1,959 research outputs found
Music in words : the music of Anthony Burgess, and the role of music in his literature
No full textTheý principal focus of the thesis is Anthony Burgess, a prolific novelist whose first and
enduring creative passion was music in general and composition in particular. Burgess
criticism is limited and largely out-of-date, showing little recognition of the aural or musical
elements in his fiction, and virtually no specialist commentary on the music and its
relationships with the literature. The main aim of the thesis, therefore, is to demonstrate the
variety and strength of the widespread musical elements in Burgess's literature, including the
importance he attaches to the sonic basis of language, and to show that these are supported by
the musical sensibility and technical competence evident in his. compositions. It is suggested
that in the inevitable reassessmenot f his work following his death in 1993, the effects of his
musicianship on his literary work should play a greater part than hitherto, and the thesis makes
a contribution to this reassessmenbt oth through its original critical commentaries on his music
and through the music-orientated discussion of his literature.
After an introduction and literature review, the first chapter examines three examples of
Burgess's little-known music. All are associated with verbal texts, though the range is
otherwise wide, and through them it is possible to draw conclusions about the competence of
his handling of musical language and structure. The second and third chapters examine the
more familiar work of Burgess the acclaimed author, but from the unfamiliar viewpoint of its
musical content, including not only surface references but also hidden allusions and technical
puzzles aimed at the musician reader. Two instances of music serving as a structural template
for literature are analysed in detail, and attention is also drawn to Burgess's awareness of
musical elements in the content and language of the, work of some. of his predecessors. The
final core-chapter,e xamines the fusion of Burgess's literary and,m usical skills in the context of
his music and words for stage and radio.
What emerges is the clear intermeshing of his parallel careers;, and the production within his
distinctive literary output of work which, due to the radical extent of its musicalisation, has to
be viewed as musically-aware literature for specialised readers, at times evincing, it is
proposed, a logic which springs primarily from music
Activation volumes for peroxodisulfate oxidation of cobalt(iii), iron(ii) and nickel(ii) complexes
No full textDependences of rate constants on pressure (in aqueous solution up to 1.25 kbar) are reported for peroxodisulphate oxidation of hexacyanoferrate(TI), tris(2,2'-bipyridyl)iron(II), tris(l,10-phenanthroline)iron(II), bis(l,4,7-triazacyclononane)nickel(II) and bis(l,2-ethanediamine)cysteinatocobalt(III) and its thioglycollato-analogue, and for periodate oxidation of the two last-named complexes. Derived activation volumes are reported and discussed in terms of intrinsic and solvational contributions. Rate laws and pressure effects on reactivity are reported for the reaction of peroxodisulphate with pentacyanoferrates(II) containing N-alkylpyrazinium ligands.PT: J; CR: ALSHEHRI S, 1992, THESIS LEICESTER ALSHEHRI S, 1993, TRANSIT METAL CHEM, V18, P228 ASANO T, 1978, CHEM REV, V78, P407 BLUNDELL NJ, 1989, INORG CHIM ACTA, V155, P165 BURGESS J, UNPUB BURGESS J, 1966, J CHEM SOC A, P1772 BURGESS J, 1970, J CHEM SOC A, P2114 BURGESS J, 1980, J CHEM SOC CHEM COMM, P350 BURGESS J, 1982, INORG CHIM ACTA, V64, L71 BURGESS J, 1987, TRANSIT METAL CHEM, V12, P238 BURGESS J, 1992, PROGR REACT KINET, V17, P1 HAINES RI, 1981, COORDIN CHEM REV, V39, P77 HALLINAN N, 1987, J ORGANOMET CHEM, V333, P77 HERTING DL, 1978, INORG CHEM, V17, P1649 HOUSE DA, 1962, CHEM REV, V62, P185 IRVINE DH, 1958, J CHEM SOC, P2166 IRVINE DH, 1959, J CHEM SOC, P2977 MCAULEY A, 1984, INORG CHEM, V23, P1938 MILLERO FJ, 1971, CHEM REV, V71, P147 SLOAN CP, 1975, INORG CHEM, V14, P1481 TOMA HE, 1973, INORG CHEM, V12, P1039 VOLLAROVA O, 1983, J CHEM SOC DA, P2359 VOLLAROVA O, 1986, COLLECT CZECH CHEM C, V51, P1049 YEH A, 1985, J AM CHEM SOC, V107, P369; NR: 24; TC: 7; J9: TRANSIT METAL CHEM; PG: 4; GA: MK339Source type: Electronic(1
Blissful violence ambiguity in Stanley Kubrick's a clockwork orange
No full textDissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Gradução em Letras/Ingrês e Literatura Correspondente.Analise da construção da ambigüidade na narrativa do filme Laranja Mecânica, de Stanley Kubrick (1971). Investiga a relação identificação-afastamento que o filme promove entre o protagonista e o espectador, assim como o modo peculiar como o filme trata a violência. Observa um movimento em direção à ambigüidade que se desenvolve ao longo da obra do diretor, iniciando com estruturas e personagens mais tradicionais, abandonando gradualmente as posições morais seguras. Três filmes são também discutidos como uma amostra da obra do diretor, de modo a traçar a evolução de seu estilo e sua visão de mundo: Dr. Fantástico ou Como Aprendi a Parar de me Preocupar e Amar a Bomba (1963), 2001- Uma Odisséia no Espaço (1968) e De Olhos Bem Fechados (1999)
The role of the narrator in “man of Nazareth” by Anthony Burgess
No full textThe paper deals with description specificity of the narrator in the novel “Man of Nazareth” by Anthony Burgess. Azor is definitely one of the most significant characters in the novel. We can assume that the images of the author and the narrator seem to be identical and Burgess`s main ideas are sent by Azor. The article gives a particular attention to the analysis of the narrative features of Azor. Under the guise of the narrator Burgess engages in polemics with evangelists, giving the author’s interpretation of the gospels, which he understands in a different way. His interpretation of the characters is not very different from the well-known versions of apocryphal stories. But at the same time, the narrator becomes some kind of victim of the author. Giving his own interpretation of the Apostles’ archetypal features and the image of Jesus Christ, Burgess also compromises the origin nature of the narrator. The author gives him the name of the son of Sadoc, the ancestor of Jesus Christ, tearing the Old Testament connection.Keywords: English literature of the twentieth century, Аnthony Burgess, Man of Nazareth, the image of the narrator
Comment on Burgess and Zerbe’s “Appropriate Discounting for Benefit-Cost Analysis”
No full textThis is a comment on a paper by David F. Burgess and Richard O. Zerbe. It derives a different set of conclusions than the cited authors do from the customary premises underlying benefit-cost analysis. It concludes that capital should be shadow priced, and that the appropriate discount rate to use in benefit-cost analysis is the interest rate of the capital market to which the public sector has access. It proposes that a plausible source of the great divergence in approaches to discounting stems from different answers being given to the question of whether present day consumption has a future consumption opportunity cost.</jats:p
Comment on Burgess and Zerbe's "Appropriate Discounting for Benefit-Cost Analysis"
No full textThis is a comment on a paper by David F. Burgess and Richard O. Zerbe. It derives a different set of conclusions than the cited authors do from the customary premises underlying benefit-cost analysis. It concludes that capital should be shadow priced, and that the appropriate discount rate to use in benefit-cost analysis is the interest rate of the capital market to which the public sector has access. It proposes that a plausible source of the great divergence in approaches to discounting stems from different answers being given to the question of whether present day consumption has a future consumption opportunity cost.
Estética da imperfeição: o ceticismo humeano e a prosa de Jorge Luis Borges
No full textTese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em Literatura.O presente trabalho pretende dar conta da relação entre o escritor argentino Jorge Luis Borges e o filósofo escocês David Hume, no que diz respeito ao papel do pensamento deste na produçã
Cinema: representação e loucura
No full textDissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Filosofia e Ciências Humanas. Programa de Pós-Gradução em História.O objetivo deste trabalho é analisar a figura do doente mental construída pelo cinema. Nesta perspectiva, o estudo responde a uma série de indagações: o que é loucura, o que é cinema, e como se estabelecem as relações entre história e cinema. Pelo lado da loucura, podemos dizer que ela é definida de acordo com sua etiologia. A psiquiatria, medicina especializada no ramo, busca responder a esta questão ao englobar dois métodos principais: o orgânico, que considera as causas fisiológicas; e o psicológico, que considera os sentimentos reprimidos como causa da doença. Pelo lado do cinema, destacam-se os aspectos técnicos e o estilo de narrativa como suas principais características. Unindo estes dois elementos, o cinema e a loucura, o trabalho encontra subsídios para estudar os seguintes aspectos: as representações do louco de causa psicológica e do louco de causa orgânica. Ainda analisam-se os meios que a psiquiatria utilizou, nos filmes, para controlar essa loucura
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