Bøger af Vivienne Suvini-Hand

Essay from the year 2019 in the subject English Language and Literature Studies - Literature, , language: English, abstract: Language is not a very predominant theme in the work of the Welsh poet and playwright, Gillian Clarke (born 1937) nor has she, to my knowledge, ever expressed an interest in linguistic theories and their application to literature. Her work tends to be rather autobiographical in style, recounting experiences involving her own family, children and local people. However, occasionally she touches upon the subject of education and of writing poetry (as for example in ¿Lunchtime lecture¿ and ¿Pipistrelle¿, respectively) and it is by way of these themes that issues concerning language come into play. Such is the case in ¿Clocks¿ and ¿Miracle on Saint David¿s Day¿. In the first, I offer a Lacanian interpretation of the issue of ¿naming¿ described in the poem. What the grandmother of the poem is concerned with is the development of the subject (her grandchild) and the need to construct his sense of ¿reality¿ in and through language which in turn enables him to enter the Symbolic or Social Order. The official language of the Social Order is also pitted against what Lacan would term the ¿lalangue¿ of the child, evident in his onomatopoeic utterances. ¿Miracle on St David¿s Day¿ is a testament to the miraculous power of poetry and I illustrate how Clarke is reinforcing that the oral articulation of poetical language can induce a sense of euphoria as described by Barthes in Le Plaisir du texte.

Scientific Essay from the year 2017 in the subject Musicology - Miscellaneous, grade: 1st class, Royal Holloway, University of London (University of London), course: Research, language: English, abstract: This study constitutes a unique and dedicated attempt to address the extent to which Paganini¿s character has been misrepresented to date. Making detailed reference to biographies and previous writings on Paganini, it dismantles the myth-making surrounding the violinist's legendary status, and overturns the common perceptions of Paganini as a gambler, compulsive womanizer, murderer, wrecker of relationships, miser, vulgarian and heathen. It attempts to depict the ¿real¿ Paganini, and demonstrates that there is little, if any, justification for the excessive calumny to which the renowned violinist was subjected in his lifetime and beyond.

This book offers a detailed examination of the literary influences behind the experimental music of five twentieth-century Italian composers: Luigi Dallapiccola, Bruno Maderna, Luciano Berio, Giacomo Manzoni and Armando Gentilucci.

Italian music of the 1960s is one of the most unjustly neglected areas in the arena of twentieth-century classical music.