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Karlsson, Fredrik. "The Meeting of Childhood and Colonialism in William Blake’s Songs of Innocence and of Experience." Thesis, Karlstads universitet, Fakulteten för humaniora och samhällsvetenskap (from 2013), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-66163.
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In Songs of Innocence and of Experience William Blake contrasts childhood and adulthood. This essay relates this to another prominent social issue in the collection, colonialism. This essay aims at answering the question of what happens when the child is black rather than white. By providing an analysis of how children in general are portrayed, followed up with a brief discussion of how Blake deals with colonial issues this essay sets the stage for a final concluding discussion about what happens when the two themes of childhood and colonialism meet. The discussion reveals that Blake is using irony to ridicule the contemporary polarized meanings of the words “black” and “white”. By doing this Blake makes the little black boy in “The Little Black Boy” the perfect symbol for criticising the contemporary issues of child abuse and colonialism in one single piece of poetry.I Songs of Innocence and of Experience visar William Blake på motsättningarna mellan barndom och de vuxnas värld. Denna uppsats kopplar detta tema till kolonialism, en annan framstående social fråga som behandlas i diktsamlingen. Syftet med denna uppsats är att besvara frågan om vad skillnaden blir när det är ett svart barn istället för ett vitt som framställs i dikterna. Genom att först analysera hur barn i allmänhet framställs, följt av en kort diskussion om hur Blake hanterar problemet med kolonialismen leder denna uppsats fram till en avslutande diskussion kring vad som händer när två stora teman som barndom och kolonialism möts. Den avslutande diskussionen framhäver att genom Blakes användande av ironi så gör han den samtida polariseringen av orden ”svart” och ”vit” till åtlöje. Den svarta pojken i ”The Little Black Boy” blir Blakes perfekta symbol för att kritisera de samtida frågorna kring barns utsatthet och kolonialism i en och samma dikt.
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Manibog, Lianna Jean. "New Perspectives on Paul and Marx: William Blake's <">The Chimney Sweeper<"> in <<>i>Songs of Innocence and Experience<<>/i>." BYU ScholarsArchive, 2018. https://scholarsarchive.byu.edu/etd/7337.
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New Perspectives on Paul and Marx: William Blake<'>s <&hyphen>œThe Chimney Sweeper<&hyphen> in Songs of Innocence and ExperienceLianna Jean Rose ManibogDepartment of English, BYUMaster of Arts This article explores the function of religion in socio-political spheres. Karl Marx is famously against religion in all its various capacities, arguing that it is a tool used by power structures to control the masses. William Blake, the British poet, is also seen as critical of religion, and because of this his works are often read through a Marxist lens. And yet depictions of Blake as a staunchly anti-religious man don<'>t seem to fit with what we know of him and his works. This article reexamines key texts that deal with the question of how faith and society intersect, particularly reading the works of the Apostle Paul through a Jewish understanding. In doing so, we gain a new understanding of religion as a balancing weight that combats the dangers of the oppressive governments that Marx staunchly opposed.
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Singh, Jyoti. "The presentation of the orphan child in eighteenth and early nineteenth century English literature in a selection of William Blake's 'Songs of innocence and experience', and in Charlotte Brontë's 'Jane Eyre', and Emily Brontë's 'Wuthering Heights'." Thesis, Rhodes University, 2010. http://hdl.handle.net/10962/d1005628.
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This thesis is a study of the presentation of the orphan child in eighteenth and early nineteenth century English literature, and focuses on William Blake's Songs of Innocence and Experience, Charlotte Bronte's Jane Eyre, and Emily Bronte's Wuthering Heights. It is concerned with assessing the extent to which the orphan children in each of the works are liberated from familial and social constraints and structures and to what end. Chapter One examines the major thematic concern of the extent to which the motif of the orphan child represents a wronged innocent, and whether this symbol can also, or alternatively, be presented as a revolutionary force that challenges society's status quo in Blake's Songs of Innocence and Experience. Chapter Two considers the significance of the child "lost" and "found", which forms the explicit subject of six of Blake's Songs of Innocence and Experience and explores the treatment of these conditions, and their differences and consequences for the children concerned. Chapter Three focuses on Charlotte Bronte's depiction of the orphan in Jane Eyre, which presents two models of the orphan child: the protagonist Jane, and Helen Burns. The chapter examines these two models and their responses to orphan-hood in a hostile world where orphans are mistreated by family and society alike. Chapter Four determines whether the orphan constitutes a subversive threat to the family in Emily Bronte's Wuthering Heights and also explores the notion that, although orphan-hood often entails liberation from adult guardians, it also comprises vulnerability and exposure. The thesis concludes by considering the extent to which orphan-hood can involve a form of liberation from the confines of social structures, and what this liberation constitutes for each of the three authors.
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Parker, Lisa Karee. "A World of Our Own: William Blake and Abolition." unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-11302006-120306/.
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Thesis (M.A.)--Georgia State University, 2006.Title from title screen. Christine Gallant, committee chair; Paul Schmidt, LeeAnne Richardson, committee members. Electronic text (130 p. : ill., some col.) : digital, PDF file. Description based on contents viewed Apr. 20, 2007. Includes bibliographical references (p. 123-130).
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Hoffman, Deborah Lee. "Artful teasing, endless maze the text as liberator in William Blake's Songs of innocence." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0014/MQ35838.pdf.
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Abu, Zarour Lina, and Dieynaba Diop. "Innocence and experience: Two approaches to teaching reading to L2 learners." Thesis, Malmö högskola, Fakulteten för lärande och samhälle (LS), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-31612.
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Today Swedish society is surrounded by the English language, more so the importance to know how to read English is therefore essential. Students in consequence need the support from teachers to find suitable strategies to master their reading.This degree project’s aim is to find out if teachers use different methods to teach reading, and if so, why. This paper will present the reader with the theories and literature on the definition of reading strategies. Initially, various researchers will be present the two most commonly used strategies, the cognitive and the metacognitive. Although different researcher claim different This study is based on interviews with two teachers in elementary school, grade 4-6. The results and conclusion of this study is that the combination of different methods and the teachers’ adaption to each class and individual is what provides the students with the confidence to learn. Not only does this make it easier for the students to reach the requirements set for them, but this also gives them a willingness to learn. Furthermore, the study provides information on if the teachers working experience does have an impact on the methods they using when teaching L2 learners reading strategies.
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Lundström, Johanna. "Innocence and Experience : Deconstructing Blake's “Two Contrary States of the Human Soul”." Thesis, Karlstads universitet, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-71478.
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This essay analyzes poems and deconstructs binary oppositions in William Blake's Songs of Innocence and of Experience. By analyzing a number of poems, the essay exemplifies how Blake not only creates binary oppositions, but how he also deconstructs them. The essay focuses on the central binary opposition of innocence and experience, but also shows different binary oppositions to further show how Blake is setting up and deconstructing binary oppositions. The essay will argue that Blake can be considered an early deconstructionist due to his use of binary oppositions, as well as Blake intentionally creates binary oppositions.
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Jones, Kate. "Innocence and experience : figuring the child in the fiction of A.L. Barker." Thesis, University of East Anglia, 2015. https://ueaeprints.uea.ac.uk/58487/.
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This thesis considers the dialectic of innocence and experience in the fiction of A.L. Barker (1918-2002). It is about her preoccupation with the relation between these states, which I argue is best understood through the figure of the child. Alluding to and critiquing Romantic, Victorian, psychoanalytic and modernist narratives of childhood and registering their influence on ideas about the child in mid-twentieth-century culture, Barker’s fiction troubles dominant assumptions about what different identities of age entail, meaning that her oeuvre should be read as a ‘genealogy’ of age. I argue that the central question of Barker’s work is if, and how, the child can be written. She wrestles with this question for over thirty years, writing and rewriting the child figure in a number of alternative, innovative forms: the short story, the ‘articulated novel’ and the retropulsive text. In each case she is preoccupied with the ways in which the child mirrors or intertwines with other categories of age that are constructed in opposition to adult identity. The thesis recognises the significance of the child figure in mid-twentieth-century literature and highlights age as a crucial (though under-used) critical concept for reading modernist and after-modernist texts. In this way it contributes to recent literary debates concerning childhood and modernism and also takes part in discussions of age in Childhood Studies and in the newly-emerging field of Age Studies, which recognises age to be an attribute of identity as significant as gender, race, class, sexuality, disability, and so on. The thesis makes a distinct contribution to literary studies by providing the first introduction to Barker’s work and writing life, based not only on in-depth analyses of her published texts but also on extensive archival research undertaken at the A.L. Barker archive at the Harry Ransom Humanities Research Center.
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Nordlén, Lisa. "The Journey from Innocence to Experience : Philip Pullman’s His Dark Materials as a female Bildungsroman." Thesis, Högskolan i Gävle, Institutionen för humaniora och samhällsvetenskap, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-4396.
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In this essay the main aim is to consider Philip Pullman’s trilogy His Dark Materials with its female protagonist as a Bildungsroman. The principal source of the study is Jerome Buckley’s Season of Youth – The Bildungsroman from Dickens to Golding. Buckely’s presentation of the significant characteristics of the Bildungsroman will be applied to Philip Pullman’s His Dark Materials in order to explore if these characteristics are present, modified or not, in the trilogy. The second aim is to investigate how His Dark Materials relates to the patterns of the hero’s journey. In order to approach this question, Joseph Campbell’s work The Hero with a Thousand Faces is applied as a main source. Since most material concerning both the Bildungsroman and the hero’s journey are from a male point of view and concern males, the female perspective will be represented by Susan Fraiman and Linda Wagner who both write about females and the bildung narrative. In the section called The Story of Lyra, the trilogy is summarized briefly in order to give the reader a chance to understand what the trilogy is about. In the conclusion, Lyra’s development and (hero)-journey are discussed. The final claim of the study is that His Dark Materials can be considered a Bildungsroman and the patterns of the hero journey are found in the story about Lyra, but with some differences from her male counterparts.
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Peterson, Lottie Elizabeth. "A Rhetorical Analysis of Campaign Songs in Modern Elections." BYU ScholarsArchive, 2018. https://scholarsarchive.byu.edu/etd/6718.
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Since the U.S. presidential election of 1800, candidates have selected campaign songs to underscore their political platforms. The literature on politics and music suggests that in modern campaigns, the significance of music rests not in the song itself but in the artist behind the song and the image associated with that particular artist. This analysis sought to convey how the very process of selecting a campaign song is a profound rhetorical act, and that songs chosen even in modern elections have a specific meaning and purpose tied to the political contexts in which they are embedded. Using an adaptation of Sellnow and Sellnow's "Illusion of Life" rhetorical perspective, which analyzes whether the musical score and lyrics of a single song form a congruent or incongruent relationship, this study analyzed the official campaign songs for both Republican and Democratic candidates for the 1972-2016 elections. The adaptation provided the opportunity to examine the intersection of music, rhetoric and politics, and explore evolving patterns and trends in campaign music.The primary findings of this research indicated that both Republican and Democratic candidates have predominantly made use of congruity in their campaign songs, with that congruity only increasing over time — a surprising result considering congruity can often diminish listener appeal. The song analyses also indicated that in general, Republican candidates tend to utilize songs that are positive and patriotic in nature, while their Democratic opponents incorporate songs that offer a critique of the nation. Additionally, findings also revealed a transition that began taking place in the 1970s to hit full stride in the 21st century, as campaign songs shifted from being a direct endorsement of candidates to focusing on universal themes that could appeal to both sides of the political spectrum.
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Lupold, Eva Marie. "Literary Laboratories: A Cautious Celebration of the Child-Cyborg from Romanticism to Modernism." Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1339976082.
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Antczak, Marianne. "The images of the God-experience as proclaimed in the songs of Hannah (I Sam 2:1-10) and Mary (Lk 1:46-55)." Theological Research Exchange Network (TREN), 1998. http://www.tren.com.
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Gabbard, Beverly K. "You Didn't Ask, But It Was Wednesday." Kent State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=kent1524222470871216.
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Santos, César de Oliveira. "Águas espessas : Hilda Hilst e a imagem poética." Universidade Federal de Sergipe, 2016. https://ri.ufs.br/handle/riufs/5844.
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The image of Water seems to be a major component among the elements that compose the Cantares de perda e predileção [Songs of loss and predilection] (1983), by Hilda Hilst. Whether as a central component of the poem metaphor or a splash of discreet presence, the Water element makes the book a wealth of meanings. We extract from this book for analysis the treatments granted to Desire and Time. In the first case, we see an opaque water, gleaming anguish and loneliness in a song that is predestined to stop its search in the case of a successfully accomplishment. Although the specificity of each poem, the Water element receives nuances of vertigo common to individuals focused on water, as stated by Bachelard (1942). In the second case, we have a stream doomed to finitude, a condition that is one of the reasons for the thickness of Desire. Some songs show the despair of being-toward-death of Heidegger (1927), according to whom only the (potentially eternal) temporality of poetry seems to save, as says Alfredo Bosi (1977) commenting on the intersection of times (of the poetry and ours). At the confluence of these two analytic matrices - Desire and Temporality - we demonstrate how the plasticity promoted by the Water image recurrence favors the production of emotions in the reader, since, according to Octavio Paz (1956), Image is responsible both for recreating real contradictions and for destabilizing the alleged structural rationalism of our daily lives. For this, we especially use the concepts of perception and look of Merleau-Ponty (1960) and Georges Didi-Huberman (1992), respectively, to demonstrate how, in the act of reading, Language enables our perception to remain on the text and at the same time is changed by it, making completely unattainable to critical discourse the inexplicable subjectivity inherent to the aesthetic experience.A imagem da água parece ser um dos principais componentes da matéria-prima de que se tecem os Cantares de perda e predileção (1983), de Hilda Hilst. Seja como elemento central da metáfora do poema, seja como respingo de presença discreta, o elemento aquático faz do livro um manancial de significações. Dele, extraímos para análise os tratamentos conferidos ao desejo e ao tempo. No primeiro caso, vemos uma água opaca, a reluzir angústia e solidão num canto predestinado a cessar caso a busca se sacie. Apesar das particularidades de cada poema, o elemento aquático ganha nuances da vertigem comum aos indivíduos voltados à água, como afirma Bachelard (1942). No segundo caso, temos um fluxo fadado à finitude, condição que é uma das razões da espessura do desejo. Alguns cantares dão a ver o desespero do ser-para-a-morte de Heidegger (1927), a quem apenas a temporalidade da poesia (potencialmente eterna) parece salvar, a exemplo do que afirma Alfredo Bosi (1977) ao comentar o encontro dos tempos (o dela e o nosso). Na confluência dessas duas matrizes analíticas – o desejo e a temporalidade – buscamos demonstrar como a plasticidade promovida pela recorrência da imagem da água favorece a produção de afetos no leitor, uma vez que o elemento imagético é, segundo Octavio Paz (1956), um poço de contradições recriadoras do real e responsáveis por desestabilizar o racionalismo pretensamente estruturante de nosso dia a dia. Para isso, recorremos principalmente aos conceitos de percepção e de olhar de Merleau-Ponty (1960) e de Georges Didi-Huberman (1992), respectivamente, para demonstrar como, no ato de leitura, o estatuto da linguagem ali movimentada possibilita que a nossa percepção se incruste no texto e ao mesmo tempo seja por ele alterada, tornando inalcançável de todo ao discurso crítico a inexplicável subjetividade inerente à experiência estética.
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Jhang, Jiya-Hao, and 張家豪. "Jungian Individuation in William Blake's Songs of Innocence, Experience and The Marriage of Heaven and Hell." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/74579887875044559395.
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碩士國立彰化師範大學
英語研究所
94
Abstract Jungian Analytic Psychology has referred to the importance of the teleological development of psyche toward the psychic wholeness for a more dynamic integrated individual. Such a psychic development named Individuation can be seen in the prominent works of William Blake, namely Songs of Innocence, Songs of Experience and The Marriage of Heaven and Hell, as the separate stages of psyche for psychic becoming to be a whole. This thesis aims to explore the idea of Jungian Individuation toward Self applied in the three selected works as Innocence, Experience and Marriage for a clearer understanding of important and paradoxical concepts of Jungian Individuation and Self. There are five chapters in this thesis. Chapter one is “Introduction,” including the discussion of motivation, the relation between psychoanalysis and Romanticism and Blake as a “visionary poet” in terms of Jung. Chapter two discusses Jungian theory, especially the concepts of archetypes, Individuation and Self. The archetypes discussed in this thesis are mainly the archetypes of Mother, Child, Hero, Persona, Shadow and the archetype of the archetypes, Self. Chapter three explores the main ideas of Jungian theory expressed in Innocence mainly with Mother Archetype and Child Archetype and Experience with Hero, Persona and Shadow Archetype. Chapter four meets the climax of Individuation in The Marriage of Heaven and Hell, focusing upon the idea of “Enantiodromia” and Self regained. The final chapter is the conclusion that sums up the Jungian theory applied in William Blake’s works. William Blake as a “visionary poet” is an isolated figure from the contemporaries that is against the social and religious norms as the psychic one-sidedness and espouses the enlargement of consciousness through “Poetic Genius.” His task is not against the orthodox but is to transcend it for a more integrated psyche that consists of the seemingly psychic conflicts but at the same time the original and neutral psychic root as archetypes. Therefore, William Blake as the man “To see a World in a grain of sand” has created his own kingdom of the psychic wholeness.
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Ting, Chen Yi, and 陳怡廷. "Application of experience of innocence in product design." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/00653232668467944523.
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碩士實踐大學
工業產品設計學系碩士班
102
The “innocence experiences” can be such a perfect and wonderful things for us, not only can it stimulate a joyful feeling in our mind, but it also can make us observe more interesting details in daily life. Many design studios and international design exhibition have been using the "innocence" as the main topic in recent years, and we can clearly see that it has become a very important role in this field. By combining the element of "innocence experiences" with design language, we'll be able to lead the field of product design into a new direction, yet to create a brand new value to this field. The philosophy behind this study is based on the "innocence experiences" and design process. This can help the designers to think out of the box, and have deeper understanding in user experiences. In the beginning of this study, I collected and analysed literatures relevant to "the operation of experience of toy," "gameplay experience," and "the imagination of fairy tales." These can help us finding trails relate to how we feel and act towards to making our own "innocence experiences." Secondly, in order to develope "the philosophy of innocence design" in this study, I analysed a few design projects that include "innocence elements." In general, "the philosophy of innocence design" contains three design layers. (1) specific design can preserve the experiences of innocence. (2) The need of innocence feeling can be satified by design. (3) Design can act as the conncetion between human emotion and society. Based on these three design layers, the study also suggested that there are three factors it should be combines with the elements of product design and innocence experience. Lastly, the design process that developed by this philosophy had created two distinct projects, which are "Pendoll" and "Urbancage." These two projects received lots of positive feedback during the design exhibition in Taiwan, Japan and Spain. After sharing this design concept with the public, we now know that even though the "innocence experiences" we got were from different cultures and enviroments, but it sure can be the trigger for people to recall their most important memories and stories buried deelpy in their minds.
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"Insights into an Original SSAA Choral Work of Donald Patriquin: Songs of Innocence: On Poems of William Blake." Doctoral diss., 2017. http://hdl.handle.net/2286/R.I.44234.
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abstract: Canadian composer, conductor, pianist, and organist Donald Patriquin (b. 1938) is
best known for his choral folksong arrangements but is also a composer of many original
works. Songs of Innocence, which Patriquin calls “one of my very best choral works,”
exemplifies his approach to setting text to music and provides a rich opportunity for
understanding Patriquin’s method of selecting text, creating a kind of libretto out of the
available text, setting the text to music, and conceiving of and composing instrumental
parts equal in importance to the choral parts. Also evident in this work is his attention to
such elements as precise word painting, varied theoretical approaches, and a general
musical aesthetic that focuses on beauty. This quintessential composition provides
important insights into Patriquin’s personal artistry and his approach to composition.
Patriquin does not fit text to music; instead, all of the musical elements are generated out
of the textual nuances. Patriquin’s comments on the work and his process, gleaned from
extensive email correspondence and his attendance at the U.S. premiere of the work,
provide important insights that can inform conductors and singers of his music. The study
of this suite highlights Patriquin’s expert crafting of musical elements and the methodical
layering of elements he combines to tell the musical story. Pairing Patriquin’s email
correspondence with an in-depth look at Songs of Innocence reveals his overarching
compositional ideas and underlying musical motivations.Dissertation/Thesis
Doctoral Dissertation Music 2017
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LEU, YUN-SHAN, and 呂昀珊. "GOODNESS AND EVIL: HUMAN NATURE IN BLAKES AND WORDSWORTH'S POETRY THROUGH THE RELATIONSHIP OF INNOCENCE AND EXPERIENCE." Thesis, 1992. http://ndltd.ncl.edu.tw/handle/64400954186341848538.
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Human, Werner J. "Three men's experience of their journey to and through divorce: the unheard songs." Diss., 2006. http://hdl.handle.net/10500/1196.
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The psychological effects on, and the experience of divorce by women and children are widely researched. However little data is available on how divorce affects men and how they experience a marriage break-up. This study aims to explore and describe the `voices' (experiences) of divorce from three men's perspectives. The randomly selected sample for this study consisted of three participants'. Data was collected in the form of the participants own written testimonials. Out of the written testimonials themes were identified and explored by the researcher. This was done from an ecosystemic epistemological stance within the post-modern paradigm, with the symbolic use of music / popular songs to further `enhance' the exploration and description of the research participants' experiences of divorce. A qualitative methodological design was followed, allowing `unique' and personal `meaning' and experience to emerge. This study's results were presented in the form of `integrative' and descriptive text. Overall the study explicated unique descriptions of men's experiences of divorce with the creative application of music to enhance descriptions and experiences.Psychology
M.A. (Clinical Psychology)
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Cheng, Ying-shiu, and 鄭英琇. "A Comparative Study of Preservative Experience of Vedic Chanting in India and Hakka Folk Songs in Taiwan." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/19744868759970477714.
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碩士國立臺北教育大學
社會科教育學系碩士班
94
UNESCO (United Nations, Educational, Scientific and Cultural Organization) defines ancient ruins and natural reserves as tangible heritage. In 2001, the Organization further listed “Proclamation of Masterpieces of the Oral and Intangible heritage of Humanity” as intangible heritage. In India, Vedic Chanting has a long history of development and it still remains authentic to a certain extent. However, because the manuscripts of Vedic sutras have not been well-preserved, people in India may not have sufficient understanding about it. In 2003, Vedic Chanting has been listed as intangible world heritage for conserving its invaluable culture. In 2002, Taiwan Council for Cultural Affairs (CCA) of Executive Yuan used to outline a number of properties and sites in the area of Taiwan as world heritage. However, most of the properties and sites are considered tangible; intangible heritage like Hakka folk songs are missing from the list. In early age, Hakka folk songs were brought to Taiwan by mainlanders from China. To discover the entire Hakka culture, its artistic feature becomes an important window. Nowadays, since Hakka language is not pervasive and the cultural value is hardly propagated in Taiwan, it is on the verge of extinction. In 2001, Executive Yuan established Council for Hakka Affairs and started to formulate a series of promotion strategies. Thus, the Council has brought new vitality for restoring Hakka culture. Moreover, in order to understand the preservative experience of Vedic Chanting in India, the current study was conducted through literature analysis, field observation and interviewing to compare the social background and real situation of the intangible heritage in India and Taiwan. The current study includes two fields of observations: one in Kerala, an artistic town in southern India and the other in Taipei City, Taiwan. On one hand, sources collected in India dating from 1950 to May, 2006 were studied, focusing on preservative experience and management of Vedic Chanting from the local organizations and government in India. On the other hand, sources collected in Taiwan regarding Hakka folk songs dating from 1983 to May, 2006 were adopted. It was to research the experience and projects related to preservation of Hakka folk songs by Taipei government. This thesis is to compare Vedic Chanting in India and Hakka folk songs in Taiwan, focusing on the following subjects: social backgrounds, artistic features, preservation, operation of funds of local organizations, preservation policies from both governments, academic research and future prospects. Results of the comparison on Vedic Chanting and Hakka folk songs are revealed as follows. Moreover, suggestions are made for future preservative direction of Indian Vedic Chanting and Taiwanese Hakka folk songs. There are six findings in this study: 1.The preservation of Vedic Chanting has the tendency towards “popularization,” while the preservation of Hakka folk songs seeks “elaboration.” 2.In order to keep up with the social changes, integration of both local involvement and tradition maintenance should be developed at the same time. 3.Whether it is in the local traditional domain or the policy implementation from the governments, it shows a trend of incorporating the current resources. 4.Both the governments in India and Taiwan have begun to draft preservative measures to prevent the languages and culture from disappearing, and have taken root in it. 5.In the aspect of policy implementation, both India and Taiwan encourage and refund the academic research. The research of Vedic Chanting focuses on scientific development, while the research on Hakka emphasizes on culture infrastructure. 6.Both of these cultures are expected to be preserved in a variety of ways, including conserving the tradition and expanding the cultural application to the community.
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Lin, Yi-lin, and 林怡伶. "A Study on the Relationship Among Musical Perception, Place Attachment and Flow Experience--Illustrated by the Songs Possessing Local Images." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/92532236773558154837.
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碩士南華大學
旅遊事業管理學系碩士班
98
The purpose of this research is to explore whether the peculiar local images can create the flow experience in the listeners through the activities of listening to folk songs and thus allow them, haunted with the musical conditions describing the place, time and affairs, to experience the intense local feeling and to further arouse their attachment to the place. This research is conducted by analizing and exploring the three aspects of musical perception, flow experience and place attachment with the survey of questionaires. 450 copies of questionnaires are distributed and 386 copies of questionaires retrieved are valid. According to the outcomes from the valid questionaires conducted by the softwares of SPSS and AMOS, the analysis is proceeded in the statistical approaches of the descriptive statistics, the confirmatory factor analysis and the structural equation. The statistical figures reveal that the credibility validity, and structural models of the questionaires all correspond to the requirements of the basic satisfying standards, the overall model suitability and suitability of model inner structure questionaires. The result of the research reveals: A）Musical perception definitely exerts a positive influence on flow experience; B）The stronger level of musical perception and flow experience one achieves, the more intense attachment one will have to the place. Based on the result of the research, it’s discovered that by appreciating folk songs, local images can obviously obsess the people with the atmosphere of the space and time and them make them create the flow flow experience, and therefore, arouse the attachment to the place. So the travel activities may follow. Here is a suggestion to the travel activities and the hosting administration of travel activities. The introduction of the creating backgrounds, historical allusions, local customs of the songs possessing local images and the appreciation of the lyrics and melodies of the folk songs can be applied to interact and match perfectly with the tourist attractions. Not only can people’s cultural capabilities be enhanced but their willingness to go traveling can be reinforced as well.
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James, Deborah. "Mmino wa setso: songs of town and country and the experience of migrancy by men and women from the northern Transvaal." Thesis, 1993. https://hdl.handle.net/10539/25417.
Full textAbstract:
A thesis submitted to the Faculty of Arts, University of the Witwatersrand, Johannesburg, in
fulfilment of the requirements for the Degree of Doctor of Philosophy.The thesis attempts to illuminate the process through which identitities, apparently strongly "ethnic", are constructed by migrant women, and to examine how these differ from the equivalent identities constructed by men. The focus is upon northern Transvaal migrancy, and special emphasis is given to the central role played by musical performance - particularly that of the style called kiba - in constituting migrant associations. Men and women form separate dance associations: the thesis is concerned particularly with migrant women, and sets the dance groups in the broader setting of female migrancy in southern Africa. This is a phenomenon which has been neglected in the literature. The thesis criticises the adaptive emphasis of earlier Writings on migrant association, and the lack of "local knowledge" in Marxist accounts, Performers of the genre emphasise that the music is "traditional",and their lyrics legitimate the present experiences of contemporary composers by juxtaposing them with the past experiences of older ones. They view the roles they play in relation to their family members both living dependents and deceased forebears - in terms of stereotypes laid down by Sotho custom. But these independent migrant female performers of the genre, in contrast to their rurally-domiciled and. dependent counterparts, are women whose disrupted and geographically mobile upbringing has led them to seek out modernity and progress rather than an adherence to the ways of "traditionalists". They are primary breadwinners for their natal families. Custom and tradition provide an idiom in terms of which, while retaining affiliations to men's kiba sufficient to ensure their continued access to a performance space and an audience, they enunciate an identity as relatively autonomous and emancipated migrants in an urban context.
Andrew Chakane 2018
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Johnson, Simone Lisa. "Defining the migrant experience : an analysis of the poetry and performance of a contemporary southern African genre." Thesis, 2001. http://hdl.handle.net/10413/3014.
Full textAbstract:
This dissertation focuses on the migrant performance genre isicathamiya, a genre which was popular amongst migrant workers in KwaZulu-Natal and Gauteng in the nineteen thirties and forties. It explores contemporary isicathamiya and asks whether there have been paradigmatic shifts in its content in post-apartheid South African society. By way of introduction, the origins and development as well as some of the themes and features of isicathamiya are highlighted. Hereafter scholarly accounts of migrant
performance genres are discussed in conjunction with the cultural re-orientation of migrants in urban centers. The introduction is intended to contextualise the genre by alluding to the politics and aesthetics of isicathamiya performances. Leading on from the introduction, the first chapter of this body of research is a reflection upon the characteristics of oral literature; from the point of view of a literary scholar, I also discuss the problems of interpretation I experienced in this study of mediated isicathamiya lyrics. I propose that isicathamiya performances and texts are elements of
oral literature and begin to define them as such. My intention in chapter two is to explore how local performances have influenced global culture. I ask if oral literature from South Africa has contributed to the global market. I ask what Ladysmith Black Mambazo, the internationally acclaimed isicathamiya choir, has invested in "First World culture" and suggest that there is in existence a transcultural flow of energy between the "so-called centre" and "so-called periphery". In chapter three I suggest that the local and global are in a state of dialogue. I hope to establish a dialogue between local isicathamiya choirs and Ladysmith Black Mambazo. In essence, Ladysmith Black Mambazo has exported a musical form that has its foundations in KwaZulu-Natal and Gauteng. This chapter takes readers back to the source of the genre. I take into consideration Veit Erimann's scholarly studies of isicathamiya in Nightsong: Performance, Power and Practice in South Africa. Focus falls
upon the paradigm of rural/ urban migration in isicathamiya song and the importance of "home" in sustaining migrants in the city. The notion of "homeliness" as a trope in isicathamiya performances is discussed. By extension, in chapter four, I ask whether the notion of "home" emphasized by Veit Erlmann is of significance in contemporary isicathamiya performance. Consequently, I adopt a comparative approach and set out to identify the changes and continuities in contemporary isicathamiya performances in response to transformations within postapartheid society. I ask why isicathamiya is significant in post-apartheid South African society. What is its importance for personal and collective identity? What is being articulated within contemporary performances? Does isicathamiya provide a cultural
space, a forum in which public debate (regarding leaders, policies and concerns) can be staged? Most importantly, is the thematic paradigm between the rural and urban world still visible in contemporary isicathamiya? Is contemporary isicathamiya still grounded on the notion of "homeliness", or have new thematic paradigms emerged in contemporary isicathamiya performances? I propose that South Africa in the present, is itself the site of multiple cultures and fragmented histories. The country and its people are searching for a new unitary meaning in the post-apartheid era. My argument is that isicathamiya texts are elements of postcolonial and post-apartheid literature. I suggest that language, through isicathamiya performance, can show a way back into reinterpreting the past and stitching together a
different present. Isicathamiya texts give hints of journeys and point to identities, shared histories and cultural landscapes. Isicathamiya makes possible the sharing of knowledge and knowledge systems, and is an opportunity to hear un-erased histories and un-silenced voices.Thesis (M.A.)-University of Natal, Pietermaritzburg, 2001.