http://chineseinput.net/에서 pinyin(병음)방식으로 중국어를 변환할 수 있습니다.
변환된 중국어를 복사하여 사용하시면 됩니다.
Moss Zarb, Julia Clare Zillah University of Toronto (Canada) 2001 해외박사(DDOD)
The divorce of the author and the text has arguably been one of the main projects of twentieth-century critical writing. Formalist theories, in particular, have dominated with an idea that the author is, and must be, irreparably separated from a text after the point of publication. This dissertation investigates theories that both challenge and support the proposition that the post-publication voice of an author may have some critical merit. It is undertaken using personal correspondence between the author, Julia Moss Zarb, and four Canadian writers; Robert Kroetsch, Carol Shields, Matt Cohen, and Marie-Claire Blais. Each chapter works from a different angle to examine the possible uses and limitations of extra textual communications. The chapter, “Process is Always in Process,” for example, presents a theoretical dialogue between Kroetsch and the author regarding issues of intentionality. The chapter, “Process Pre-Staged,” on the other hand, offers a consideration of the interaction between Blais' expressions in personal correspondence and the body of selected published texts. Throughout the work, conflicts between the reader's and the author's authority are in central focus. Ultimately, this dissertation identifies critical value as potentially arising out of a situation where the reader is empowered with the interpretive discretion to allow or disallow post-publication authorial statements into the reading process. Whether drawing on phenomenology, postmodernism or genetic theory as tools for comprehending the reader/author/text rapport, or employing a comprehension of poststructuralism and New Criticism to divine deep-seeded modes of resistance, it is arguable that interpretation of post-publication authorial statements during the reading process creates, for the reader, a potentially significant liminal effect. Throughout this course of inquiry, it becomes apparent that an author's own words may be used with a pre-meditated conservatism to open points of entry and reentry into his or her works. With an awareness of the difference in degree between allowing a writer to guide towards an alternative means of entering a text and accepting his or her input as directive, each chapter demonstrates that consideration of an author may create a portal through which a reader may approach a work.
Moss, Frederick W., Jr University of Michigan 2009 해외박사(DDOD)
The purpose of the present study was to report on the mainstreaming and full-inclusion experiences of secondary school instrumental music students who were blind or visually impaired. Four research questions addressed the following topics: (a) informant's motivations for participation in instrumental music; (b) the extent to which informants' abilities to develop learning strategies for participation in instrumental music affected quality of experience; (c) the extent to which intervention of other people in instrumental music participation affected informants' quality of experience; and (d) informants' perceptions of social connection in instrumental music ensembles and quality of experience. Eleven informants, who were identified through contact with a variety of national and local organizations serving blind and visually impaired students, participated in semi-structured telephone interviews with the researcher. Informants reported the following: (a) multiple motivations for participation in instrumental music ensembles; (b) positive and negative effects associated with self-developed learning strategies; (c) positive and negative effects associated with the intervention of other people in their music learning; and (d) social connection experiences that related to motivations for participation in instrumental music class. When analyzing the data through the sociocultural perspective of James Wertsch, memorizing emerged as the most commonly employed strategy for participation in band and orchestra of study informants. Participants also accessed "tools" or "mediational means" such as Braille music notation, enlarged print notation, fellow ensemble members, parents, and ensemble directors to facilitate participation. Affordances and constraints accompanied the use of memory as well as the use of the various mediational means. The researcher proposes suggestions for teaching students who are blind or visually impaired participating in school bands or orchestras. He further discusses implications for additional music education research that considers the experiences of these students.