379 research outputs found
IBPP Research Associates: Namibia
No full textThis article was posted on the February 9, 2003 issue of The Namibian by Willy Amutenya. The author discusses the escalation of tribalism and racism in Namibia.
Copyright permission for the article were not available, and it is not in Scholarly Commons for download
All Personality is Performance
No full textAdapted for the stage for the first time, The Driver’s Seat is one of renowned novelist Muriel Spark’s most gripping and disturbing books.
At the centre of this taut, darkly comic thriller is Lise, an enigmatic young woman who is compelled to travel alone to an unnamed city.
Professor Willy Maley, English Literature, University of Glasgow considers the author and protagonist of The Driver’s Seat: a “study of self-destruction”
The flute music of Willy Burkhard (1900-1955) : analysis and performance notes
No full textWilly Burkhard (1900–1955) was one of the most prolific Swiss composers of the twentieth century. His works comprise ninety-nine opuses and include a multitude of genres. Burkhard was awarded the Swiss Composersʼ Prize and the Music Prize of the City of Zürich. He held teaching positions at the conservatories in Bern and Zürich and was a Swiss Musiciansʼ Society board member for thirteen years. Indicating his importance to Swiss musical history, the Willy Burkhard Gesellschaft was founded in Bern in 1964.
This dissertation examines Burkhardʼs solo and chamber music for flute, including the Suite en miniature für Flöte und Klavier, Op. 71, No. 2 (1944), the Serenade für Flöte und Gitarre, Op. 71, No. 3 (1944), the Serenade für Flöte und Klarinette, Op. 92 (1953), and the Suite for Flöte solo, Op. 98 (1955). These works represent Burkhardʼs mature compositional style and their study provides insight into Burkhardʼs musical language and processes. Burkhardʼs music straddles the line between the tonal and atonal worlds. He often creates a tonal center through repetition of the tonic pitch class or harmony. However, he avoids diatonic scales in favor of chromatic and octatonic pitch sets. The formal structure of the music is closely related to Burkhardʼs treatment of tonality. Pitch and rhythmic motives are integral to Burkhardʼs music and appear in both melodic and secondary lines. He uses ostinato figures in the accompaniment that may either complement or contradict the melody. Burkhardʼs use of intervals is deeply intertwined with all of these elements, as he is partial to the minor second, minor third, major third, and perfect fourth. These intervals serve to create both local and long-distance connections. Of lesser importance is Burkhardʼs use of harmony, in which he generally chooses smooth linear motion and color over function. Burkhard also explores different textures in his music, regardless of instrumentation.
The knowledge gained through analysis is then used as a basis for notes regarding the performance of these works, with the goal of inspiring an appropriate stylistic interpretation. In addition to these suggestions, technical information and practice ideas are provided when applicable.Thesis (D.A.)School of MusicSuite en miniature für Flöte und Klavier, op. 71, no. 2 -- Serenade für Flöte und Gitarre, op. 71, no. 3 -- Serenade für Flöte und Klarinette, op. 92 -- Suite für Flöte solo, op. 98
THE INFLUENCE OF AMERICAN DREAM TO THE CHARACTERIZATION OF WILLY LOMAN’S IN ARTHUR MILLER’S NOVEL
No full textThis research aims at describing the influence of American Dream on Willy Loman’s characterization as a husband, father, and a salesman. The research applied a library research to collect information about the Death of a Salesman, American Dream and the author, Arthur Miller In doing the analysis, the writer used the structural method and sociological approach. The data were analyzed the characterization of Willy Loman by using structural approach, the writer continued her analysis to find out the influence of American Dream on Willy Loman’s characterizations by using sociological approach. The result of the research shows that WillyLoman’s characterizations are influenced by his ambition to pursue his American Dream. Willy Loman’s dream for being successful salesman and as a father makes him disappointed after he knows that he is fired from Howard’s Company and when he realizes that Biff in 34 years old does not has a proper job with a big salary. The realities make Willy Loman feels that he has failure in his life
Přistěhovalectví v díle Willy Catherové
No full textThe presented bachelor thesis examines the depiction of nature, landscape and the life on the Midwestern prairie in the selected works of Willa Cather. The theoretical part introduces Willa Cather as an author and focuses on terms such as regionalism, local colour, Midwest and immigration. The analytical part of the thesis focuses on the depiction of nature and immigrants in the selected works.Předložená bakalářská práce se zabývá zobrazením krajiny, prostředí a života přistěhovalců na americkém středozápadě ve vybraných dílech Willy Catherové. V teoretické části je představena Willa Catherová společně s pojmy jako jsou regionální literatura, local colour, americký středozápad a imigrace. Praktická část bakalářské práce se bude zabývat analýzou zobrazení krajiny a přistěhovalců ve vybraných dílech.Fakulta filozofickáStudentka představila téma, strukturu a závěry své práce. Odpověděla na dotazy v posudcích i otázky komise. Její vystoupení bylo velmi kultivované.Dokončená práce s úspěšnou obhajobo
Author and Authorship in Arthur Miller’s Death of a Salesman: Willy Loman\u27s Attempts to Author a Nostalgic, Fictitious Past Lead to His Downfall, While Linda Loman’s Miller-Authored Warnings Fall on Willy’s Ever-Deaf Ears
No full textThroughout the 20th century, the American male protagonist’s obsession with and longing for a past that never existed brings about his own downfall. In Death of a Salesman, by Arthur Miller, Willy Loman nostalgically fantasizes about a bygone era, the pre-war days of glory and greatness, but as he attempts to recreate his presumed former prestige in a post-war world, the fantasy unravels, with not only death and destruction in his dream’s widening, illusory wake, but the unraveling also presents itself in the recognition that Willy’s carefully crafted memories are works of fiction. Decades of literary research focus on Willy’s fascination and obsession with memory, nostalgia for a previous age that never measures up to his memory of it. But, there is a wider gap in the research when it comes to the woman’s role. Willy’s female counterpart, Linda Loman, manages to survive because she is rooted in reality. For Linda, time moves on and reality fuels her forward progress, while Willy remains irrevocably tied to a false, self-conceived past. Routinely focusing on Linda as permissive or assisting in prolonging Willy’s fantasies, as merely the long-suffering housewife motif that Willy proposes, only exacerbates the notion that women are superfluous to the stories of men. Linda’s attempts to awaken her fantasy laden husband fall on deaf ears, and they also fall on blind critics. As the author of his fictions, Willy veers further and further from the truth of his situation and his character, while Miller’s moral lessons assert their sway through Linda as the truth teller. Linda is Miller’s voice, reminding the readers that “attention must be paid” to both Willy’s delusions and Linda’s accuracy
Three readings on childhood: an analysis of the versions of "Infância", by Willy Corrêa de Oliveira.
No full textEste trabalho tem como objetivo analisar Infância, ciclo de canções compostas por Willy Corrêa de Oliveira entre novembro de 2002 e janeiro de 2003, sobre o poema homônimo de João Cabral de Melo Neto. Para a realização deste projeto, foram analisados o poema em questão, bem como aspectos gerais das obras de João Cabral e Willy Corrêa no que concerne às canções em sua obra. Ao fim, realizei uma entrevista com o autor a respeito deste ciclo de canções, de como este gênero se sustenta no presente, bem como uma nova edição das partituras.This work aims to analyze Infância, a cycle of songs composed by Willy Corrêa de Oliveira between November 2002 and January 2003, based on the ho-monymous poem by João Cabral de Melo Neto. To carry out this project, the afore-mentioned poem was analyzed, as well as general aspects of the works of João Ca-bral and Willy Corrêa concerning the songs in his work. In conclusion, I conducted an interview with the author regarding this cycle of songs, discussing how this gen-re is sustained in the present, as well as a new edition of the sheet music
Willy Corrêa de Oliveira: por um ouvir materialista histórico
No full textEste trabalho busca compreender o pensamento sobre a Linguagem Musical do compositor Willy Corrêa de Oliveira a partir de transcrições das aulas do curso Linguagem e Estruturação Musicais, ministrado por ele no Departamento de Música da Escola de Comunicações e Artes (ECA) da Universidade de São Paulo (USP). O autor desta dissertação parte de trechos de aulas para encontrar relações desse pensamento com a Filosofia Marxista e com diversas teorias e metodologias que resultam em uma maneira de entender a idéia por trás das notas, característica de suas análises. O materialismo-dialético é compreendido no pensamento de Willy a partir da prática e de uma consciência histórica marxista. Esses também seriam os pontos de ligação entre a teoria marxista e outras, como a fenomenologia, a hermenêutica e a semiótica, no caso. As transcrições encontram-se integrais nos Anexos. Assim, o pensamento musical de um compositor brasileiro contemporâneo torna-se disponível e acessível para os que buscam trilhar os mesmos caminhos.This work aims to understand the musical thought of composer Willy Corrêa de Oliveira from transcriptions of a course named Musical Language and Structure taught by him at Music Department of Arts and Communication School of University of São Paulo. Author works from takes of registered classes to relate this thought to Marxist Philosophy and other theories and methodologies resulting in a way of understanding the idea behind the notes, which is one of its characterizes. Dialectic-materialism is understood in Willy's thought from practice and a Marxistconscience of History. These would be the basis to join Marxist theory to others, like Phenomenology, Hermeneutics and Semiotics, in this case. All transcriptions are part of this work. Thus, musical thought of a Brazilian contemporary composer is accessible for those who go by the same track
Willy Corrêa de Oliveira: por um ouvir materialista histórico
No full textEste trabalho busca compreender o pensamento sobre a Linguagem Musical do compositor Willy Corrêa de Oliveira a partir de transcrições das aulas do curso Linguagem e Estruturação Musicais, ministrado por ele no Departamento de Música da Escola de Comunicações e Artes (ECA) da Universidade de São Paulo (USP). O autor desta dissertação parte de trechos de aulas para encontrar relações desse pensamento com a Filosofia Marxista e com diversas teorias e metodologias que resultam em uma maneira de entender a idéia por trás das notas, característica de suas análises. O materialismo-dialético é compreendido no pensamento de Willy a partir da prática e de uma consciência histórica marxista. Esses também seriam os pontos de ligação entre a teoria marxista e outras, como a fenomenologia, a hermenêutica e a semiótica, no caso. As transcrições encontram-se integrais nos Anexos. Assim, o pensamento musical de um compositor brasileiro contemporâneo torna-se disponível e acessível para os que buscam trilhar os mesmos caminhos.This work aims to understand the musical thought of composer Willy Corrêa de Oliveira from transcriptions of a course named Musical Language and Structure taught by him at Music Department of Arts and Communication School of University of São Paulo. Author works from takes of registered classes to relate this thought to Marxist Philosophy and other theories and methodologies resulting in a way of understanding the idea behind the notes, which is one of its characterizes. Dialectic-materialism is understood in Willy's thought from practice and a Marxistconscience of History. These would be the basis to join Marxist theory to others, like Phenomenology, Hermeneutics and Semiotics, in this case. All transcriptions are part of this work. Thus, musical thought of a Brazilian contemporary composer is accessible for those who go by the same track.Universidade Estadual Paulista (UNESP
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