166 research outputs found
Tenney Frank. Vergil, a Biography
No full textChabert Samuel. Tenney Frank. Vergil, a Biography. In: Journal des savants. 21ᵉ année, Mars-avril 1923. pp. 84-85
Helen L. Tenney Correspondence
No full textEntries include brief biographical information, a brief typed biography with notes on a newspaper article (missing) with a biographical sketch and a photographic image, a handwritten letter from Tenney presenting her recent book of poems River of Golden Sands about her travel to China and a typed letter on receipt of her book gift for the Maine Author Collection
Tenney, George Cyrus (1847–1921)
No full textGeorge C. Tenney was an American minister, educator, and author who served as editor of the Bible Echo and Signs of the Times in Australia from 1888 to 1892, and, after returning to the United States, filled editorial roles with the Review and Herald and other periodicals.https://research.avondale.edu.au/esda/1525/thumbnail.jp
Expressions of Oppression or Power? Reconsidering the Texts of Hannah Webster Foster and Tabitha Gilman Tenney
No full textHannah Webster Foster and Tabitha Gilman Tenney were early American novelists writing in the latter part of the eighteenth century. Each author wrote a sentimental novel and a traditional conduct book. The Coquette and The Boarding School by Foster and Female Quixotism and The New Pleasing Instructor by Tenney, have scarcely been understood in relation to each other. This project attempts to view these texts as in the eighteenth-century society might have.
The introductory chapter identifies the problem with the typical feminist critical reading. It also explores many of the popular genres of literature during the eighteenth-century. Included are explorations of the sentimental novel, advice or conduct books, and epistolary novels.
Chapter II explores Hannah Foster\u27s The Boarding School and The Coquette in relation to one another, and Chapter III does much the same with Tenney\u27s The New Pleasing Instructor and Female Quixotism. National concerns, social constrictions, and political history are each explored in relation to the works.
This paper also disputes the interpretations of several feminist literary critics, such as Cathy Davidson, Walter Wenska and Kristie Hamilton. These writers feel that Tenney\u27s and Foster\u27s works are expressions of oppression. To challenge this argument, much of the history and social mores embedded in the eighteenth century are discussed
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Superfluous absence: The secret life of the author in twentieth-century literature and film
No full textSuperfluous Absence examines how writers of fictional narratives imagine readers that might read their texts and use these imagined readers--and the voices they represent--as leavening agents for the fictions they produce. In this theory, writers do not appeal to these readers except as they function as language and its desire to be decoded--as they function as language's desire for itself. Ultimately, the texts of fiction reach real-life readers and Superfluous Absence traces how authors struggle with the leavening agent of the reader's voice when the reader's voice becomes an actual social presence in an actual historical moment. This struggle consists of writers trying to preserve a non-space, and readers try to turn this non-space into praxis and presence. In Superfluous Absence I trace this struggle in James Joyce's Finnegan's Wake, Samuel Beckett's trilogy of Molloy, Malone Dies, The Unnamable and Stephen King's Misery . I also explore what happens to this reading desire when it is translated into a visual format, as is so often the case in the twentieth-century when literature is adapted into film. The test case is Stanley Kubrick's 2001: A Space Odyssey, an appropriate choice as it is a movie that tries to eradicate the linguistic in favor of the purely visual. Finally, this project is not just an objective charting of the various locations and non-locations of the writer's voice in twentieth-century fiction and film, but is also a very subjective attempt on the part of this writer to understand the presence or non-presence of his authorial voice in acts of fiction. Therefore, the author of this dissertation frequently writes autobiographically and frequently turns his critical voice into the voice of fictional narration
Strange Attractors: A Commentary on Applications of Indeterminacy in my Recent Music
No full textThis commentary reflects on how indeterminacy has been used in the music I have written over the period of my doctoral studies, 2005-2008. Non-musical ideas play a major role in my compositional language and this is reflected in the use of 'strange attractors' as a metaphor for the philosophical and aesthetic stance behind composing with indeterminacy. After a brief introduction chapter, the links between strange attractors—and chaos theory in general—and indeterminate music are discussed. And applications of indeterminacy to pitch organisation techniques such as spectral modelling and frequency modulation are examined as part of a frequency-based harmonic continuum. Different methods of generating ambiguous pitch percepts that sit at the boundaries of the harmony/timbre duality are considered In pieces with text processes
An examination of the theories and compositions of James Tenney, 1982-1985
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Reason: ETDs are only available to UIUC Users without author permissionThis paper examines the theoretical concepts and compositional procedures used by James Tenney in his compositions of the early and mid-1980's. Some of Tenney's earlier writings and compositions are also examined as precursors to his later works. The primary compositions examined in this paper include Glissade, Koan for String Quartet, Bridge, and Changes: Sixty-four Studies for Six Harps.This paper examines Tenney's theoretical contributions to musical form, harmony, tuning, and aural perception. Tenney's works are presented as rigorous experiments and focused explorations of specific musical concepts and questions. The four primary works examined are presented as the culmination of almost thirty years of such experiments.Tenney is presented as a contemporary musical pioneer in the continuing tradition of American experimentalism that began with Charles Ives and continued with Carl Ruggles and John Cage.The author concludes that James Tenney is a major American composer whose past and on-going contributions to theory, perception, and composition are too important to be ignored in contemporary performance and scholarly circles.Made available in DSpace on 2011-05-07T12:18:54Z (GMT). No. of bitstreams: 2
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From Scratch
No full textOne of the twentieth century's most important musical thinkers, the author did pioneering work in multiple fields, including computer music, tuning theory, and algorithmic and computer-assisted compositions. This book is a collection of the author's hard-to-find writings arranged, edited, and revised by the self-described “composer/theorist.” Tenney argued that “a new kind of music theory is needed which deals with the question of what we actually hear when we listen to a piece of music, as well as how or why we hear as we do.” His collection, which spans the years from 1955 to 2006, constitutes one of the most important bodies of music-theoretical thought of the twentieth century. Each article in this volume asks how new and radical musical ideas might emerge from how we hear. Selections focus on his fundamental concerns—“what the ear hears”—and include thoughts and ideas on perception and form, tuning systems and especially just intonation, information theory, theories of harmonic space, and stochastic (chance) procedures of composition.</p
Narrative art and act in the fourth gospel: aspects of the Johannine point of view
No full textThis thesis assumes that the narrative form of the Fourth Gospel is important for understanding the Gospel's meaning. Narrative is a communicative transaction whereby meaning is transmitted from author to reader via the way the story is told. Meaning is also established by overt speech-acts, and the 'act' performed in the overall structuring of the story. It arises within a context of rule-governed speech behaviour which determines parameters and implications that inform understanding. The Gospel's narrative form meets with readers' conventional expectations about how it relates to ostensive historical reality. Factors internal and external help determine genre. Part one examines aspects of the Gospel's narrative art. The way in which the narrative situation varies over the course of the narrative is outlined. The implied author manipulates the narration to create a close association in the reader’s mind between the narrator and the beloved disciple. In John 3 the voice of the narrator merges with those of Jesus and John. These strategies have implications for the Gospel's theological meaning and the relationship of the implied author to the story world. Speech-act theory elucidates the narrative act by which the implied author conveys the Gospel's message and seeks to induce belief in the reader. Part two considers the Gospel's relationship to historical reference. Factors which influence a decision as to whether or not the Gospel is to be taken as fictional are examined, for example, whether aspects of the narration suggest fictional discourse and whether the speech-acts operate within a 'pretended' world. Descriptive categories for the Gospel as natural narrative and 'display text' are proposed, as is a flexible model of genre, which modulates the poles of 'fiction' and 'history'. An analysis of the Temple Cleansing pericope provides illustration of the Gospel’s status as an historically-based, theological display text
Overcoming Form: reflections on immersive listening
No full textThis short collection of essays focuses on four areas of immersive sound environments: repetition, sustained tones, performed installations and approaches to extended forms. Through in depth exploration of the experiential nature of these subjects, the authors offer reflections upon the materials used for these environments, how they are organised, and the consequences of this on how we listen
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