Tesis sobre el tema "1810-1856 Criticism and interpretation"

A thesis which examines Schumann's secret musical language and the development of that language into a highly complex system of extra-musical meanings expressed in tones, special motifs, harmonic progressions and keys. This study traces the development of Schumann's procedures by first analysing the songs of 1840 to see which repeated musical devices connected with texts. Once they have been identified, the application of these devices is then examined, retrospectively, in selected works for solo piano. Relying heavily on Schumann's diaries and letters, as well as a detailed analysis of selected works for voice and solo piano, this study shows the extra-musical meaning to be ultimately concerned with Schumann's wish to marry Clara Wieck and her father's unyeilding opposition to the idea.

The purpose of this study is to show how Elizabeth Gaskell creates a sense of place and why place is important in her novels. Gaskell's life and works indicate an interest in place and an ability to recreate it, but, although most critics mention her descriptive powers, few examine how a sense of place is achieved. Indeed, setting as a tool of analysis has received critical attention only fairly recently. Here the term 'place' has been chosen because it embraces the social, physical, and personal aspects of setting as well as the objects with which spaces are furnished, and for the purpose of discussing its significance a model of the novel has been devised which shows the interrelationships of character, action, setting, language, and ideas, as well as the influence of context (Introduction). Gaskell creates a sense of place in many unobtrusive ways, but particularly important are point of view, windows as vantage points, the connection of place with memory, and similarities in perception between scenes in the novels and fashions in painting (Chapter One). An analysis of Ruth illustrates the interrelationship of character and place. Ruth's journey mirrors her spiritual development, and character is often revealed through response to environment or the displacement of emotions onto it, while place is also used to signify innocence and to emphasize the plea for understanding of the unmarried mother and her child (Chapter Two). Places in North and South represent important aspects of newly industrialized Britain, and are significant to the novel's vision of a coherent society; an examination of how apparently irreconcilable communities are shown to be mutually dependent underlines the importance of place to the novel's ideas (Chapter Three). Wives and Daughters has a complicated plot based on a number of parallel, interlocking stories each centred on a home in the neighbourhood of Hollingford. How event, story, and plot are connected to these places shows their relationship with action (Chapter Four). Thus is an appreciation of Gaskell's literary achievement enhanced, and place shown to be a significant element in her novels.

This study explores the theoretical consequences of Freud's renunciation of the seduction theory. The dissertation defends the thesis that the seduction theory was shaped as much by Freud's adherence to the nomonological model as by the empirical evidence of child sexual abuse. A renunciation of the seduction theory was inevitable, not because the accounts of the daughters were lies, but because the methodology was inappropriate. The nomonological model obscured the emotional structure of the nuclear family in which the structure itself, through which sexuality emerged, directed the girl's entrance into womanhood and caused the woman's dis-ease. Freud's methodology forced him to isolate an event as cause of an illness and to attribute the event to an agent. The universal perversity of the Victorian father thus became the central theme around which an explanation of a female disease was built. When this theme became theoretically untenable, Freud renounced the seduction theory and, still using the nomonological model, built up the construct of the Oedipus complex in which the father was vindicated. In order to exonerate the father, the transactions through which the child's libido developed were represented as originating in inherent tendencies. As a result, the hierarchical nature of the interaction between parent and child was distorted, and this led to the formulation of the distinction between real events and fantasies as a basic premise on which the difference between the pleasure principle and the reality principle rests. This formulation gave rise to the sharp duality between fantasy and reality which eventually compelled him to separate psychic reality and social reality. The theoretical structure built on this duality could not but fuse hysteria, masochism and "normal" femininity into an explanation of the female state, and obscure the essential social relations between men and women which were structured in terms of dominance and submission. The thesis traces the journey from the perverted father as cause of a female disease, hysteria, to the theoretical conjunction of masochism and hysteria. It comes to the conclusion that Freud's model is unable to explain the self-mutilation of the hysteric; nor is it capable of explaining the hysteric's refusal to participate in the circuit of symbolic exchanges which constituted Victorian society. The study further attempts to understand hysteria in terms of the complex interlacing of fact and fantasy and tries to show that fantasy was rooted in the facts of Victorian culture.

Georges Bizet (1838-1875) is best known for his operatic masterpiece, Carmen, but his other works have received much criticism. Much of this criticism stems from the belief that his work was simply derivative of other composers, including the father of French musical exoticism, Felicien David (1810-1876). However, there has never been any formal study comparing the two composers' compositional techniques.The purpose of this study is to compare the approaches that both Bizet and David took to portray the exotic in their operatic works, and to categorize any differences or similarities between the two composers' styles. The operas chosen for this study include Bizet's Les Pecheurs de perles (1863) and Djamileh (1872), as well as David's La Perle du Bresil (1851) and Lalla-Roukh (1862). Detailed historical background and musical analysis will be provided for each opera.<br>School of Music

The aim of this study was to describe and critically explore the psychoanalytic, psychotherapist's lived experience of the technique of using the couch. Through examination of the literature a question was formulated that would disclose the analyst's experience of the technique of using the couch. Four experienced psychoanalytic practitioners who could be operationally defined as 'analysts' were interviewed. Using a phenomenological method the protocols were comprehensively analyzed to produce descriptions of the general structure of the experience. These were then texturally enhanced using interleaved direct citations from the interviews. The structural and textural 'findings ' so produced were then hermeneutically dialogued with contemporary psychoanalytic notions of critical discourse and intersubjectivity. The phenomenological ' findings ' of the study disclosed the meaning of the couch as context-based, paradoxical and ambiguous. The couch was found to be a symbol of the analyst as analyst and the process as authentic analysis. Furthermore, at its best, the couch was found to mediate a mode of being that is containing and intimate and in which psychological life may be evoked, tracked and interpreted. The most significant contributor to this mode of being was found to be privacy, which, in particular, helps the analyst maintain an analytic attitude. The couch was also found to be significantly implicated in the generation of an intersubjective analytic third and to support reverie. These 'findings' were hermeneutically dialogued with literature on the couch as well as contemporary psychoanalytic theoretical notions. The dialogue fell into three foci. The first focus entailed deconstructing the meaning of the couch as context-based and ambiguous and not essential. The second pursued critiques of the role that the couch plays in domination, of its function as a symbol/evocative object and of the way in which it shapes being-together, bodily attunement, privacy, the intersubjective analytic third and reverie. Finally the 'findings' were critically examined in terms of both Lacan's notion 'analytic discourse ' and its role in revealing/concealing the analysand as subject. The study concludes with an examination of its own limitations and suggestions for further research.

This thesis identifies strategies of queer/irony in the writings of Lord Byron, Heinrich Heine, Theodor Fontane, and Oscar Wilde. Key to the understanding of irony is Friedrich Schlegel's re-evaluation of the concept. The thesis establishes an approach to the multifaceted concept of irony and identify key concepts of queer theory. The focus, however, is close reading. First, Lord Byron's epic satire Don Juan is read with regards to the interplay of narrative strategies and the depiction of gender, homoeroticism and the concept of the child. Furthermore, reviews published at the time of the publication of Don Juan are examined: Why did the reviewers reject the work so violently? Second, in Heine's Buch der Lieder we find ironic strategies that Richard Rorty subsumed into the concept of 'final vocabularies.' By acknowledging the formulaic nature of language in general and Romantic tropes in particular, Heine succeeds in subverting a heteronormative discourse on love and desire. Heine's Reisebilder – 'Die Reise von München nach Genua' and 'Die Bäder von Lucca' – depict the limits of queer/irony: Where meaning is fixed, as in the case of the Platen polemic, irony loses its propensity to contain multitudes. Third, Theodor Fontane's novels of adultery are read against the background of irony as established through a Schlegelian reading of Frau Jenny Treibel and a queer reading of Ellernklipp. The novels Unwiederbringlich and Effi Briest question notions of truth and map the danger of knowledge. At the core of this chapter lies the notion of 'knowledge management,' a strategy closely related to irony. The figure of the courtier Pentz in Unwiederbringlich becomes a harbinger of dangerous, queer knowledge similar to the way Crampas' use of Heine quotations negotiates sexually suggestive knowledge in Effi Briest. In a final step, the aforementioned queer/ironic strategies are employed to read texts by Oscar Wilde. Are the strategies as inferred in the other chapters valid for Wilde's writings as well? We find that, in a time where homoerotic behaviour was heavily sanctioned, ironic writing had become a liability. Wilde's ironies are too opaque for the reader: They have become a movement where nobody is allowed to 'play along'.

Thesis (MA (Psychology))--University of Stellenbosch, 2010.<br>ENGLISH ABSTRACT: Jacques Lacan and Sigmund Freud‟s ideas are presented with specific emphasis on the themes presented in Freud‟s (1920a) Beyond the Pleasure Principle. Freud‟s Project for a Scientific Psychology (1950) provides important clues to describe the pleasure principle in terms of Quantity (Q), facilitations [Bahnung] and contact-barriers. Therefore, the implications of the pleasure principle relate greatly to 1) Freud‟s notion of the unconscious, 2) Lacan‟s explanation of das Ding, 3) the difference between jouissance and plaisir, and 4) the relationship between das Ding and the Law. Lacan‟s understanding of the death drive is consequently the culmination of all the topics mentioned and repeated throughout. Lacan‟s description of the death drive is twofold: firstly, the mechanical explanation of the pleasure principle, and secondly, how desire features within the pleasure principle. Lacan‟s description of the death drive encompasses libido, desire, economy, Linguistics, and the Oedipus complex, which illustrates why Freud‟s (1920) Beyond the Pleasure Principle is not only an important text in Freud‟s oeuvre, but also in Lacan‟s.<br>AFRIKAANSE OPSOMMING: Jacques Lacan en Sigmund Freud se idees word nagegaan met spesifieke beklemtoning van die temas in Freud (1920a) se Beyond the Pleasure Principle. Freud (1950) se Project for a Scientific Psychology verskaf belangrike wenke vir die beskrywing van die pleasure principle in terme van kwantiteit (Q), fasilitasies (Bahnung) en kontak-versperrings [contact-barriers]. Gevolglik het die implikasies van die pleasure principle betrekking tot 1) Freud se begrip van die onbewussyn, 2) Lacan se verduideliking van das Ding, 3)die verskil tussen jouissance en plaisir, en 4) die verhouding tussen das Ding en die Wet. Lacan se begrip van die doodsdrang (death drive) is gevolglik die toppunt van al die onderwerpe wat deurentyd genoem en herhaal is. Lacan se beskrywing van die doodsdrang is tweedelig: eerstens, die meganiese verduideliking van die pleasure principle en tweedens, die rol van begeerte in die pleasure principle. Lacan se beskrywing van die doodsdrang behels libido, begeerte, ekonomie, Linguistiek, en die Oedipus-kompleks, wat wys hoekom Freud (1920) se Beyond the Pleasure Principle nie net „n belangrike teks in Freud se werke is nie, maar ook in Lacan s‟n.

The thesis examines the nature of political reform and the role of culture in the liberal utopia envisaged by Richard Rorty in Contingency, Irony, and Solidarity. Rorty's overall project is outlined, and situated within the anti-foundationalist critique that has been the hallmark of his recent career. The perilous position of nonintellectuals within the otherwise-acceptable utopia is detailed. Harold Bloom's conception of the strong poet is then examined and compared to the use Rorty makes of Bloom; I conclude that the faults of the liberal utopia lie primarily in establishing the strong poet as that culture's hero. I turn to Rorty's reading of Sigmund Freud, a reading which consistently inverts Freud's insights in order to make Freud fit into Rorty's plan. Finally, I re-examine Freud and suggest ways in which he can be used to correct the faults of the liberal utopia.

This thesis examines the publishing history of Algernon Charles Swinburne during his lifetime (1837-1909). The first chapter presents a detailed narrative from his first book in 1860 to the mid 1870s: it includes the scandal of 'Poems and Ballads' in 1866; his subsequent relations with the somewhat dubious John Camden Hotten; and then his search to find another publisher who was to be Andrew Chatto, with whom Swinburne published for the rest of his life. It is followed by a chapter which looks at the tidal wave of criticism generated by Poems and Ballads but which continued long after, and shows how Swinburne responded. The third and central chapter turns to consider the periodical press, important throughout his career not just for reviewing but also as a very significant medium for publishing poetry. Chapter 4 on marketing looks closely at the business of producing and of selling Swinburne’s output. Finally Chapter 5 deals with some aspects of his career after the move to Putney, and shows that while Theodore Watts, his friend and in effect his agent, was making conscious efforts to reshape the poet, some of Swinburne’s interests were moving with the tide of public taste; how this was demonstrated in particular by his volume of Selections and how his poetic oeuvre was finally consolidated in the Collected Edition at the end of his life. The thesis shows that popular interest was mainly on his earlier poetry, and suggests his high contemporary reputation (which was not fully reflected in sales) was maintained by the periodical press.

Neither an unquestioning support for British imperialism nor a personal pre-Jungian philosophy were the driving forces behind Rider Haggard’s beliefs or his literature. These two concerns were secondary to the author’s fascination with the supernatural, a theme prominent in his era, but less so in our own. A declining faith in European religion provided the dominant focal point in Haggard’s work. Although there are important overtones of imperial concern and indeed points of Jungian significance in the texts, these are generally subservient to an intensive wide-ranging spiritual discourse. The place of Haggard’s work in history and its literary merit are thus misunderstood when his spiritualism is not taken into account. No analysis of the author’s work can be complete without first coming to terms with his spiritual ideas and then with their impact on other topics of significance to both the author and audiences of his day. The spiritual or religious aspect of his writing has been largely ignored because of its subtle nature and its relative unfashionability throughout most of the twentieth century in the critical and intellectual climate of the Western world. However, in the Victorian era, under the materialist impact of Darwin, Marx and industrialization, Europe's Christian God was pushed from centre stage, creating widespread spiritual hunger and anguish. In the resulting religious vacuum Haggard's overtures were of particular significance to his audience. In fact, when considered in terms of his immense contemporary popularity, the pervasive presence of spirituality throughout Haggard's works and in his personal writing gives some indication of the subject's enormous importance not only to the author, but to late Victorian society as a whole. In light of this Victorian significance, the spiritual element rises, by its constant presence and persistent foregrounding, to subvert not only the imperial and the Jungian, but even Haggard's overt adventure text by dealing directly with the underlying metaphysical crisis in Western society.

This study undertakes an examination of the representation of nature in works of literature that it regards as early British ‘mythopoeic fantasy’. By this term the thesis understands that fantasy fiction which is fundamentally concerned with myth or myth-making. It is the contention of the study that the connection of these works with myth or the idea of myth is integral to their presentation of nature. Specifically, this study identifies a connection between the idea of nature presented in these novels and the thought of the late-Victorian era regarding nature, primitivism, myth and the impulse behind mythopoesis. It is argued that this conceptual background is responsible for the notion of nature as a virtuous force of spiritual redemption in opposition to modernity and in particular to the dominant modern ideological model of scientific materialism. The thesis begins by examining late-Victorian sensibilities regarding myth and nature, before exposing correlative ideas in selected case studies of authors whose work it posits to be primarily mythopoeic in intent. The first of these studies considers the work of Henry Rider Haggard, the second examines Scottish writer David Lindsay, and the third looks at the mythopoeic endeavours of J. R. R. Tolkien, the latter standing alone among the authors considered in these central case studies in producing fiction under a fully developed theory of mythopoesis. The perspective is then widened in the final chapter, allowing consideration of authors such as William Morris and H. G. Wells. The study attempts to demonstrate the prevalence of an identifiable conceptual model of nature in the period it considers to constitute the age of early mythopoeic fantasy fiction, which it conceives to date from the late-Victorian era to the apotheosis of Tolkien’s work.

Orientador: Maria Irma Hadler Coundry<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem<br>Made available in DSpace on 2018-08-18T06:26:06Z (GMT). No. of bitstreams: 1 Pereira_LaraMedeirosBorges_M.pdf: 788895 bytes, checksum: 41ee5bc3d478c0f6c1003267fc242cf9 (MD5) Previous issue date: 2011<br>Resumo: Orientado pela abordagem teórica e metodológica da Neurolinguística Discursiva (ND), este trabalho apresenta um estudo acerca dos conceitos fundamentais da obra Sobre as Afasias (Zur Auffassung der Aphasien), de Sigmund Freud, à luz da qual é apresentado um estudo de afasia verbal. A partir do estudo crítico realizado por Freud, são destacadas, nesta dissertação, temáticas tais como seu percurso enquanto neurofisiologista, a influência das ideias de Hughlings Jackson e Stuart Mill na criação de sua teoria sobre as afasias, bem como questões acerca do aparelho de linguagem esquematizado por ele, fundamental para a compreensão de tais fenômenos. Posteriormente, é apresentado um conjunto de dados - e sua análise - do sujeito WW, o qual tem, segundo a classificação de Freud, uma afasia verbal. Os dados foram obtidos em sessões coletivas semanais do Grupo II do CCA (Centro de Convivência de Afásicos) e em sessões individuais de acompanhamento linguístico de WW, orientados pela metodologia heurística que caracteriza a relação entre sujeitos e linguagem empreendida pela ND. Foram realizadas práticas com a linguagem em situações discursivas - envolvendo o eixo fala, leitura e escrita - tendo como objetivo levantar questões sobre as dificuldades linguísticas e psíquicas do sujeito em questão, no exercício da linguagem<br>Abstract: Guided by the theoretical and methodological approach of Discursive Neurolinguistics (ND), this work presents a study of fundamental concepts of the work On Aphasia (Zur Auffassung der Aphasien), of Sigmund Freud, in the light of what is presented a study of verbal aphasia. From the critical study carried out by Freud, are highlighted in this dissertation topics such as his journey as a neurophysiologist, the influence of the ideas of Hughlings Jackson and Stuart Mill in creating his theory of aphasia, as well as questions about language device outlined by him, essential to the understanding of such phenomena. Subsequently, we present a set of data - and analysis - of the subject WW, which has, according to the classification of Freud, a verbal aphasia. The data analyzed here were obtained in dialogic episodes occurred in weekly sessions of Group II of the CCA (Center for Coexistence of Aphasics) and in individual sessions accompanying the language of the subject WW, guided by the heuristic methodology that characterizes the relationship between subject and language undertaken by ND. Practices were conducted with the language in discursive situations - involving the axis speaking, reading and writing - aiming to raise questions about the linguistic and psychological difficulties of the subject in question, in the exercise of language<br>Mestrado<br>Linguistica<br>Mestre em Linguística

The purpose of this thesis is to show that Charles Brockden Brown was influenced by the American Revolution and the incidents that come after it. It is suggested that Brown created a gothic fiction that was intended to be a critique on the American Revolution by using murder narrratives present during the time to create his characters. Gothic fiction consists of many elements such as setting arechetypal characters, terror, emotion, psychological turmoil and language use.

Orientador: Nina Virgínia de Araújo Leite<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem<br>Made available in DSpace on 2018-08-21T22:47:56Z (GMT). No. of bitstreams: 1 Leme_PatriciadeOliveira_M.pdf: 1354597 bytes, checksum: 5dae4738b3554f602db88d197ab3ebad (MD5) Previous issue date: 2013<br>Resumo: O presente trabalho consiste em uma leitura do estilo de Jorge Luis Borges a partir de um inquietante efeito narrativo, passível de ser abordado na área psicanalítica através do enigmático conceito de estranho. Para a elaboração dessa hipótese, inicialmente chamou-se à baila três contos de Borges: "La escritura del dios", "La muerte y la brújula" e "Tlön, Uqbar, Orbis Tertius". Mesmo estendendo-se a outras incursões na vasta obra borgeana, as três narrativas constituem a moldura necessária para a compreensão de certos mecanismos do estilo borgeano, que nesse trabalho acabam por figurar como elemento causa de estranhamento. No primeiro capítulo tomaram-se os textos como cenas de leitura, em um procedimento que buscou explicitar esse inquietante efeito da escrita de Borges, bem como salientar suas reverberações no campo da crítica literária. O impacto do estilo borgeano na sua crítica pôde elucidar alguns pontos cruciais ao enodamento com a teoria psicanalítica nos capítulos posteriores, recuperando também algumas chaves de leitura importantes no delineamento do efeito em questão. No segundo capítulo promoveu-se uma leitura d' "O estranho", de Sigmund Freud, a partir desse funcionamento da obra borgeana: seus pontos de contato puderam revelar que o conceito erigido por Freud supera os limites de sua própria elaboração, fazendo-se presente mais como um lugar de enunciação do estranho do que como um conceito fechado em suas próprias bases. Esse movimento convocou, no terceiro capítulo, a retomada do conceito de estranho por Jacques Lacan em seu O seminário, livro 10: a angústia. Nele, Lacan promove uma elaboração do estatuto do objeto a, noção paradigmática no campo psicanalítico, a partir do estranho como um efeito de seu aparecimento na estrutura subjetiva. Para tecer o enodamento com o literário, as teorizações lacanianas em seu décimo oitavo seminário foram fundamentais, por trazerem à tona a noção de discurso e de escrita, sobretudo em sua "Lição sobre Lituraterra". O estabelecimento da letra como litoral entre saber e gozo, bem como o seu funcionamento a partir da rasura, permitiram a sustentação da hipótese de leitura que se soergueu inicialmente a partir de um efeito: há em Borges algo que causa estranhamento, e ele se anuncia para além do registro do relato, constituindo uma operação formal que produz esse efeito de escrita<br>Abstract: This work consists in a reading of Jorge Luis Borges' style beginning from a disquieting narrative effect, which is liable to be approached by the psychoanalytic area through the enigmatic concept of the uncanny. For the elaboration of this hypothesis three Borges' short stories were primarily chosen: "La escritura del dios", "La muerte y la brújula" and "Tlön, Uqbar, Orbis Tertius". Even having made other incursions into the vast borgesian oeuvre, these three narratives constitute the needed frame for the understanding of certain mechanisms of the borgesian style, which in this work figure in the end as elements cause of uncanniness. In the first chapter these texts were boarded as reading scenes in a procedure that aimed to make explicit this disquieting Borges' writing effect, as well as to underline its repercussion in the field of literary criticism. The impact that the borgesian style had on his critics could elucidate some crucial points to the entanglement with the psychoanalytic theory in the posterior chapters, as well as recovering important keys for the reading in the proposed outlining. In the second chapter was promoted a reading of Freud's "The uncanny" through this aspect of the functioning of the borgesian oeuvre: their points of contact could reveal that the concept created by Freud overcomes the boundaries of its own elaboration, making itself present as a place of enunciation of the uncanny rather than a concept closed in its own bases. This movement summoned, in the third chapter, the resumption of the uncanny concept in the seminar, book 10. The anguish, by Jacques Lacan. In this work Lacan promotes an elaboration of a paradigmatic notion for the psychoanalytic field, the object a, starting from the uncanny as an effect of its appearance on the subjective structure. The lacanian theories in his eighteenth seminar were essential in order to compose the entanglement with the literary form, as they shed light on the notions of discourse and writing, especially in his "Lesson on Lituraterre". The establishment of the letter as littoral between knowledge and jouissance, as well as its way of function through the erasure, allowed to sustain this reading hypothesis, which was raised from an effect: there is something that causes uncanniness in Borges' writing and it shows itself beyond the register of the narrated story, constituting a formal operation that produces this writing effect<br>Mestrado<br>Linguistica<br>Mestra em Linguística

The proof set forward in this thesis is that the method of Marshall McLuhan (1911-1980), which he came in the 1970’s to describe as ‘structuralist’, ‘phenomenological’ and even ‘metaphysical’, owes a heretofore unacknowledged debt to Sigmund Freud (1856-1939). Critics have thus far neglected the influence of nineteenth and twentieth century psychology in McLuhan’s work, although a wealth of biographical material supports the argument that McLuhan’s ‘metaphysical’ method is derived as much from psychoanalysis and analytical psychology (C.G. Jung) as from any of McLuhan’s acknowledged predecessors. Returning to the texts from which McLuhan gained his knowledge of psychology, I trace the influence of Freud, Jung and their disciples upon McLuhan, establishing McLuhan’s use of Freudian concepts and terminology in his first book The Mechanical Bride (1951), and his use of the psychoanalytic concepts of the ‘unconscious’, ‘trauma’ and ‘repression’ in the books that came after it. What McLuhan calls the ‘unconscious’ is more often named by him as Logos, ‘acoustic space’ or the ‘media environment’, and I trace the debts that these concepts owe not only to Freud and Jung but to Aristotle, St. Thomas Aquinas, gestalt theory, art theory, Henri Bergson, Pierre Teilhard de Chardin, Wyndham Lewis, Siegfried Giedion, Harold Innis, the French symbolist poets of the late nineteenth century and the British modernists of the early twentieth. Despite his rejection of the Freudian argument, McLuhan, like Freud, conceptualizes pain or trauma as the ‘cause’ of transformations (i.e. processes) in the unconscious; but while for McLuhan, invoking St. Thomas Aquinas and Aristotle, technologies are ‘formal causes’ simultaneous with (or ‘preceded’ by) their effects, for Freud and his modern interpreter Jacques Lacan, trauma is ‘paradoxical’ in structure, presenting as both its own ‘cause’ and ‘effect’. Situating McLuhan in relation to French structuralism, I contrast McLuhan’s concepts of ‘figure’ (as cause) and ‘ground’ (as effects), elaborated in his last book Laws of Media (1988), to the concepts of the ‘signifier’ and the ‘signified’ in Ferdinand de Saussure’s Course in General Linguistics (1916), and critique McLuhan’s ‘tetrad’, the ideograph with which he illustrates media ‘effects’, in relation to the psychoanalytic concept of the signifier elaborated by Lacan. In reply to McLuhan’s maxim that ‘the medium is the message’, I conclude that technologies, insofar as they function as ‘formal causes’, are doubly ‘hidden’: firstly, because, as McLuhan says, they can only be grasped through their effects; and secondly because, as Lacan says, their effects can only be articulated when they manifest as ‘disturbances’ in the symbolic order, i.e., as fantasies of the Other’s jouissance (enjoyment). There are numerous stories about how McLuhan would frustrate his critics by refusing to take a ‘point-of-view’, and in fact his (psychoanalytic) technique of ‘putting on’ the audience as a mask, and his (deconstructivist) manner of changing perspectives as often as necessary, sit oddly with his championing of Logos. A comparison with Freud and Lacan finds McLuhan at a ‘paradoxical’ moment in the history of Western thought, poised between modernism and postmodernism, between structuralism and deconstructivism, and between metaphysics and psychoanalysis.<br>Thesis (Ph.D.) - University of Adelaide, School of History and Politics, 2008

碩士<br>東吳大學<br>音樂學系<br>98<br>Abstract Viola da gamba is the earliest one of the Plucked-String Instruments. Although Viola was dispensable before the 20 century, its performance technique has been elevated recently. Viola makes a strong impression on people that it doesn’t play an accompaniment role any more. Therefore, the compositions for viola which created by the composers have been increasing largely. This Märchenbilder: Vier Stücke für Klavier und Viola, Op. 113 by Robert Schumann (1810-1856) is one of the vital work of Romanticism. It is filled with the composer’s romantic emotion, and it’s melody is beautiful. This thesis is divided into four chapters to introduce this work. First of all, I will introduce Schumann’ life events, style, background of her creation . Second, I will analyze and explain the four pieces, from the chord structure , material, and harmony structure to analyze and take musical contexts for practical examples. Third, I will conclude what performance Technique is necessary, and interpret from my objective viewpoints. Finally, I hope that via this thesis, people who enjoy viola music and the it’s players will understand and appreciate the music characteristics of Schumann more. Viola Music Recital 1.Johann Sebastian Bach (1685-1750) Viola da Gamba Sonata No.2 in D 2.Johann Nepomuk Hummel(1778-1837) FANTAISIE pour ALTO et ORCHESTRE à CORDES 3.Jean Baptiste Charles Dancla(1817-1907) Carnival of Venice 4.Rebecca Helferich Clarke(1886-1979) Sonata For Viola and Piano