandra. "La ética y la moral periodística y personal en Tinta Roja, de Alberto Fuguet." Thesis, Stockholms universitet, Institutionen för spanska, portugisiska och latinamerikastudier, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-40059.

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El propósito de este trabajo es analizar los temas de ética y moral en la novela Tinta Roja de Alberto Fuguet. En esta obra vemos cómo la ambición de éxito, los problemas personales, el encuentro de dos mundos diferentes en el ámbito periodístico, el académico y el autodidacta, y a su vez el medio en que los personajes Alfonso Fernández y Saúl Faúndez se desenvuelven son los desencadenantes que llevan a estos a transgredir sus valores éticos y morales. En cuanto a estos temas, comprendemos que ética y moral son un conjunto de valores adquiridos, los cuales no se enseñan sino que se construyen en el proceso que se inicia con la asimilación de los valores que cada cual recibe dentro del seno familiar. Ahora, definiendo ética y moral desde el punto de vista literario se podrían estos explicar partiendo de la presunción de que el pensamiento y la acción humanos son intencionales. Para llevar a cabo nuestra investigación, primeramente hacemos un corto resumen histórico de la carrera de periodismo en Chile, los cambios que ésta ha experimentado a lo largo de los años y las premisas que se les imparte a los estudiantes de dicha carrera. Seguidamente definimos los términos de ética y moral desde un punto de vista humano, profesional, filosófico  y literario. Luego vemos algunos rasgos de la estructura de Tinta Roja. Posteriormente continuamos con el análisis de la ética y la moral en la novela. Para terminar con las conclusiones de nuestra investigación.
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6

Nassi, Peric Bruno Fernando. "Mala onda (1991) de Alberto Fuguet como una herramienta de desfamiliarización en la sociedad de consumo contemporánea." Thesis, University of British Columbia, 2014. http://hdl.handle.net/2429/51264.

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The primary object of analysis of this thesis is the novel Mala onda (1991) by the Chilean writer Alberto Fuguet (Chile, 1964). The hypothesis specifically states that this text can be interpreted as a tool that facilitates defamiliarization (in the terms proposed by Viktor Shlovsky in his essay Art as Technique, published in 1916) on readers who are part of contemporary consumer society. Both in terms of content (strongly on this point, because this is where the summit defamiliarization in the novel moment occurs: the moment when the main character runs away abruptly from home) as in a formal level (form acts as a adjuvant to fulfill the potential of defamiliarization that the novel has), Mala onda is presented as a text that can generate the alleged breach of perception that has fallen into the habitual. In other words, an effect of strangeness upon the one who lives accustomed to the consumer society, who does not stop to reflect on it. Thus, both in terms of content and formal level, Mala onda ends up setting a narrative formula -form and content conjugated to produce defamiliarization- that could be interpreted as an artistic tool that facilitates the defamiliarization or estrangement on the reader, who is imbued within the current consumer society. El objeto primario de análisis de esta tesis es la novela Mala Onda (1991) del escritor chileno Alberto Fuguet (Chile, 1964). La hipótesis, concretamente, plantea que este texto puede interpretarse como una herramienta que facilita la desfamiliarización (en los términos que propone Viktor Shlovsky en su ensayo Art as Technique, publicado en 1916) en los lectores que son parte de la sociedad de consumo contemporánea. Tanto a nivel de contenido (enfáticamente en este punto, pues es aquí donde se produce el momento cumbre de la desfamiliarización en la novela: el momento en el que el personaje central huye abruptamente de su hogar), como a nivel formal (la forma actúa como un coadyuvante de todo el potencial de desfamiliarización que tiene la novela), Mala onda se presenta como un texto que puede generar el pretendido rompimiento de la percepción que ha caído en la habitualidad, es decir, producir un efecto de extrañeza en aquel que vive habituado a la sociedad de consumo, que no se detiene a reflexionar en ella. Así, pues, tanto a nivel de contenido como a nivel formal Mala onda termina por configurar una fórmula narrativa – contenido y forma conjugados para, finalmente, desfamiliarizar– que puede considerarse una herramienta artística que facilita la desfamiliarización o el extrañamiento en el lector que está imbuido dentro de la sociedad de consumo actual.
Arts, Faculty of
French, Hispanic, and Italian Studies, Department of
Graduate
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7

Wlad, Kerrie M. "Narrating pop culture in Latin American literature (Manuel Puig, Argentina, Mario Vargas Llosa, Peru, Rubem Fonseca, Brazil, Alberto Fuguet, Chile)." Diss., Connect to online resource, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3219212.

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8

Decante-Araya, Stéphanie. "Horizon d'attente et stratégies d'écriture dans le Chili de la Transition Démocratique : Diamela Eltit, Gonzalo Contreras, Alberto Fuguet (1988-1997)." Paris 3, 2000. http://www.theses.fr/2000PA030171.

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Cette thèse propose une analyse des œuvres de trois auteurs chiliens contemporains : Diamela Eltit, Alberto Fuguet et Gonzalo Contreras, publiées entre 1988 et 1997, dans le contexte de la Transition Démocratique. Cette analyse se fonde sur les principes théoriques développés par Hans Robert Jauss, connus comme "Esthétique de la réception". Après une étude du champ littéraire chilien contemporain, cette thèse définit l'horizon d'attente dans lequel s'inscrivent les trois œuvres considérées. Cette étude préalable permet d'identifier les tensions normatives à partir desquelles ces trois œuvres développent des stratégies d'écriture qui sont au fondement de leur poétique. L'analyse littéraire se concentre sur les dimensions métatextuelle et intertextuelle des romans
This thesis proposes an analysis of the works of three contemporary chilean writers : Diamela Eltit, Alberto Fuguet and Gonzalo Contreras, published between 1988 and 1997, in the context of the Democratic Transition. This analysis is based on the theoretical principles developed by Hans Robert Jauss, known as "Reception Aesthetics". After a close study of contemporary chilean literary field, this thesis defines the horizon of readers in which the works of these authors are inscribed. This, in order to identify the normative tensions from which the autors develop writing strategies, that are at the base of their particular poetics. Finally, the literary analysis concentrates itself on the metatextual and intertextual dimensions of the novels studied
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9

Pittenger, Rebbecca M. "MEMORYSCAPES: PLACE, MOBILITY, AND MEMORY IN THE POST-DICATORIAL SOUTHERN CONE." UKnowledge, 2011. http://uknowledge.uky.edu/hisp_etds/1.

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The urban landscapes of Chile, Argentina, and Uruguay lay bare the markings of these countries‘ turbulent political and economic pasts, their transition to democracy, and diverse efforts to preserve memory. Claudia Feld‘s observation that these countries have experienced a 'memory boom‘—not a deficit—in recent years manifests itself as much culturally and politically as it does spatially, through the creation of memorials, memory parks, museums, and memory-related performances and discourses. Along these same lines, narratives of memory recur among artistic and cultural works of the post-dictatorial Southern Cone—not exclusively among memorials and other designated sites of recollection, but along the everyday corridors and causeways of some of South America‘s most populous cities, and rather unexpectedly, among seemingly generic sites of consumerism and transit. In fact, my reading of literary and cinematic works by Alberto Fuguet, Sergio Chejfec, Ignacio Agüero, and Fabián Bielinsky, and my examination of Uruguay‘s Punta Carretas Shopping Center, suggests that memory has not been easily corralled into designated sites nor erased through modern spaces and lifestyles; instead, each of the works analyzed in this study reveals that palimpsests of memory can appear often and, in many cases, spontaneously among all angles of the cityscape.
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Gallardo, Gutiérrez Julia. "El viaje de Simón Rivas: a la deriva entre la modernidad y la postmodernidad en el cuento Road Story en "Cortos" de Alberto Fuguet." Tesis, Universidad de Chile, 2010. http://www.repositorio.uchile.cl/handle/2250/109998.

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Informe de Seminario para optar al grado de Licenciada en Lengua y Literatura Hispánica mención Literatura
El siguiente análisis muestra, a través de la revisión de los temas claves sobre la postmodernidad, cómo el individualismo, el consumismo, el engrandecimiento de las ciudades, de sus carreteras, de sus espacios en general y, a través de ellos, cómo un personaje que viene de una ciudad como Santiago de Chile se configura dentro de estos mismos espacios. Analizando secciones de la obra misma se busca demostrar que los conocimientos teóricos son aplicables a la prosa de Fuguet que, a través del presente informe, esperamos elevar, no a un puesto sublime, pero sí al lugar que se merece dentro de la literatura chilena como representante de una nueva narrativa postmodernista. A través de tratados de Nicola Abbagnano, Gilles Lipovetsky, Marc Augé, Giorgio Agamben, entre otros, se configurará un ethos postmoderno al cual el personaje de Road Story postula, pero que no necesariamente alcanzará.
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Lazo-González, Denisse. "The politics of literature in Chilean post-transition to democracy novels : portraits of society and the political status of women in the narrative of Diamela Eltit and Alberto Fuguet." Thesis, University of Oxford, 2018. http://ora.ox.ac.uk/objects/uuid:56eb3768-cca8-4e5a-a7bc-62a857a9c3d8.

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This thesis explores the relationship between literature and politics through a study of novels published by Diamela Eltit (1949-) and Alberto Fuguet (1964-) in the Chilean post-transition to democracy period (i.e.: after the year 2000). It attempts to demonstrate that Chilean post-transition to democracy literature foregrounds the socio-cultural legacies inherited from the dictatorship (1973-1990), which have been to a great extent endorsed by the Chilean neoliberal transition to democracy. This thesis considers the more recent narrative fiction published by these authors as representative of Chilean post-transition to democracy literature, that is, a literature that shares a politico-historical legacy inherited from the Chilean dictatorship, and highlights a social imaginary permeated by the contemporary neoliberal politico-cultural project imposed by the military and to a great extent endorsed by the transition to democracy. In doing so, this work focuses on questions related to the portrayal of contemporary Chilean society and the political status of women. Commitment in literature does not necessarily come from the author's subjectivity or intention, but from his or her study of society and the way in which s/he presents it. Literary commitment, whether overt or not, remains fundamental in the case of contemporary Chilean writers, who have inherited a neoliberal socio-cultural context imposed by a dictatorship, and who may deploy strategies to either disseminate, perpetuate or resist such a cultural model, creating new ones. Therefore, the values to which literature commits can be traced in the case of both the overtly politically committed author and the apparently apolitical one. This methodology allows us to reveal the way in which Eltit and FuguetÊ1⁄4s writing projects represent different but implicitly related views of Chilean society as well as two semi-canonical standpoints which are prominently representative of the twenty-first century Chilean literary sphere.
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Hahn, Stephen (Stephen Ernst). "Continuous Harmonic Structure in J.S. Bach's Triple Fugues in The Well-Tempered Clavier and Art of Fugue." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538652/.

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This thesis explores how the harmonic structures of J.S. Bach's triple fugues interact with their formal, contrapuntal designs. It attempts to explain how each of these elaborate fugues is supported by a single, uninterrupted structure that holds the entire work together. In Bach's fugues one generally encounters large-scale goal-directed motion towards the concluding tonic; this continuous harmonic motion towards the final tonic is consistent with the aesthetics of the Baroque style, which valorizes constant motion or dynamism.
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Sundén, Eva-Charlotta. "Fugue State : Memories Without Borders and The Fugueur as Flaneur in Teju Cole's Open City." Thesis, Stockholms universitet, Engelska institutionen, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-77564.

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Published in 2011, Teju Cole’s second novel Open City tells the story of one year of walking in New York and Brussels narrated from the perspective of the novel’s first-person narrator, Julius. In this manner the reader is offered ample insights into Julius’s thoughts and memories. This is a narrative based on the memories of the protagonist as well as the memories shared by the people he meets, which together create a narrative “fugue” that both hides and illuminates the central conflicts of the novel. Julius can be described both as fugueur (someone who is in a dissociated mental state and travels compulsively) and flaneur (someone who walks the streets and is obsessively observant), two concepts of ambiguity. This paper will analyze the main character’s development through three stages: reunion, repression, and reconstruction, in relation to Walter Benjamin’s reading of the flaneur as both criminal and detective, and Ian Hacking’s book on fugueurs in the 19th century. Furthermore, this memory-based narrative can be read in relation to Wai Chee Dimock’s idea of deep time, as well as Rothberg’s view of memory as multidirectional and productive, two theories that can be linked to “mad” travelling and obsessive observation. This paper tries to bring clarity to this opaque novel of solitude and repression, and sort out the clues given by the narrator.
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Destribois, Clemence Theodora. "Examining the Origins of the Late Baroque Monothematic Fugue:A Study of Seventeenth-Century Fugue in Italian Violin Music." BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/3350.

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Paul M. Walker points out the importance of three seventeenth-century manuscripts which, according to him, reflect the origins of the late Baroque monothematic fugue. The documents present a new "model" with specific criteria to write monothematic fugues. Walker suggests that the criteria presented in these manuscripts are first found in seventeenth-century Italian violin ensemble fugues. This thesis traces the development of seventeenth-century monothematic fugues and how they compare with the criteria presented in the manuscripts, with a particular emphasis on Italian violin ensemble fugues. The manuscripts indeed present a new "model" to write monothematic fugues as compared to earlier models. Generally speaking, the criteria included in the manuscripts are more present in monothematic fugues found in seventeenth-century violin ensemble music than in keyboard music of the same period. However, many of these imitative pieces present characteristics of fugato (rather than "true" fugues) and cannot be compared with the manuscripts' criteria. Therefore, the documents are important from a theoretical standpoint but their practical application in seventeenth-century violin music is not as clear or systematic as Walker implies.
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Trey, Flavie. ""Homo Fugiens" via les arts de la fugue : trajectoires du sujet, espaces de fugue. Vers une théorie musicale du sujet." Thesis, Université d'Ottawa / University of Ottawa, 2014. http://hdl.handle.net/10393/31522.

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L’hypothèse d’une théorie musicale du sujet postule que l’on peut éclairer certaines problématiques de l’existence humaine à la lumière de la fugue musicale, et inversement. A partir du sens technique et musical du «sujet» de fugue, nous opérons dans la première partie une relecture (étymologique, sémantique et historique) de la fugue et du fait musical en lien avec l’émergence de la conscience européenne moderne, au tournant du 16ème siècle. En retour, les enjeux culturels, psychologiques et sociaux de la fugue s’éclairent grâce à l’injonction éthique de faire de sa vie une œuvre d’art – une fugue, dans la vie comme dans l’art. Cette hypothèse, énoncée au terme de la première partie, est explorée dans la troisième partie. La deuxième partie est consacrée à une esthétique comparée des arts de la fugue visant à faire apparaître la transversalité des enjeux et des principes de cette forme particulière. La prégnance de ces manifestations artistiques renforce l’hypothèse selon laquelle la subjectivité de fugue peut fonctionner comme un modèle de compréhension du sujet humain. La troisième partie s’ouvre sur une analyse de la psychopathologie de fugue. Ainsi la description de l’Homo Fugiens, figure anthropologique de l’homme en fugue, s’adosse in fine à une axiologie du sujet : le sujet humain, aux sens psychologique, social et éthique, évolue entre le sens positif (esthétique) de la fugue (œuvre d’un sujet absolu, créateur, en quête de lui-même) et le sens passif (voire pathologique) de la fuite (appauvrissement du sujet, qui peut aller jusqu’à la perte). The hypothesis of a musical theory of the subject postulates that the musical fugue partly explains human existence, and conversely. Considering the technical and musical significations of the fugue «subject», in the first part we reassess the musical fugue (through etymology, semantics and history) in its relation to the emergence of modern consciousness in Europe, at the turn of the sixteenth century. On the other hand, what is at stake with the cultural, psychological and social aspects of the fugue can be explained through the ethical injunction of making your life a work of art – a fugue, in life, as in art. This hypothesis emerges at the end of the first part and is directly addressed in the third part. The second part is dedicated to a comparative aesthetics of the arts of the fugue aimed at underlining the transversality of the principles specific to this artform. The omnipresent manifestations of the fugue in art reinforce the idea that the subjectivity of / in the fugue can operate as a model of understanding of the human subject. The third part develops from an analysis of the psychopathology of fugue. Accordingly, we show that the description of the Homo Fugiens (the anthropological figure of « man in (the) fugue ») rests on an axiology of the subject : the human subject, psychological, social and ethical, evolves between the positive (aesthetic) meaning of the fugue (the human subject, absolute, in quest of himself, creating his life) and the passive meaning of fugue-as-flight (ranking from the impoverishment to the loss of the subject, which is the pathology of the fugue).
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Watson, Mary. "Fugues : seven short stories." Master's thesis, University of Cape Town, 2001. http://hdl.handle.net/11427/17869.

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Britton, Amy Christine. "A Study of Felix Mendelssohn's Piano Fugues." Cincinnati, Ohio : University of Cincinnati, 2008. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1220458221.

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Thesis (Master of Music)--University of Cincinnati, 2008.
Advisor: David Berry Ph.D. (Advisor), Catherine Losada Ph.D. (Committee Member), Melinda Boyd Ph.D. (Committee Member). Title from electronic thesis title page (viewed Jan. 18, 2009). Includes abstract. Keywords: Mendelssohn; fugue. Includes bibliographical references.
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Laporte, Marie Noël. "Traduction de fugues-poèmes : une approche intersémiotique." Mémoire, Université de Sherbrooke, 2015. http://hdl.handle.net/11143/6060.

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Résumé : Musicienne et traductrice de formation et de métier, je présente ici des traductions de poèmes contemporains qui s’annoncent, par leur titre ou leur forme, comme des fugues. Comme hypothèse de départ, je pose la possibilité du transfert des éléments de fugue musicale à ceux de la fugue littéraire. Ma démarche se décline en deux parties. Dans un premier temps, j’analyse les poèmes en suivant pas à pas la méthode de critique des traductions littéraires d’Antoine Berman. La méthode est adaptée à la traduction intersémiotique et rend compte des éléments de fugue contenus dans chacun des poèmes à l’étude. Dans un second temps, une fois le « projet de traduction » bien établi, je propose une traduction française des fugues-poèmes. Dans l’esprit de ce que Barbara Folkart nomme des « traductions d’auteur », dans le rendu proposé, je m’éloigne des approches dénotatives, tentant de réactualiser en français la démarche compositionnelle des poètes. Que retiendront les poètes pour leur projet de fugue-poème? Une confusion est-elle possible avec d’autres formes répétitives, comme le canon, le thème et variations, le ground, la chaconne, la passacaille, voire des formes de musique minimaliste? Malgré les appréhensions d’un certain nombre de critiques, qui taxent de « vaines » toute expérience intersémiotique ou toute tentative pour en démontrer les correspondances, on trouve quelques exemples probants de fugues littéraires. Bien entendu, la musique ne peut se traduire directement en mots. En s’attardant aux phénomènes perceptuels et créatifs, on accède à un degré correct de pertinence. Je me suis donné pour méthodologie le modèle de critique des traductions littéraires d’Antoine Berman, dont j’ai fait l’ossature des chapitres et auquel j’ai greffé des grilles d’analyse paradigmatique et rythmique. J’ai aussi eu recours à un pense-bête des principaux éléments fugaux (constituants de la fugue musicale, définitions de « fugue » dans la langue courante et critères psychiatriques de la « fugue dissociative »). Un questionnaire maison a été le point de départ de mon travail de collaboration avec les poètes. Dans le cas de Paul Celan (1920-1970), j’ai utilisé le même questionnaire, que j’ai rempli au gré de l’analyse et du dépouillement d’autres recherches. J’explore dans les six premiers chapitres les poèmes « Todesfuge » (1945) de Paul Celan, « Night Thoughts on Clauzewitz’s On War » (1986) d’E. D. Blodgett, « Lives of the Great Composers » (1983) de Dana Gioia, « Domestic Fugues » (2009) de Richard Newman, « Art of Fugue » (2011) de Jan Zwicky » et « Arugula fugues » (2001) d’Adeena Karasick. Dans la conclusion, je discute les résultats de recherche, les choix méthodologiques et le processus de traduction. Un tableau-synthèse des correspondances fugales est aussi présenté et commenté. Le chapitre intitulé « Stretto » vient élargir le corpus des fugues-poèmes analysées et traduites. J’y présente les fugues-poèmes suivantes : « Fugue » et « Round » de Weldon Kees, « Fugue in Cold and Rain » et « Little Fugue of Love and Death » de Richard Newman, « The Praying Mantis » d’Annie Charlotte Dalton Armitage, « The Ballad of the Pink-Brown Fence » de Milton Acorn, « The Children are Laughing » de Gwendolyn MacEwen, « And the Season Advances » d’Herménégilde Chiasson (dans une traduction de Jo-Anne Elder et de Fred Cogswell), « Fugue » de Robyn Sarah, « Fugue » du Kaddish d’Allen Ginsberg, « Fugue » de Neville Dawes, « Seaside Canon » de Julia Galef et « Stretto » de Don MacKay. // Abstract : As a professional musician and translator, I am presenting my translations of contemporary poems that are, either through their titles or their forms, fugue-poems. It is my hypothesis that elements present in a musical fugue can be transferred to a literary fugue. There are two parts to my research. First, I analyze the poems in strict accordance with Antoine Berman’s critical method for literary translation. I adapted the method in order to work with inter-semiotic translation, as well as the fugal elements contained in each of the poems studied. Next, with the “translation project” well established, I propose a French translation of the fugue-poems. Based on Barbara Folkart’s notion of “writerly translations,” I will attempt to capture the essence of the poems and recreate true works of literary art in French, rather than using purely denotative translation methods. Which elements do poets employ in their fugue-poems? Is there a possibility of confusing fugal elements with other repetitive forms, such as a canon, a theme and variations, a ground bass, a chaconne, a passacaglia or even certain forms of minimalist music? Despite the apprehension of some critics, who believe that inter-semiotic work or even the attempt to reveal any form of relationship is in vain, there are a number of clear examples of literary fugues. Naturally, music cannot translate directly into words. However, a study of the perceptual and creative phenomena allows us to make the connection. My research methodology is based on Antoine Berman’s model meant for critics of literary translations, which provides the backbone for the chapters in this presentation, and to which I have added a paradigmatic and rhythmic analysis grid. I also used a memory aid of the principal fugal elements (components of a musical fugue, definitions of a “fugue” in common usage, and the characteristics of the psychiatric disorder referred to as “dissociative fugue”). I designed a questionnaire, which I used as the basis for my collaboration with the poets. In the case of Paul Celan (1920-1970), I used the same questionnaire, which I filled out based on my analysis of his work, as well as analyses put forth by other researchers. In the first six chapters, I explore the following poems: “Todesfuge” (1945) by Paul Celan, “Night Thoughts on Clauzewitz’s On War” (1986) by E. D. Blodgett, “Lives of the Great Composers” (1983) by Dana Gioia, “Domestic Fugues” (2009) by Richard Newman, “Art of Fugue” (2011) by Jan Zwicky and “Arugula fugues” (2001) by Adeena Karasick. In the conclusion, I discuss the research results, the methodological choices and the translation process. I have also included a summary table (with comments) of the corresponding fugal elements. The chapter entitled “Stretto” concludes the corpus of analyzed and translated fugue-poems. It includes: “Fugue ” and “Round” by Weldon Kees, “Fugue in Cold and Rain” and “Little Fugue of Love and Death” by Richard Newman, “The Praying Mantis” by Annie Charlotte Dalton Armitage, “The Ballad of the Pink- Brown Fence” by Milton Acorn, “The Children are Laughing” by Gwendolyn MacEwen, “And the Season Advances” by Herménégilde Chiasson (translation by Jo-Anne Elder and Fred Cogswell), “Fugue” by Robyn Sarah, “Fugue” from Kaddish by Allen Ginsberg, “Fugue” by Neville Dawes, “Seaside Canon” by Julia Galef and “Stretto” by Don MacKay.
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Ambrosio, Marjorie. "Une esthétique de la déstabilisation : poétique de la fugue dans Birds of Passe, After China, The Garden Book et The Bath Fuges de Brian Castro." Thesis, Avignon, 2014. http://www.theses.fr/2014AVIG1140/document.

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Brian Castro, écrivain australien contemporain d’origine chinoise, auteur de dix romans, a été souvent appréhendé par la critique littéraire par le seul biais de ses origines. La lecture de son oeuvre, pourtant, révèle une esthétique et une puissance poétique qui dépassent largement cette catégorie réductrice.Afin d’établir les contours de cette esthétique, le présent travail s’est intéressé à quatre romans qui synthétisent un travail d’écriture de trente années : Birds of Passage (1989), After China (1992), The Garden Book (2005) et The Bath Fugues (2009). Nous brossons tout d’abord un historique de la littérature australienne et des enjeux sociétaux et culturels qui la sous-tendent pour déterminer quelles stratégies l’auteur met en oeuvre pour affirmer une identité littéraire singulière, ni totalement nationale, multiculturelle, ou (post)moderne.Cette singularité posée, nous avons recours à des outils d’analyse empruntant à divers courants de critique littéraire pour dégager les lignes de force esthétiques de l’oeuvre de Castro. La forme musicale de la fugue est en ce sens une clé d’entrée essentielle en ce qu’elle structure autant qu’elle inspire l’écriture de l’auteur, tant au niveau de la caractérisation, du récit ou encore de la diégèse, donnant ainsi naissance à une prose dont la force créatrice n’a rien à envier à la poésie. Pour le lecteur, le résultat en est une expérience de déstabilisation qui vise à l’amener à se questionner sur la perméabilité et la futilité des préjugés et catégories, qu’ils soient sociétaux, culturels ou littéraires
Australian writer Brian Castro is the author of ten novels, among which Birds of Passage (1989), After China (1992), The Garden Book (2005) and The Bath Fugues (2009) – the four works at the core of the present study. Owing to his Chinese origins and his elaborate style, literary criticism in Australia has labelled him an ethnic writer whose novels are deemed overly – and overtly – complex and opaque.Our thesis aims at establishing why Castro’s works, precisely because of their sophistication, deserve an alternate approach. We start with a historical survey of Australia’s “national” and “multicultural” literature. This will bring to light how Castro, being well aware of his nation’s love for social, cultural and literary categorizations, strives to break free from them.This desire permeates the whole of his literary endeavour, and our analysis borrows from several traditions of literary criticism to determine the characteristics of Castro’s unique aesthetics. To achieve this, the musical form of the fugue is a particularly powerful analytic tool, in that this musical genre allows us to better understand the elaborate mechanisms at work in the way the author approaches, among others, characterization, plot and diegesis.Far from the easy reads that Australia’s literature market promotes, Brian Castro’s unique works of fiction are an invitation to embrace destabilization in order to examine a prose whose poetic force will help the reader liberate themselves from established racial, cultural and literary categories
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Fong, Chi-hang Colin. "Urban fugue composing the polyphonic travelscape /." Click to view the E-thesis via HKUTO, 2004. http://sunzi.lib.hku.hk/hkuto/record/B31987047.

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Fong, Chi-hang Colin, and 方志恆. "Urban fugue: composing the polyphonic travelscape." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B31987047.

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Alevizos, Konstantinos. "Le concept de matrice dans L'Art de la Fugue de Johann Sebastian Bach." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040033.

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La thèse veut démontrer que toutes les compositions contenues dans L'Art de la Fugue possèdent entre elles des liaisons strictes et essentielles qui vont au-delà de la simple coprésence et/ou élaboration du même sujet, en créant une unité et une progression de la complexité technique dans son évolution. À travers une analyse détaillée de toutes les fugues sur trois niveaux: rythmique, harmonique et morphologique, notre objectif est d’identifier et de cataloguer tous les éléments spécifiques qui créent cette unité, afin d'arriver à la présentation du système des techniques compositionnelles utilisées par le compositeur. Nous proposons des nouveaux outils analytiques pour la compréhension des problématiques majeures liées à l’œuvre, l’ordonnancement du recueil et sa destination instrumentale
The thesis aims to demonstrate that all the compositions contained in the “Art of Fugue” are bound together by a pattern of tight and essential connections, which go beyond an unstructured co-existence or a simple elaboration of a common subject: they form one unit and are ordered in a sequence of increasing technical complexity.The author makes a detailed analysis of all Fugues at three levels, Rhythm, Harmony and Morphology; he identifies and classifies all elements that create the unit: he presents the method and suite of techniques employed by the composer; finally, he proposes new analytical tools for the comprehension of the main issues related
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Balthrop, Sharon. "Twenty-Six Two- and Three-Voiced Canons by Johann Walter Transcribed for French Horn." Thesis, North Texas State University, 1988. https://digital.library.unt.edu/ark:/67531/metadc501248/.

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This thesis provides modern transcriptions for horn of twenty-six two- and three-voiced canons by Johann Walter, thereby adding to the literature available from the sixteenth century for that instrument. This project specifically attempts to introduce the high school and college student hornist to modal music in strict fugal form; the transcriptions appear as an appendix. The topics discussed in the body of this thesis include the canon, Johann Walter's life and significant contributions, sixteenth-century instrumental music, musicians' guilds, the zink, and the horn. This work is not intended to offer a comprehensive history of any of these areas, but to aid the teacher and student in the preparation and performance of these transcriptions.
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Nicholls, Yasmine. "The lost city : a prelude and fugue /." Title page and prelude only, 2005. http://web4.library.adelaide.edu.au/theses/09AR/09arn6137.pdf.

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Choa, Sharon Andrea. "Sonata-fugue in Joseph Haydn's string quartets." Thesis, King's College London (University of London), 1998. https://kclpure.kcl.ac.uk/portal/en/theses/sonatafugue-in-joseph-haydns-string-quartets(82b5de10-3113-42a1-b683-c101cd19df3f).html.

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LEITAO, MARCELO MAGALHAES. "MODULATION IN FUGUE: MOVEMENTS AROUND ARTHUR OMAR." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2003. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=3982@1.

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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
Aproveitando as linhas gerais do perfil crítico-biográfico, esta dissertação traça considerações em torno das múltiplas linguagens desenvolvidas por Arthur Omar para intervir no panorama cultural contemporâneo. Algumas categorias do pensamento estético-epistemológico atual são revistas à luz do exame das propostas mais radicais desse artista.
Taking the main lines of the critical-biographic profile some considerations are made on the multiple languages developed by Arthur Omar to intervene in the contemporary cultural scenario. Some of the categories of the current aestheticepistemological thought are examined in the light of the artist`s most radical proposals.
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Reef, John S. "Perspectives on phrase rhythm in J. S. Bach's keyboard fugues." Thesis, Indiana University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3623241.

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This dissertation posits that an essential aspect of temporal experience in Bach's keyboard fugues resides in the interaction of their inherent repetition with a general, unsystematic trend toward longer phrases as the pieces unfold, and it inquires into how this interaction takes place. This inquiry necessitates a subsidiary inquiry into the segmentation schemes operative in these fugues and into how these schemes promote phrase-rhythmic continuity. Analytical methodologies draw mainly from Schenkerian theories of phrase rhythm, as exemplified by the work of William Rothstein and Channan Willner, while interpretation refers to recent scholarship on musical meaning, as represented by the work of Robert Hatten and Steve Larson, and to the observations of Johann Mattheson, who wrote sensitively about the experience of repetition in fugues, and Ernst Kurth, who described qualities of fluidity that pervade the fugues of Bach, among others.

After Chapter 1 introduces the scope of the dissertation's investigations, Chapter 2 surveys the literature on fugue that impinges on phrase rhythm. The survey is arranged in four categories: literature on how thematic repetition interacts with segmentation, literature on the rhythm of repetition, literature on motion and fluidity, and literature on durational spans. Methodological foundations in Chapter 3 include Rothstein's "imaginary continuo," grouping, meter, tonal rhythm, sequences, and the Fortspinnungstypus; this chapter introduces my distinction between "literal" and "figurative" grouping, which addresses problems of grouping in polyphonic textures, and my notion of "thematic rhythm," whereby impressions of rhythmic equivalence among thematic repetitions color our experience of repetition. Chapter 4 then focuses on segmentation at the levels of the phrase and the period, and it proposes certain types of "compound" phrases in which thematic repetition associates with segments longer than the original subject. It also identifies some vehicles of continuity among segments, including "deep thematic overlap," in which a subject crosses the boundary of two segments and may inspire gestural interpretation; and "counterphrasing," in which rhetorical and tonal goals of phrases are separated, engendering fluidly ambiguous impressions of phrase or period articulations. Finally, Chapter 5 investigates the generation of longer phrases through the enlargement of a fugue's subject.

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Charlier, Claude E. M. "Polythématisme et structure formelle dans l'art de la fugue." Doctoral thesis, Universite Libre de Bruxelles, 1990. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/213116.

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Müller, Nicholas. "Tempus Fugit." Doctoral thesis, Universitätsbibliothek Chemnitz, 2010. http://nbn-resolving.de/urn:nbn:de:bsz:ch1-201000796.

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Die vorliegende Dissertation behandelt die Fragestellung, inwiefern die Darstellung eines visualisierten zeitlichen Hinweisreizes während einer filmischen Narration einen Einfluss auf die Rezeptionsstrategie aufweist. Die Arbeit basiert auf der von Dolf Zillmann (1971) beschriebenen Excitation- Transfer-Theory, welche im Verlauf der Dissertation um eine Zukunftsdimension erweitert wird. Die ursprüngliche Theorie beruht dabei auf der Annahme, dass die langsamere endokrine Erregungsenergie des Menschen vom schnelleren kognitiven System situationsabhängig interpretiert werden kann. Ferner besagt die Theorie, dass durch die inhärente Trägheit des endokrinen Systems eine Erregungssituation nach einem Höhepunkt weiter andauert. Dies wurde unter Zuhilfenahme von biophysiologischen Messgeräten überprüft. Dabei wurde die prinzipielle Aufmerksamkeitszuwendung der Probanden zur Zeitdarstellung mittels einer Blickbewegungskamera fortlaufend überwacht, während gleichzeitig psychophysiologische Erregungswerte, wie Hautleitfähigkeit und Herzrate, aufgezeichnet wurden. Das Aufstellen von Hypothesen durch den Rezipienten über einen potentiellen weiteren Handlungsverlauf bildet in der Literatur (vgl. Ohler, 1994) einen der Hauptgründe für das Empfinden von Spannung während einer Narration. Dabei verläuft die Auflösung der narrativen Handlung stets zwischen den beiden dichotomen Grenzen einer positiven beziehungsweise negativen Handlungsklimax. Die der Arbeit zugrundeliegenden Überlegungen gehen davon aus, dass die Existenz einer visualisierten Zeitangabe dazu führt, dass spezifische Hypothesen über den narrativen Verlauf einer Handlung unter Aspekten des eigenen Zeitempfindens nicht länger realisierbar erscheinen. Je mehr sich die zeitliche Indikation dem Ende annähert, desto stärker ist demzufolge das Spannungsempfinden ausgeprägt. Hierzu zeigte sich, dass unter bestimmten Umständen eine Bereitschaft bei den Rezipienten existiert, die temporale Information in die Rezeption einzubeziehen. Die Auswirkungen auf das Erregungsniveau fielen insgesamt jedoch sehr gering aus. Demzufolge wird angenommen, dass eine zeitliche Visualisierung einen Einfluss auf die Informationsverarbeitung bei einer Filmrezeption hat. Dies konnte jedoch, wie die kritische Diskussion zum Abschluss der Dissertation aufzeigen wird, im Rahmen des verwendeten Designs nicht gezeigt werden.
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Leatherbarrow, Jane Florence. "'Culmination chromatic density' in the free organ fugues of J.S. Bach." Thesis, University of Aberdeen, 2018. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=239053.

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The term 'Culmination chromatic density' (CCD) is devised for the thesis to describe perceived unusual chromatic harmony which occurs towards the end of a few of Bach's free organ fugues. The thesis seeks to determine the nature of the harmony, to establish if seventeenth and eighteenth-century theorists discuss fugue culmination harmony, and whether composers before Bach wrote fugues with unusual culmination harmony. After establishing an outline organ fugue chronology, historical music theory and fugues before Bach are examined for the purpose of identifying influences upon Bach's fugue culmination harmony. The main body of the thesis is an harmonic and structural analysis by chronology of thirty-six of Bach's fugues, individually and collectively. The analysis establishes fugue structure through tables of thematic entries, and the examination of thematic material, counterpoint, and tonal structure. The analysis also examines the accidentals, which are discussed and presented in graphs. The analysis of intervals gives detailed insight into the use of consonances and dissonances. Figured bass is used in music examples to show harmony and progressions. The analysis establishes that there is CCD in certain fugues of Bach, and that there are specific structural features, procedures and advanced compositional techniques associated with CCD. There is a clear link between incidences of CCD and fugue chronology. CCD is linked with fugue structure; and advanced fugues with CCD possess unique structures, procedures, and harmony. The analysis establishes that Bach uses background structures, an important additional compositional tool which is related to CCD. There is evidence of historical precedent in some aspects of CCD, both from music treatises, and in some fugues of antecedent French, German, and Italian composers. Areas for further research are suggested. Implications are that Bach uses previously undiscovered methods for fugue composition, and that there are potential changes to the established chronology.
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Lavoie-Dugré, Sarah. "La fugue du domicile familial à l'adolescence, une expérience perturbante." Thesis, Université Laval, 2012. http://www.theses.ulaval.ca/2012/29505/29505.pdf.

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Williams, Klew. "Occlusion: Creating Disorientation, Fugue, and Apophenia in an Art Game." Digital WPI, 2017. https://digitalcommons.wpi.edu/etd-theses/409.

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Occlusion is a procedurally randomized interactive art experience which uses the motifs of repetition, isolation, incongruity and mutability to develop an experience of a Folie àDeux: a madness shared by two. It draws from traditional video game forms, development methods, and tools to situate itself in context with games as well as other forms of interactive digital media. In this way, Occlusion approaches the making of game-like media from the art criticism perspective of Materiality, and the written work accompanying the prototype discusses critical aesthetic concerns for Occlusion both as an art experience borrowing from games and as a text that can be academically understood in relation to other practices of media making. In addition to the produced software artifact and written analysis, this thesis includes primary research in the form of four interviews with artists, authors, game makers and game critics concerning Materiality and dissociative themes in game-like media. The written work first introduces Occlusion in context with other approaches to procedural remixing, Glitch Art, net.art, and analogue and digital collage and décollage, with special attention to recontextualization and apophenia. The experience, visual, and audio design approach of Occlusion is reviewed through a discussion of explicit design choices which define generative space. Development process, release process, post-release distribution, testing, and maintenance are reviewed, and the paper concludes with a description of future work and a post- mortem discussion. Included as appendices are a full specification document, script, and transcripts of all interviews.
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Jonesig, Ted. "Variations sur "Folia de España" et Fugue : variationsverk eller etydsamling?" Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2064.

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Zinck, Pascal. "L'art de la fugue : L'alienation dans l'œuvre de kazuo ishiguro." Paris 4, 2003. http://www.theses.fr/2003PA040007.

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Tours, retours et détours sont l'estampille de l'œuvre de Kazuo Ishiguro. Cette étude se propose d'explorer l'hétérogénéité des rétrofictions de Kazuo Ishiguro Dans une perspective narrative, psychanalytique, ontologique, culturelle, historique, linguistique et littéraire. La première partie examine les diachronies, les ambigui͏̈tés et les stratégies de diversion/subversion inhérentes au genre de la confession. La seconde partie constitue un inventaire pathologique des traumatismes et des troubles du comportement liés au deuil de l'enfance. La troisième partie est consacrée à l'aimantation qu'exerce le passé sur Kazuo Ishiguro, sous diverses facettes : l'exil, la nostalgie, la problématique de l'histoire et l'intertextualité. Kazuo Ishiguro ne se contente pas de revisiter et de réviser le passé, mais il chine son double héritage anglais et japonais en une partition perpetuum mobile, à la fois singulière et plurielle
Tours, returns and detours are the hallmark of Kazuo Ishiguro's work. This study probes the heterogeneity of Kazuo Ishiguro's retrofictions from a narrative, psychoanalytical, ontological, cultural, historical, linguistic and literary perspective. The first part focuses on diachronies, ambiguities and evasive/subversive strategies in relation to the confession genre. The second part is a pathological inventory analysing traumas and behavioural disorders due to childhood loss. The third and final part is devoted to Kazuo Ishiguro's magnetic attraction to the past in the form of exile, nostalgia, the problematics of history and intertextuality. Not only does Kazuo revisit and revise the past, but he interweaves his dual English and Japanese heritage into a perpetuum mobile which is both singular and plural
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Bedford, Don Michael. "Healey Willan's Introduction, Passacaglia and Fugue: English Style with German Overtones, with Three Recitals of Selected Works by L. Vierne, J.S. Bach, F. Mendelssohn, W. Piston, V. Persichetti and Others." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc935654/.

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This document consists of the following elements: (1) an examination of Healey Willan's background in the English Cathedral tradition; (2) a study of the formation of his compositional style based on his knowledge of English composers and treatises of the day; (3) a look at the German influences on his compositional style; and (4) an analysis showing how he merged these styles into a unified whole to create a monumental work for the organ. Included are musical examples of English and German keyboard works compared with examples from Willan's introduction, Passacaglia and Fugue in order to illustrate the use of similar compositional devices and stylistic traits. Also included is a discussion of the evidence of Willan's individuality as a composer in spite of numerous derivative sources.
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Marlovits, John E. "Fugues of depression : an ethnography of affect and mental illness in Seattle /." Diss., Digital Dissertations Database. Restricted to UC campuses, 2008. http://uclibs.org/PID/11984.

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McGahie, Paul Douglas. "THE CHORAL FUGUE: A COMPARATIVE STUDY OF STYLE AND PROCEDURE IN WORKS BY J.S. BACH AND W.A. MOZART." Cincinnati, Ohio : University of Cincinnati, 2006. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1155660835.

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Thesis (Dr. of Musical Arts)--University of Cincinnati, 2006.
Title from electronic thesis title page (viewed Oct.10, 2006). Includes abstract. Keywords: music, choral music, choral fugues, fugues, Bach, J.S., Mozart, W.A., choral Includes bibliographical references.
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Wang, Zhixiong. "L'art de la fugue : une etude psychopathologique du pianiste glenn gould." Lyon 1, 1990. http://www.theses.fr/1990LYO1M053.

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Wölfle, Sylvia. "Die Kunstpatronage der Fugger ; 1560 - 1618." Augsburg Wissner, 2005. http://d-nb.info/993472524/04.

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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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41

Schad, Martha. "Die Frauen des Hauses Fugger von der Lilie (15.-17. Jahrhundert) : Augsburg, Ortenburg, Trient /." Tübingen : J. C. B. Mohr (P. Siebeck), 1989. http://catalogue.bnf.fr/ark:/12148/cb35502619g.

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42

Liebich, Rafael. "Uma análise das fugas para piano de Bruno Kiefer : uma busca por padrões estilísticos na sua escrita contrapontística." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2004. http://hdl.handle.net/10183/5008.

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Este trabalho oferece um estudo dos padrões estilísticos definidos através da análise dos processos contrapontísticos encontrados no terceiro movimento da Sonata nº I, Fuga e Toccata e do movimento final de Duas peças Sérias da obra para piano de Bruno Kiefer. A fuga, uma das técnicas de composição linear mais estabelecidas na escrita musical, reflete as transformações estilísticas na música ocidental. Considerando a diversidade de possibilidades estéticas na música do século XX, faz-se mister investigar como Kiefer tratou uma técnica composicional consagrada, preservando de modo singular e consistente o estilo inovador atribuído às suas obras. O referencial teórico adotado para este estudo é Twentieth Century Fugue – A Handbook (1962) de William Graves, Jr.. A partir da análise dos padrões recorrentes nas fugas de Bruno Kiefer, verificou-se o distanciamento entre os parâmetros da fuga tradicional e o estilo da escrita contrapontística do compositor.
This study offers a view of the stylistic patterns defined by the analysis of the contrapuntal processes used in the third movement of Sonata I, Fuga e Toccata, and the final movement of Duas peças sérias [Two serious pieces], from the piano works of Bruno Kiefer. The fugue, one of the most well established linear techniques of musical writing, reflects the stylistic transformations in Western music. Considering the diversity of aesthetic possibilities in twentieth-century music, it is appropriate to investigate how Kiefer dealt with such a technique, preserving an innovating style in a consistent manner, which has always been attributed to his music. This study was guided by Twentieth Century Fugue – A Handbook (1962), by William Graves, Jr.. After the analysis of the recurrent patterns found in the fugues by Kiefer, a verification of how these patterns relate to traditional parameters of fugal writing was undertaken.
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43

Liao, Wei-Chun. "A Study of Musical Rhetoric in J. S. Bach's Organ Fugues BWV 546, 552.2, 577, and 582." University of Cincinnati / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1427983542.

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44

Moreira, Soares Natalia. "Un dedans et un dehors : les jeunes placés qui fuguent. Une approche psychanalytique." Thesis, Université de Paris (2019-....), 2019. http://www.theses.fr/2019UNIP7171.

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Dans le présent travail de thèse, nous nous intéressons au phénomène de fugue des jeunes placés en institution et aux résonances du conflit intra-psychique dans l’espace où se trouve le sujet qui fugue. Nous partons de l’hypothèse que la fugue, le départ d’un lieu à un autre, traduit sur la scène spatiale le recours du sujet à une étape régressive d’illusion (notion proposée par Winnicott, 1971), de non différenciation entre réalités interne et externe (dedans et dehors). La fugue des jeunes du domicile familial et/ou du lieu de placement nous interroge sur leur tentative de contenir leur vie pulsionnelle, comme une quête d’inscription à une place qui leur serait propre dans le lien social. Ce qui nous a interpellée encore davantage, c’est la capacité de l’institution d’accueil (foyer), à faire « frontière » entre ces deux dimensions du dedans et du dehors. Les jeunes qui fuguent montrent que là où ils sont, ils ne peuvent pas y rester. Il leur faut rechercher quelque chose, quelque part, qui n’est pas là où ils se trouvent. La fugue vient ainsi interroger la constitution d’espaces psychiques internes, sur ce qui permet ou entrave la consolidation de lieux psychiques sécurisants pour le sujet. La matrice méthodologique utilisée dans notre thèse est celle de la recherche en psychanalyse. Nous mettons en évidence le cadre du placement en institution à partir du terrain de la protection de l’enfance au Brésil et en France. Nous utilisons comme ressources méthodologiques des vignettes cliniques issues d’entretiens réalisés avec des jeunes placés en foyer au Brésil et en France, des notes d’observation de deux services de placement situés dans les deux pays, ainsi que la consultation des dossiers des jeunes placés. A partir de l’analyse du matériel clinique nous mettons en exergue l’expérience de la rencontre humaine avec des sujets dont les appuis internes sont fragiles et dont le désir paraît rester sans demeure
In this thesis, we are interested in the phenomenon of running away among youth in institutional care and the incidence of intra-psychic conflict in the spaces where they are. We start from the hypothesis that runaways, the unexpected behavior of going back and forth from one place to another, translate into the space scene, an individual’s resource to a regressive stage of illusion (notion proposed by Winnicott 1971), of nondifferentiation between the internal and external realities (inside and outside). Running away from the family home and/or from the residential care might indicate the person’s attempt to control his or her drive activity and one’s inclusion of a possible place in the social bond. In this study, we also propose to discuss the capacity of the residential facility (shelter modality) to act as a 'frontier' between the dimensions of 'inside' and 'outside'. The methodological matrix used in this thesis is research in psychoanalysis. We will present the context of the institutional care based on the realities of the child welfare services in Brazil and France. We used as methodological resources the clinical vignettes of interviews conducted with institutionalized young people, as well as the researcher’s observation notes, through the consultation of dossiers in two residential cares, one in Brazil and another in France. From the analysis of the clinical material, we highlight the experience of human encounters with individuals whose internal resources are fragile, and their heart’s desire can find no place to call home
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45

Resnianski, Igor. "RODION SHCHEDRIN'S TWENTY-FOUR PRELUDES AND FUGUES: HISTORIC, ANALYTIC, PERFORMANCE, AND PEDAGOGIC PERSPECTIVES." Diss., Temple University Libraries, 2010. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/68013.

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Music Performance
D.M.A.
The Twenty-Four Preludes and Fugues of Rodion Shchedrin is the magnum opus of perhaps the most respected living Russian composer, whose music is virtually unknown in the United States. Inspired by J. S. Bach and following in the footsteps of Dmitri Shostakovich, Shchedrin produced this impressive and original cycle for solo piano. It was written during the span of about six years, from 1964 to 1970. Since then, most of the preludes and fugues have become popular among students and pedagogues in Russian colleges and conservatories. The purpose of this monograph is to introduce this commendable work in the United States and to provide comprehensive structural analysis with performance suggestions and pedagogic overview. For each Prelude and Fugue, this monograph provides clear structural tables, which summarize form, compositional techniques, and rhythmic, textural, and polyphonic organization. In addition it provides performance and pedagogic evaluation of the entire cycle, with short discussions of each prelude and fugue. This monograph begins with a biographic overview of the composer, including a discussion of general aspects of his style, with information about Shchedrin's formal music education in Soviet Russia and influences that helped form his musical language. It also provides an historical context for Shchedrin's cycle, citing precedents for his work. With the growing popularity of Rodion Shchedrin's music outside of Russia, this monograph will be a valuable resource for musicians who are interested in teaching, performing, or studying selected Preludes and Fugues from his cycle.
Temple University--Theses
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46

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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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 dispositio 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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47

Ursova, Tetyana. "Interpreting cycles of preludes and fugues by Soviet composers : problems of performance and perception." Thesis, Goldsmiths College (University of London), 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.514389.

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Ronchi, Alexandra Sibertin-Blanc Daniel. "L'adolescent " voyageur " rompre, explorer, exister /." [S.l] : [s.n], 2005. http://www.scd.uhp-nancy.fr/docnum/SCDMED_T_2005_RONCHI_ALEXANDRA.pdf.

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Nam, Minjung. "Franz Liszts Fantasy and Fugue on the chorale Ad nos, ad salutarem undam:." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1367945991.

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50

Lee, Victor Wui-Keung. "An evaluation of Fugu's network deadlock avoidance solution." Thesis, Massachusetts Institute of Technology, 1996. http://hdl.handle.net/1721.1/39072.

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