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Dissertations / Theses on the topic 'John Hughes'
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Chard, Holly. "Mainstream maverick? : John Hughes and new Hollywood cinema." Thesis, University of Sussex, 2014. http://sro.sussex.ac.uk/id/eprint/51552/.
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My thesis explores debates on the commercial and textual priorities of New Hollywood cinema through examination of the career of John Hughes. I argue that scrutiny of Hughes' career and the products associated with him expose the inadequacy of established approaches to cinematic authorship and New Hollywood cinema. By mounting a historically grounded investigation of Hughes' career, his status within the cinema industry, and his work as a commercially successful and agenda-setting filmmaker, I aim to reevaluate existing perspectives on post-1970s mainstream popular U.S. media. Drawing on an extensive array of previously unexamined primary materials, the thesis focuses on Hughes' shifting status as a “creative producer” within the U.S. film industry, as well as on the construction of the John Hughes “brand” during the 1980s and 1990s. I explore how Hughes secured considerable industrial power by exploiting opportunities presented by expanding ancillary markets and changing production agendas. I argue that established models for conceptualising industrial trends, such as Justin Wyatt's “high concept”, fail to capture the complexities of Hollywood's commercial strategies in this period. I conclude that historical research can challenge previous assumptions and contribute to a more detailed and precise understanding of the operations of the U.S. film industry in this period. By scrutinizing the films that Hughes wrote, produced and/or directed, I consider how Hughes' films are complexly determined industrial productions that are shaped both by a set of radically fluctuating commercial imperatives, as well as by Hollywood's standardized formats and frameworks. The production of Hollywood cinema may be a collaborative enterprise, but I argue that certain individuals and institutions can exert greater control over aspects of the process. In conclusion, I suggest that such a historical methodology can illuminate not just the work of one particular filmmaker but can shed new light on the broader operations of Hollywood as a commercial culture industry.
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Chang, Young-Shim. "Reading Handel a textual and musical language of Acis and Galatea (1708, 1718) /." connect to online resource. Access restricted to the University of North Texas campus, 2005. http://www.unt.edu/all/Aug2005/chang%5Fyoung-shim/index.htm.
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Meenagh, Martin Lee. "John J. Hughes, first Archbishop of New York, and the Atlantic Irish, c. 1841-c. 1864." Thesis, University of Oxford, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.275762.
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Chang, Young-Shim. "Reading Handel: A Textual and Musical Analysis of Handel's Acis and Galatea (1708, 1718)." Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc5582/.
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The purpose of this dissertation is two-fold: one is to analyze the narratives of Acis and Galatea written by Ovid, and the two libretti by Handel's librettists including Nicola Giuvo (1708) and John Gay (1718) with John Hughes and Alexander Pope; the other is to correlate this textual analysis within the musical languages. A 1732 pastiche version is excluded because its bilingual texts are not suitable for the study of relationships between meaning and words. For this purpose, the study uses the structural theory- -mainly that of Gérard Genette--as a theoretical framework for the analysis of the texts. Narrative analysis of Acis and Galatea proves that the creative process of writing the libretto is a product of a conscious acknowledgement of its structure by composer and librettists. They put the major events of the story into recitative and ensemble. By examining the texts of both Handel's work, I explore several structural layers from the libretti: the change of the characterization to accommodate a specific occasion and the composer's response to contemporary English demand for pastoral drama with parodistic elements, alluding to the low and high class of society. Further, Polyphemus is examined in terms of relationships with culture corresponding to his recurrent pattern of appearance.
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Wilsey, Shannon K. "Interpretations of Medievalism in the 19th Century: Keats, Tennyson and the Pre-Raphaelites." Scholarship @ Claremont, 2010. http://scholarship.claremont.edu/cmc_theses/20.
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This thesis describes how different 19th century poets and artists depicted elements of the medieval in their artwork as a means to contradict the rapid progress and metropolitan build-up of the Industrial Revolution. The poets discussed are John Keats and Alfred, Lord Tennyson; the painters include William Holman Hunt and John William Waterhouse. Examples of the poems and corresponding Pre-Raphaelite depictions include The Eve of Saint Agnes, La Belle Dame Sans Merci and The Lady of Shalott.
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Boast, Rachael. "Dark saying : a study of the Jobian dilemma in relation to contemporary ars poetica : Bedrock : poems." Thesis, University of St Andrews, 2009. http://hdl.handle.net/10023/906.
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Part I of this thesis has been written with a view to exploring the relevance a text over 2500 years old has for contemporary ars poetica. From a detailed study of ‘The Book of Job’ I highlight three main tropes, ‘cognitive dissonance’, ‘tĕšuvah’, and ‘dark saying’, and demonstrate how these might inform the working methods of the contemporary poet. In the introduction I define these tropes in their theological and historical context. Chapter one provides a detailed examination of ‘Job’, its antecedents and its influence on literature. In chapters two and three I examine in detail techniques of Classical Hebrew poetry employed in ‘Job’ and argue for a confluence between literary technique and Jobian cosmology. Stylistically, the rest of the thesis is a critical meditation on how the main tropes of ‘Job’ can be mapped onto contemporary ars poetica. In chapter four I initiate an exploration into varying responses to cognitive dissonance, suggesting how the false comforters and Job represent different approaches to, and stages of, poetic composition. A critique of an essay by David Daiches is followed by a detailed study of Seamus Heaney. In chapter five I map the trope of tĕšuvah onto contemporary ars poetica with reference to the poetry of Pilinszky, Popa, and to the poems and critical work of Ted Hughes. The chapter concludes with a brief exploration into the common ground shared between the terms tĕšuvah and versus as a means of highlighting the importance of proper maturation of the work. Chapter six consists of a discussion of how the kind of ‘dark saying’ found in ‘Job’ 38-41 impacts on an understanding of poetic language and its capacity to accelerate our comprehension of reality. I support this notion with excerpts from Joseph Brodsky and a close reading of Montale’s ‘L’anguilla’. Chapter seven further develops the notion of poetry as a means of propulsion beyond the familiar, the predictable or the clichéd, by examining the function of metaphor and what I term ‘quick thinking’, and by referring to two recently published poems by John Burnside and Don Paterson. In chapter eight I draw out the overall motif implied by a close reading of ‘Job’, that of the weathering of an ordeal, and map this onto ars poetica, looking at two aspects of labour, which I identify as ‘endurance’ and ‘letting go’, crucial for the proper maturation of a poem or body of poems. The concluding chapter develops the theme of the temple first discussed in chapter one. I argue for a connection between Job as a temple initiate, who has the capacity to atone for the false comforters, and poetry as a form of ‘at-one-ment’. This notion is supported by reference to Geoffrey Hill and Rilke. Part II of the thesis consists of a selection of my own poems, titled ‘Bedrock’.
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Rathmell, Annette Louise. ""A cry into the green world" : nature and ethics in the poetry of R.S. Thomas, Ted Hughes, Charles Tomlinson and Jon Silkin." Thesis, University of Leeds, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.612615.
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My thesis argues that a major and hitherto neglected strand of British post-War poetry lies in the sustained critique of Cartesian metaphysics contained in the work of key poets coming to maturity in the 1950s and 1960s. Whereas the poetry of the period has often been examined in terms of, for example, the poets' attitudes to history, myth or class, I argue for an alternative configuration, based on the ways in which four major poets developed new, anti-Cartesian ways of experiencing and knowing the nonhuman world. Each of these poets sought to interrogate established Cartesian dualities such as subject/object, thought/feeling, body/spirit, which they believe had resulted in a damaged and dangerous relationship between humanity and the nonhuman world. Each developed an alternative metaphysics, which, they believed, would entail more balanced, less destructive ways of living with the non human world. In my introduction, I examine some of the major critical responses to the poetry of this period, and argue that these fail to give due weight to the work of these poets, in particular its interrogation of the oppressive uses of Cartesian rationality, and its use of the unique potential of poetic language to develop alternatives. In Chapters 1-4, I examine the work of each of the four poets individually. I argue that their concerns emerged from a sense that humans had become dangerously alienated from the nonhuman world, and demonstrate from close readings of key poems how they develop poetically their alternative metaphysics and attendant ethics. In Chapter 5, I demonstrate the importance of my reading of these four poets by showing how it enables us better to understand the work of major poets writing today. who are also concerned with the human relation to the nonhuman world.
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Lawrence, Faith. "'True receivers': Rilke and the contemporary poetics of listening (Part 1) ; Poems: Small weather (Part 2)." Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/7418.
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Part 1: ‘True Receivers': Rilke and the Contemporary Poetics of Listening In this part of this thesis I argue that a contemporary ‘poetics of listening' has emerged in the UK, and explore the writing of three of our most significant poets - John Burnside, Kathleen Jamie and Don Paterson - to find out why they have become interested in the idea of the poet as a ‘listener'. I suggest that the appeal of this listening stance accounts for their engagement with the poetry of Rainer Maria Rilke, who thought of himself as a listening ‘receiver'; it is proposed that Rilke's notion of ‘receivership' and the way his poems relate to the earthly (or the ‘non-human') also account for the general ‘intensification' of interest in his work. An exploration of the shifting status of listening provides context for this study, and I pay particular attention to the way innovations in audio and communications technology influenced Rilke's late sequences the Duino Elegies and The Sonnets to Orpheus. A connection is made between Rilke's ‘listening poetics' and the ‘listening' stance of Ted Hughes and Edward Thomas; this establishes a ‘listening lineage' for the contemporary poets considered in the thesis. I also suggest that there are intriguing similarities between the ideas of listening that are emerging in contemporary poetics and Hélène Cixous' concept of ‘écriture féminine'. Exploring these similarities helps us to understand the implications of the stance of the poet-listener, which is a counter to the idea that as a writer you must ‘find your voice'. Finally, it is proposed that ‘a poetics of listening' would benefit from an enriched taxonomy. Part 2 of the thesis is a collection of my poems entitled ‘Small Weather'.
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Williams, Brian. "The moral formation of the intellectual appetite in Hugh of St. Victor, Philip Melanchthon, and John Henry Newman." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:494c2d67-6ba0-486f-afa5-7d168c9824ec.
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Humans desire a variety of things: food, safety, pleasure, friendship, play, beauty, and so forth. Included among these is knowledge. This thesis is partially about trying to understand this desire to know, often referred to as the "intellectual appetite," and the ends toward which it should be directed. Like other appetites, the intellectual appetite can be morally ordered or disordered. When morally ordered, it is referred to as the virtue of studiositas, and when morally disordered, the vice of curiositas. If human persons possess an intellectual appetite, if what they know affects how they live, and if they undergo some kind of formal education, then it is reasonable for individual learners to critically consider who or what is forming their intellectual appetites and what they expect formal academic institutions to help them accomplish. Though the purpose of education is a perennial concern, the debate has intensified and widened in recent decades. Many of the popular visions of education that shape student expectations, animate academic institutions, inform local communities, and determine public policy restrict the scope of the intellectual appetite's tutelage. These visions often regard people as either detached intellects, political citizens, marketplace labourers, technological innovators, or moral and spiritual agents, and orient the process of education accordingly. The tradition of theological reflection on education, known as the "didascalic tradition," provides resources for thinking that people are each of these and more. This work examines how three influential Christian educators from different centuries and settings defend education's intellectual, practical, and moral ends. Hugh of St. Victor, a leading teacher at the twelfth century Abbey of St. Victor, authored an influential work that integrated the liberal and servile arts with the Christian narrative of creation and restoration. Philip Melanchthon, known as the Praeceptor Germaniae, was a Protestant Humanist professor of Greek at the sixteenth century University of Wittenberg and curriculum designer for over eighty schools and universities across Europe. John Henry Newman was a fellow at nineteenth century Oriel College, Oxford, founding rector of the Catholic University of Dublin and the Oratory School in Birmingham, and author of three volumes and numerous essays on university education. This thesis offers an integrated account of each educator's ideas and practices, synthesizes their major and minor works, compares and contrasts them with each other, and places them in dialogue with contemporary educational philosophers Martha Nussbaum and Stanley Fish. Both Nussbaum and Fish offer profound insights into education. However, Nussbaum's decision to harness the intellectual appetite for the political liberalism of John Rawls, and Stanley Fish's decision to harness it for the modern research university means that both fail to offer comprehensive accounts of education. In contrast, Hugh, Melanchthon, and Newman demonstrate that education can form the intellectual appetite to serve multi-dimensional intellectual, practical, and moral goods that foster human flourishing and the common good.
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McPhilimy, Chelsie Nicole. "It's Alive: A Lighting Design Process for a Production of "Zombie Prom," Based on a Story by John Dempsey and Hugh Murphy, with Lyrics by John Dempsey and Music by Dana P. Rowe." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1397695162.
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Falkenstein, Leonard Robert. "Renovating the kitchen, irishness, nationalism, and form in the theatre of John B. Keane, Tom Murphy, Hugh Leonard, Brian Friel, and Thomas Kilroy." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/nq21567.pdf.
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Vega-Centeno, Máximo. "HUGH H. SCHWARTZ (Editor): Supply und marketing construints on hin ameritan manufacturing exports. Inter-American Development Bank-The Johns Hopkins University Press, Washington D.C. 1991." Economía, 2012. http://repositorio.pucp.edu.pe/index/handle/123456789/118225.
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Kuntz, Benjamin Charles. "Hunters in the Garden Yuʼpik subsistence and the agricultural myths of Eden /." CONNECT TO THIS TITLE ONLINE, 2007. http://etd.lib.umt.edu/theses/available/etd-05232007-125303/.
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Valeonti, Sofia. "La politique monétaire de la période de la Reconstruction aux États-Unis (1865-1879) : enjeux, théories, débats." Thesis, Paris 1, 2020. http://www.theses.fr/2020PA01E012.
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Cette thèse propose une reconstruction théorique des débats monétaires de la période de la Reconstruction aux États-Unis en se focalisant sur les travaux de Henry Charles Carey, Hugh McCulloch, Simon Newcomb et John Sherman. Elle s’efforce d’identifier les liens entre les positions respectives de chacun, les politiques économiques préconisées et leurs visions du développement économique. Répondre à cette ambition implique au préalable d’expliquer pourquoi la question monétaire centrale est celle des greenbacks – le papier-monnaie inconvertible ayant cours légal émis afin de financer la guerre de Sécession – et de préciser comment la question monétaire a été le lieu privilégié d'affrontement entre des visions politiques antagonistes (chapitre 1). Les chapitres qui suivent se focalisent sur l’analyse des écrits des principaux participants aux débats. Le chapitre 2 s’intéresse à la théorie monétaire de Carey et montre comment elle vise à réunifier les États-Unis tout en établissant leur indépendance nationale à travers l’industrialisation par le maintien du système monétaire des greenbacks et du protectionnisme. Face à Carey se trouvent ceux qui favorisent un retour à la convertibilité, parmi ceux-ci McCulloch, Newcomb et Sherman. Le chapitre 3 examine la position de McCulloch et Sherman et établit que leur position dans le débat était dictée par leur vision du développement économique qui promouvait l’intégration internationale des États-Unis. Enfin, le chapitre 4 porte sur l’auteur qui constitue la référence théorique commune à ceux qui défendent le retour à la convertibilité : tant la méthodologie que la théorie monétaire de Newcomb y sont analyséesThis thesis proposes a theoretical reconstruction of the monetary debate that took place during the U.S. Reconstruction period by studying the writings of Henry Charles Carey, Hugh McCulloch, Simon Newcomb, and John Sherman. It traces the links between the policy proposals of each writer, their political economy, and their vision of economic development. A prerequisite to tracing those links was a clear identification of the main money question of the period: the greenback – the fiat, legal-tender, paper money issued by the Union as a means to finance the Civil War. Also necessary was an explanation of how the monetary debate became an arena for expressing antagonistic political visions. The first chapter offers both an identification and explanation. The following chapters then analyze the writings of the main participants of the debate. Chapter 2 focuses on Carey’s monetary theory and shows that his theory led him to deduce that maintaining both a greenback monetary standard and protectionism would make it possible to build a permanent union, while establishing national independence. On the opposite side of the debate were those who advocated for a resumption of specie payments, among them McCulloch, Newcomb, and Sherman. Chapter 3 examines McCulloch and Sherman’s position in the debate and provides evidence that it was informed by their vision of economic development, a vision that aimed to promote U.S. international integration. The fourth chapter centers on Newcomb’s methodology and the monetary theory that results from its application, a theory that offers an analytical framework to those who defended the resumption of specie payments
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Lewis, Elizabeth Faith. "Peter Guthrie Tait : new insights into aspects of his life and work : and associated topics in the history of mathematics." Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/6330.
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In this thesis I present new insights into aspects of Peter Guthrie Tait's life and work, derived principally from largely-unexplored primary source material: Tait's scrapbook, the Tait–Maxwell school-book and Tait's pocket notebook. By way of associated historical insights, I also come to discuss the innovative and far-reaching mathematics of the elusive Frenchman, C.-V. Mourey. P. G. Tait (1831–1901) F.R.S.E., Professor of Mathematics at the Queen's College, Belfast (1854–1860) and of Natural Philosophy at the University of Edinburgh (1860–1901), was one of the leading physicists and mathematicians in Europe in the nineteenth century. His expertise encompassed the breadth of physical science and mathematics. However, since the nineteenth century he has been unfortunately overlooked—overshadowed, perhaps, by the brilliance of his personal friends, James Clerk Maxwell (1831–1879), Sir William Rowan Hamilton (1805–1865) and William Thomson (1824–1907), later Lord Kelvin. Here I present the results of extensive research into the Tait family history. I explore the spiritual aspect of Tait's life in connection with The Unseen Universe (1875) which Tait co-authored with Balfour Stewart (1828–1887). I also reveal Tait's surprising involvement in statistics and give an account of his introduction to complex numbers, as a schoolboy at the Edinburgh Academy. A highlight of the thesis is a re-evaluation of C.-V. Mourey's 1828 work, La Vraie Théorie des quantités négatives et des quantités prétendues imaginaires, which I consider from the perspective of algebraic reform. The thesis also contains: (i) a transcription of an unpublished paper by Hamilton on the fundamental theorem of algebra which was inspired by Mourey and (ii) new biographical information on Mourey.
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Gibson, Donald. "Twentieth-century poetry and science : science in the poetry of Hugh MacDiarmid, Judith Wright, Edwin Morgan, and Miroslav Holub." Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/8059.
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The aim of this thesis is to arrive at a characterisation of twentieth century poetry and science by means of a detailed study of the work of four poets who engaged extensively with science and whose writing lives spanned the greater part of the period. The study of science in the work of the four chosen poets, Hugh MacDiarmid (1892 – 1978), Judith Wright (1915 – 2000), Edwin Morgan (1920 – 2010), and Miroslav Holub (1923 – 1998), is preceded by a literature survey and an initial theoretical chapter. This initial part of the thesis outlines the interdisciplinary history of the academic subject of poetry and science, addressing, amongst other things, the challenges presented by the episodes known as the ‘two cultures' and the ‘science wars'. Seeking to offer a perspective on poetry and science more aligned to scientific materialism than is typical in the interdiscipline, a systemic challenge to Thomas Kuhn's The Structure of Scientific Revolutions (1962) is put forward in the first chapter. Additionally, the founding work of poetry and science, I. A. Richards's Science and Poetry (1926), is assessed both in the context in which it was written, and from a contemporary viewpoint; and, as one way to understand science in poetry, a theory of the creative misreading of science is developed, loosely based on Harold Bloom's The Anxiety of Influence (1973). The detailed study of science in poetry commences in Chapter II with Hugh MacDiarmid's late work in English, dating from his period on the Shetland Island of Whalsay (1933 – 1941). The thesis in this chapter is that this work can be seen as a radical integration of poetry and science; this concept is considered in a variety of ways including through a computational model, originally suggested by Robert Crawford. The Australian poet Judith Wright, the subject of Chapter III, is less well known to poetry and science, but a detailed engagement with physics can be identified, including her use of four-dimensional imagery, which has considerable support from background evidence. Biology in her poetry is also studied in the light of recent work by John Holmes. In Chapter IV, science in the poetry of Edwin Morgan is discussed in terms of its origin and development, from the perspective of the mythologised science in his science fiction poetry, and from the ‘hard' technological perspective of his computer poems. Morgan's work is cast in relief by readings which are against the grain of some but not all of his published comments. The thesis rounds on its theme of materialism with the fifth and final chapter which studies the work of Miroslav Holub, a poet and practising scientist in communist-era Prague. Holub's work, it is argued, represents a rare and important literary expression of scientific materialism. The focus on materialism in the thesis is not mechanistic, nor exclusive of the domain of the imagination; instead it frames the contrast between the original science and the transformed poetic version. The thesis is drawn together in a short conclusion.
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McCord, Kyle 1984. "Recklessness and Light." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc700018/.
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This dissertation contains two parts: Part I, which discusses the methods and means by which poets achieve originality within ekphrastic works; and Part II, Recklessness and Light, a collection of poems. Poets who seek to write ekphrastically are faced with a particular challenge: they must credibly and substantially build on the pieces of art they are writing about. Poems that fail to achieve invention become mere translations. A successful ekphrastic poem must in some way achieve originality by using the techniques of the artist to credibly and substantially build on the art. The preface discusses three ekphrastic poems: W.H. Auden’s “Musée des Beaux Arts,” John Ashbery’s “Self-Portrait in Convex Mirror,” and Larry Levis’ “Caravaggio: Swirl and Vortex.” In order to invent, each of these poets connects time within the paintings to time within the poem. The poets turn to techniques such as imprinting of historical context, conflation, and stranging of perspective to connect their work with the paintings. I examine these methods of generating ekphrastic poems in order to evaluate how these poets have responded to one another and to consider emerging patterns of ekphrastic poetry in the twentieth century.
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Nelson, Elissa Helen. "Teen films of the 1980s : genre, new Hollywood, and generation X." Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-05-2692.
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Teen films from the 1980s are a part of the zeitgeist, but there is very little we actually understand about how they can be qualified and defined, and about the phenomenon of their prolific production, box office success, and cultural relevance. Gaining greater insights about these issues is essential for recognizing the significance of a specific group of films and the ways they address concerns of how teens come of age, but is also important for learning about the films’ historical and industrial contexts of production. Asking the questions why these kinds of films, why at this time, and what do they mean, leads to an awareness and identification of the phenomenon, but additionally, these lines of inquiry explore how the films and their success are tied to changing Hollywood industrial conditions, and to the shifting political, economic, social, and cultural climate of the U.S. in the 1980s.
While previous scholars have studied the industrial context of production of teen films in the 1950s, and some have looked at the different types of films produced in the 1980s, the matter remains as to whether teen films actually constitute their own genre. Examining this question of genre is necessary for clarifying a number of issues: how the films relate to the culture at large; how representations of youth on screen can help us understand and reevaluate Generation X, the demographic group coming of age at the time; and how an assessment of these films contributes to a re-conceptualization of the ways films are produced, marketed, and categorized in the New Hollywood. Using primary data consisting of textual analysis and contextual analysis, and applying both qualitative and quantitative methodologies, the study builds on and adds to previous approaches to genre. The contributions of this research are multifaceted. By gaining insights about these films, we can begin to appreciate more fully a maligned generation, the changing landscape of the entertainment industry, and a cultural phenomenon.text