DOCSLIB.ORG

02 Wholen.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
02 Wholen.Pdf End of the Night Girl Amy T Matthews Thesis submitted for the degree of Doctor of Philosophy in Creative Writing Discipline of English School of Humanities University of Adelaide April 2007 Contents 1. Abstract 3 2. Statement of Originality 5 3. Acknowledgements 6 4. Dedication 8 End of the Night Girl: 5. the taste of pink 10 6. strangers when we meet 61 7. secondhand kisses 113 8. the taste of amber 150 9. ghosts 186 10. end of the night, girl 230 11. Author’s Note 275 12. Bibliography for End of the Night Girl and ‘Navigating the Kingdom of Night’ 276 2 Abstract End of the Night Girl and ‘Navigating the Kingdom of Night’: End of the Night Girl Nothing seems to go right for Molly – she’s stuck in a dead-end waitressing job, she’s sleeping with a man she doesn’t even like, and she’s just been saddled with a swarm of goldfish and a pregnant stepsister. The chance discovery of an old photograph leads her into an act of creation, and brings her into contact with the ghost of a woman who has been dead for more than sixty years. Sixty years earlier, in Poland, Gienia’s family arranges her marriage to a distant cousin. Not long after her marriage to this stranger, the Nazis invade and she has to face life in the ghetto and the horrors of Auschwitz. End of the Night Girl is a complex fictional narrative in which the lives of these two women, ‘real’ and imagined, imagined and re-imagined, are inextricably combined. ‘Navigating the Kingdom of Night’ Critics, historians and Holocaust survivors have argued for decades over whether the Holocaust should be accessible to fiction and, if so, who has the right to write those fictions. ‘Navigating the Kingdom of Night’ addresses such concerns and analyses various literary strategies adopted by authors of Holocaust fiction, including the non- realist narrative techniques used by authors such as Yaffa Eliach, Jonathan Safran Foer and John Boyne and the self-reflexivity of Art Spiegelman. 3 Through the course of the essay I contextualise End of the Night Girl by turning my attention to works that raise critical issues of authorial intent and the reader/writer contract; for example Jerzy Kosinski’s The Painted Bird and Helen Darville’s The Hand That Signed the Paper. How did I resolve my own concerns? Which texts helped me and why? Together End of the Night Girl and ‘Navigating the Kingdom of Night’, one creatively and one critically, explore these complex and controversial questions in a contemporary Australian context. 4 Statement of Originality This work contains no material which has been accepted for the award of any other degree or diploma in any university or other tertiary institution and, to the best of my knowledge or belief, contains no material previously published or written by another person, except where due reference has been made in the text. I give consent to this copy of my thesis, when deposited in the University Library, being made available for loan and photocopying, subject to the provisions of the Copyright Act 1968. In the case of End of the Night Girl there will be a one year embargo. Amy T Matthews April 2007 5 Acknowledgements Thanks to everyone who read the many drafts and offered advice and support: Henry Ashley-Brown, Chelsea Avard, Kathryn Doube, Rachel Hennessy, Stephanie Hester, Ben Marton, Barry, Susan and Gerald Matthews, Helen Mitchell and Stephanie Thomson. Thank you to all of my supervisors, initially Thomas Shapcott, a kind and generous man; the ever supportive Susan Hosking, gracious and inspiring, who once told me that it is possible to research, write and teach even when raising small children; and especially Nicholas Jose. I don’t have enough words to thank Nick, who has taught me so much about redrafting and editing and who was always honest, supportive and able to drag the best out of me, even when I didn’t think it was there. Thanks also to Judith Lukin-Admunsen, my mentor, who offered criticism so accurate it hurt and advice so inspiring I was able to redraft the novel yet again. Thank you to Chef Tony Carroll (who never once called me the C-word!) for letting me steal from his menus. And, finally, thank you to the people who make it all worthwhile – the ones who offer me every possible kind of support: encouraging me to write, babysitting so I can write and being more than happy to help – my husband, Ben Marton, the smartest guy I know, and my parents Barry and Susan Matthews, the best people I know. And to 6 Kirby, for helping me keep some perspective – redrafting is nothing compared to sleeplessness, vomit and nappies and the pleasure of PhDs and publication are nothing compared with the pleasure of being with you. 7 For my parents, who have always believed in me 8 End of the Night Girl 9 the taste of pink 10 ◦ ○ ◦ I hate weddings. Especially this one. The groom and his mates are three-deep at the bar, knocking back shots and bottles of beer; the bride is disappearing into the bathroom with a gaggle of bridesmaids and a bag of magic white powder, and the DJ is crap. I shuffle back and forth between the floor and the kitchen, removing dessert plates and returning with bitter filter coffee. The only thing that keeps me going is the fact that it’s almost over. That and the twenty-three dollars an hour. The kitchen’s closed up, the last of the sludgy chocolate wedding cake packed away in the cold room, to be picked up in the morning. The chefs have retired to the staff room with a couple of six packs of Pale Ale. In half an hour or so they’ll trail down, sign their timesheets and hike into town, where they’ll run into each other again at the Exeter or the Austral, or later at whatever club will let them in. Chef’s giving the dish pigs their final orders, after which he’ll take a beer into the office, write up next week’s roster, phone in orders, pack up and head home to the wife and kids. At the moment he’s towering over the dishies, rubbing his temples tiredly, not sure whether to laugh at Ping Pong, or belt him. Colin keeps his head down, mop sloshing back and forth. ‘Look at this,’ Chef grabs a spoon from the clean rack on top of the dishwasher, ‘what do you see?’ I can see Ping Pong’s narrow face from where I stand scraping half-eaten wedding cake into the bin. His face is rigid, frozen like a rabbit’s. He’s trying to search for the right words, for the right language to say them in. ‘Answer me.’ Chef raps Ping Pong on the forehead with the spoon. ‘Spoon?’ Ping Pong says tentatively. ‘For cake?’ ‘Spoon?’ Chef’s hand drops to his side, the spoon dangling limply from his fingers. 11 He looks exhausted. ‘Fucking spoon,’ he says, looking over at me. I force a smile. ‘What colour should spoon be?’ Chef speaks slowly, as though talking to a small child. Poor old Ping Pong’s face scrunches in consternation. ‘I’ll give you a hint you numb cunt: it shouldn’t be brown.’ He shoves the spoon at Ping Pong. ‘Wash the rack again.’ I drop my plates into the sink with a splash. ‘Oi!’ Chef calls after me. I think he’s going to yell at me ‘cause I splashed dishwater on his shoes, but he just wants a beer. ‘None of that local shit. Get me a Stella.’ ‘Yes, Chef.’ The bar is an oasis at the back of the restaurant. Outside its bright halogen boundaries, the dining room pulses with pink and blue light from the DJ’s corner. The floor and walls throb with the music. I push past Kevin and open the beer fridge. He wanders over to where I’m squatting. I can see the flicker of his white tea towel out of the corner of my eye. Bloody Kevin. ‘What are you doing?’ The question irritates me. The tone of voice he asks it in irritates me. The razor sharp crease in his beige trousers irritates me. ‘I’m getting Chef a beer.’ His thin lips tighten. ‘They already took some Pale Ale.’ ‘He doesn’t drink Pale Ale.’ We have the same exchange every Saturday night. Next he’ll say, Don’t forget to write it up on the sheet. And at 11.25 on the dot he’ll say, I’m heading off at 11.30. I have to be back first thing . and he’ll trail off, studiously ignoring the fact that I’m due back first thing in the morning too. 12 ‘Don’t forget to write it up on the sheet.’ ‘Are we out of Stella?’ I stare at the frosted rows of green and brown bottles. There are two empty rows, like missing teeth. ‘Needs to be restocked, can you remember to do that?’ ‘Wasn’t Neil meant to do it after lunch?’ He gives me a long-suffering stare, which is supposed to end the discussion. Fucking Neil. Fucking Kevin. Fucking cunts. I grab Chef a Crown and kick the fridge door closed. I can’t be bothered going out to the wine store. ‘I said Stella,’ Chef snaps when I slap the Crown down next to him. ‘We’re out,’ I lie.
Load more

Recommended publications
  • Catalogo Giornate Del Cinema Muto 2011
    Clara Bow in Mantrap, Victor Fleming, 1926. (Library of Congress) Merna Kennedy, Charles Chaplin in The Circus, 1928. (Roy Export S.A.S) Sommario / Contents 3 Presentazione / Introduction 31 Shostakovich & FEKS 6 Premio Jean Mitry / The Jean Mitry Award 94 Cinema italiano: rarità e ritrovamenti Italy: Retrospect and Discovery 7 In ricordo di Jonathan Dennis The Jonathan Dennis Memorial Lecture 71 Cinema georgiano / Georgian Cinema 9 The 2011 Pordenone Masterclasses 83 Kertész prima di Curtiz / Kertész before Curtiz 0 1 Collegium 2011 99 National Film Preservation Foundation Tesori western / Treasures of the West 12 La collezione Davide Turconi The Davide Turconi Collection 109 La corsa al Polo / The Race to the Pole 7 1 Eventi musicali / Musical Events 119 Il canone rivisitato / The Canon Revisited Novyi Vavilon A colpi di note / Striking a New Note 513 Cinema delle origini / Early Cinema SpilimBrass play Chaplin Le voyage dans la lune; The Soldier’s Courtship El Dorado The Corrick Collection; Thanhouser Shinel 155 Pionieri del cinema d’animazione giapponese An Audience with Jean Darling The Birth of Anime: Pioneers of Japanese Animation The Circus The Wind 165 Disney’s Laugh-O-grams 179 Riscoperte e restauri / Rediscoveries and Restorations The White Shadow; The Divine Woman The Canadian; Diepte; The Indian Woman’s Pluck The Little Minister; Das Rätsel von Bangalor Rosalie fait du sabotage; Spreewaldmädel Tonaufnahmen Berglund Italianamerican: Santa Lucia Luntana, Movie Actor I pericoli del cinema / Perils of the Pictures 195 Ritratti / Portraits 201 Muti del XXI secolo / 21st Century Silents 620 Indice dei titoli / Film Title Index Introduzioni e note di / Introductions and programme notes by Peter Bagrov Otto Kylmälä Aldo Bernardini Leslie Anne Lewis Ivo Blom Antonello Mazzucco Lenny Borger Patrick McCarthy Neil Brand Annette Melville Geoff Brown Russell Merritt Kevin Brownlow Maud Nelissen Günter A.
    [Show full text]
  • The Islamic Traditions of Cirebon
    the islamic traditions of cirebon Ibadat and adat among javanese muslims A. G. Muhaimin Department of Anthropology Division of Society and Environment Research School of Pacific and Asian Studies July 1995 Published by ANU E Press The Australian National University Canberra ACT 0200, Australia Email: [email protected] Web: http://epress.anu.edu.au National Library of Australia Cataloguing-in-Publication entry Muhaimin, Abdul Ghoffir. The Islamic traditions of Cirebon : ibadat and adat among Javanese muslims. Bibliography. ISBN 1 920942 30 0 (pbk.) ISBN 1 920942 31 9 (online) 1. Islam - Indonesia - Cirebon - Rituals. 2. Muslims - Indonesia - Cirebon. 3. Rites and ceremonies - Indonesia - Cirebon. I. Title. 297.5095982 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior permission of the publisher. Cover design by Teresa Prowse Printed by University Printing Services, ANU This edition © 2006 ANU E Press the islamic traditions of cirebon Ibadat and adat among javanese muslims Islam in Southeast Asia Series Theses at The Australian National University are assessed by external examiners and students are expected to take into account the advice of their examiners before they submit to the University Library the final versions of their theses. For this series, this final version of the thesis has been used as the basis for publication, taking into account other changes that the author may have decided to undertake. In some cases, a few minor editorial revisions have made to the work. The acknowledgements in each of these publications provide information on the supervisors of the thesis and those who contributed to its development.
    [Show full text]
  • Hypersphere Anonymous
    Hypersphere Anonymous This work is licensed under a Creative Commons Attribution 4.0 International License. ISBN 978-1-329-78152-8 First edition: December 2015 Fourth edition Part 1 Slice of Life Adventures in The Hypersphere 2 The Hypersphere is a big fucking place, kid. Imagine the biggest pile of dung you can take and then double-- no, triple that shit and you s t i l l h a v e n ’ t c o m e c l o s e t o o n e octingentillionth of a Hypersphere cornerstone. Hell, you probably don’t even know what the Hypersphere is, you goddamn fucking idiot kid. I bet you don’t know the first goddamn thing about the Hypersphere. If you were paying attention, you would have gathered that it’s a big fucking 3 place, but one thing I bet you didn’t know about the Hypersphere is that it is filled with fucked up freaks. There are normal people too, but they just aren’t as interesting as the freaks. Are you a freak, kid? Some sort of fucking Hypersphere psycho? What the fuck are you even doing here? Get the fuck out of my face you fucking deviant. So there I was, chilling out in the Hypersphere. I’d spent the vast majority of my life there, in fact. It did contain everything in my observable universe, so it was pretty hard to leave, honestly. At the time, I was stressing the fuck out about a fight I had gotten in earlier. I’d been shooting some hoops when some no-good shithouses had waltzed up to me and tried to make a scene.
    [Show full text]
  • The Under Secretary
    The Under Secretary by William Le Queux The Under Secretary Chapter One. Is mainly about a Man. Two o’clock—two o’clock in the morning. The bells had just chimed the hour. Big Ben had boomed forth its deep and solemn note over sleeping London. The patient constable on point-duty at the foot of Westminster Bridge had stamped his feet for the last time, and had been relieved by his colleague, who gave him the usual pass-word, “All right.” The tumultuous roar of traffic, surging, beating, pulsating, had long ago ceased, but the crowd of smart broughams and private hansoms still stood in New Palace Yard, while from the summit of St. Stephen’s tower the long ray of electricity streamed westward, showing that the House of Commons was still sitting. The giant Metropolis, the throbbing heart of the greatest empire the world has known, was silent. London, the city of varying moods, as easily pleased, as easily offended as a petted child; London, the dear, smoke-blackened old city, which every Englishman loves and every foreigner admires; London, that complex centre of the universe, humdrum and prosaic, yet ever mysterious, poetic and wonderful, the city full of the heart’s secrets and of life’s tragedies, slept calmly and in peace while her legislators discussed and decided the policy of the Empire. The long rows of light on the deserted terrace and along the opposite shore in front of St. Thomas’s Hospital threw their shimmering reflection upon the black waters of the Thames; the cold wind swept roughly up the river, causing the gas-jets to flicker, so that the few shivering outcasts who had taken refuge on the steps of the closed doorway of Westminster Station, murmured as they pulled their rags more tightly round them.
    [Show full text]
  • Jazz, Race, and Gender in Interwar Paris
    1 CROSSING THE POND: JAZZ, RACE, AND GENDER IN INTERWAR PARIS A dissertation presented by Rachel Anne Gillett to The Department of History In partial fulfillment of the requirements for the degree of Doctor of Philosophy in the field of History Northeastern University Boston, Massachusetts May, 2010 2 CROSSING THE POND: JAZZ, RACE, AND GENDER IN INTERWAR PARIS by Rachel Anne Gillett Between 1920 and 1939 the nightclubs of Montmartre became a venue where different nationalities came into contact, danced, talked, and took advantage of the freedom to cross the color line that Paris and the ―color-blind‖ French audience seemed to offer. The fascination for black performers known as the tumulte noir provided the occasion for hundreds of jazz and blues performers to migrate to Paris in these years. French society was inundated with the sounds of jazz and also with images and stereotypes of jazz performers that often contained primitivist, exotic and sexualized associations. The popularity of jazz and its characterization as ―black‖ music raised the question of how the French state dealt with racial difference. It caused consternation among „non- jazz‟ black men and women throughout the Francophone Atlantic many of whom were engaged in constructing an intellectual pan-Africanist discourse with a view to achieving full citizenship and respect for French colonial subjects. This manuscript examines the tension between French ideals of equality, and „color-blindness,‟ and the actual experiences of black men and women in Paris between the wars. Although officially operating within the framework of a color-blind Republican model, France has faced acute dilemmas about how to deal with racial and ethnic differences that continue to spark debate and controversy.
    [Show full text]
  • The Greek Anthology with an English Translation by W
    |^rct?c^tc^ to of the Univereitp of Toronto JScrtrani 1I-1. iDavit^ from the hoohs? ot the late Hioncl Bavie, Hc.cT. THE LOEB CLASSICAL LIBRARY EDITED BY E. CAl'PS, Ph.D., LL.D. T. E. PAGE, Lut.D. W. H. D. IWUSE, LnT.D. THE CiREEK ANTHOLOGY III 1 *• THE GREEK ANTHOLOGY WITH AN ENGLISH TRANSLATION BY W. R. PA TON IN FIVE VOLUMES III LONDON : WILLIAM HEINEMANN NEW YORK : G. P. PUTNAM S SONS M CM XV 1 CONTENTS BOOK IX. —THE DECLAMATORY EPICRAMS 1 GENERAL INDEX 449 INDEX OF AUTHORS INCLUDED IN THIS VOLUME . 454 GREEK ANTHOLOGY BOOK IX THE DECLAMATORY AND DESCRIPTIVE EPIGRAMS This book, as we should naturally expect, is especially rich in epigrams from the Stephanus of Philippus, the rhetorical style of epigram having been in vogue during the period covered by that collection. There are several quite long series from this source, retaining the alphabetical order in which they were arranged, Nos. 215-312, 403-423, 541- 562. It is correspondingly poor in poems from Meleager s Stephanus (Nos. 313-338). It contains a good deal of the Alexandrian Palladas, a contemporary of Hypatia, most of wliich we could well dispense with. The latter part, from No. 582 07iwards, consists mostly of real or pretended in- scriptions on works of art or buildings, many quite unworthy of preservation, but some, especially those on baths, quite graceful. The last three epigrams, written in a later hand, do not belong to the original Anthology. ANeOAOriA (-) EnirPAM.M ATA RTIIAEIKTIKA 1.— 110ATAIX(;T :::a1'A1AN()T AopKuSo^; upTiroKoio Ti6i]i')]T)'ipioi' ovdap efjLTrXeov r)p.vaav ^ 7rifcp6<i erv^ev e)(i<;.
    [Show full text]
  • The Great 'Umar Khayyam
    The Great ‘Umar Khayyam Great The IRANIAN IRANIAN SERIES SERIES The Rubáiyát by the Persian poet ‘Umar Khayyam (1048-1131) have been used in contemporary Iran as resistance literature, symbolizing the THE GREAT secularist voice in cultural debates. While Islamic fundamentalists criticize ‘UMAR KHAYYAM Khayyam as an atheist and materialist philosopher who questions God’s creation and the promise of reward or punishment in the hereafter, some A GLOBAL RECEPTION OF THE RUBÁIYÁT secularist intellectuals regard him as an example of a scientist who scrutinizes the mysteries of the universe. Others see him as a spiritual A.A. Seyed-Gohrab (ed.) master, a Sufi, who guides people to the truth. This remarkable volume collects eighteen essays on the history of the reception of ‘Umar Khayyam in various literary traditions, exploring how his philosophy of doubt, carpe diem, hedonism, and in vino veritas has inspired generations of poets, novelists, painters, musicians, calligraphers and filmmakers. ‘This is a volume which anybody interested in the field of Persian Studies, or in a study of ‘Umar Khayyam and also Edward Fitzgerald, will welcome with much satisfaction!’ Christine Van Ruymbeke, University of Cambridge Ali-Asghar Seyed-Gohrab is Associate Professor of Persian Literature and Culture at Leiden University. A.A. Seyed-Gohrab (ed.) A.A. Seyed-Gohrab WWW.LUP.NL 9 789087 281571 LEIDEN UNIVERSITY PRESS The Great <Umar Khayyæm Iranian Studies Series The Iranian Studies Series publishes high-quality scholarship on various aspects of Iranian civilisation, covering both contemporary and classical cultures of the Persian cultural area. The contemporary Persian-speaking area includes Iran, Afghanistan, Tajikistan, and Central Asia, while classi- cal societies using Persian as a literary and cultural language were located in Anatolia, Caucasus, Central Asia and the Indo-Pakistani subcontinent.
    [Show full text]
  • Miriam Helga Auer Poetry in Motion and Emotion –
    Miriam Helga Auer Poetry in Motion and Emotion – An analysis of the Forms, Functions and Effects of Intermedial References to Poems and Poets within Creative Products of Visual Culture DISSERTATION zur Erlangung des akademischen Grades Doktorin der Philosophie 792/343 Doktoratsstudium der Anglistik und Amerikanistik (Literaturwissenschaft) Alpen-Adria-Universität Klagenfurt Fakultät für Kulturwissenschaften 1. Begutachter: Univ.-Prof. Dr. Jörg Helbig, M.A. Institut: Institut für Anglistik und Amerikanistik Alpen-Adria-Universität Klagenfurt 2. Begutachter: Univ.-Prof. Mag. Dr. Arno Rußegger Institut: Institut für Germanistik Alpen-Adria-Universität Klagenfurt Dezember 2014 Poetry in Motion and Emotion Ehrenwörtliche Erklärung Ich erkläre ehrenwörtlich, dass ich die vorliegende wissenschaftliche Arbeit selbstständig angefertigt und die mit ihr unmittelbar verbundenen Tätigkeiten selbst erbracht habe. Ich erkläre weiters, dass ich keine anderen als die angegebenen Hilfsmittel benutzt habe. Alle aus gedruckten, ungedruckten Quellen oder dem Internet im Wortlaut oder im wesentlichen Inhalt übernommenen Formulierungen und Konzepte sind gemäß den Regeln für wissenschaftliche Arbeiten zitiert und durch Fußnoten bzw. durch andere genaue Quellenangaben gekennzeichnet. Die während des Arbeitsvorganges gewährte Unterstützung einschließlich signifikanter Betreuungshinweise ist vollständig angegeben. Die wissenschaftliche Arbeit ist noch keiner anderen Prüfungsbehörde vorgelegt worden. Diese Arbeit wurde in gedruckter und elektronischer Form abgegeben. Ich bestätige, dass der Inhalt der digitalen Version vollständig mit dem der gedruckten Version übereinstimmt. Ich bin mir bewusst, dass eine falsche Erklärung rechtliche Folgen haben wird. ______________________________ ____________________________ (Unterschrift) (Ort, Datum) ii Poetry in Motion and Emotion For my ‘social catalyst’ iii Poetry in Motion and Emotion […] I behold the picturesque giant and love him, and I do not stop there, I go with the team also.
    [Show full text]
  • Systematic Theology (Volume 2 of 3) by Augustus Hopkins Strong
    The Project Gutenberg EBook of Systematic Theology (Volume 2 of 3) by Augustus Hopkins Strong This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at http://www.gutenberg.org/license Title: Systematic Theology (Volume 2 of 3) Author: Augustus Hopkins Strong Release Date: December 31, 2013 [Ebook 44555] Language: English ***START OF THE PROJECT GUTENBERG EBOOK SYSTEMATIC THEOLOGY (VOLUME 2 OF 3)*** Systematic Theology A Compendium and Commonplace-Book Designed For The Use Of Theological Students By Augustus Hopkins Strong, D.D., LL.D. President and Professor of Biblical Theology in the Rochester Theological Seminary Revised and Enlarged In Three Volumes Volume 2 The Doctrine of Man The Judson Press Philadelphia 1907 Contents Part IV. The Nature, Decrees, And Works of God. (Con- tinued) . .3 Chapter IV. The Works Of God; Or The Execution Of The Decrees. .3 Section I.—Creation. .3 Section II.—Preservation. 95 Section III.—Providence. 114 Section IV.—Good And Evil Angels. 170 Part V. Anthropology, Or The Doctrine Of Man. 221 Chapter I. Preliminary. 221 I. Man a Creation of God and a Child of God. 221 II. Unity of the Human Race. 247 III. Essential Elements of Human Nature. 263 IV. Origin of the Soul. 275 V. The Moral Nature of Man. 297 Chapter II. The Original State Of Man. 333 I. Essentials of Man's Original State. 334 II.
    [Show full text]
  • Masters Thesis
    http://researchcommons.waikato.ac.nz/ Research Commons at the University of Waikato Copyright Statement: The digital copy of this thesis is protected by the Copyright Act 1994 (New Zealand). The thesis may be consulted by you, provided you comply with the provisions of the Act and the following conditions of use: Any use you make of these documents or images must be for research or private study purposes only, and you may not make them available to any other person. Authors control the copyright of their thesis. You will recognise the author’s right to be identified as the author of the thesis, and due acknowledgement will be made to the author where appropriate. You will obtain the author’s permission before publishing any material from the thesis. A MUSICOLOGICAL ANALYSIS OF NATURE’S BEST A thesis submitted in fulfillment of the requirements for the degree of Master of Arts at The University of Waikato by NICHOLAS BRAAE The University of Waikato 2012 Abstract Academic research on New Zealand popular music has primarily been conducted from historical and cultural perspectives. While asking important questions, these sources have rarely engaged with the musical details of New Zealand popular music. This thesis is a musicological analysis of the 100 songs from the three Nature’s Best albums. The musical perspective complements the socio-cultural research on New Zealand popular music. The Nature’s Best project was instigated by Mike Chunn in 2001 to celebrate the 75th anniversary of the Australasian Performing Right Association (APRA). All songwriting members of APRA and 100 celebrities and critics were invited to vote for their ten favourite New Zealand popular songs.
    [Show full text]
  • GABRIEL GARCIA MARQUEZ Was Born in Aracataca, Colombia in 1928, but He Has Lived Most of His Life in Mexico and Europe
    GABRIEL GARCIA MARQUEZ was born in Aracataca, Colombia in 1928, but he has lived most of his life in Mexico and Europe. He attended the University of Bogotá and later worked as staff reporter and film critic for the Colombian newspaper El Espectador. In addition to ONE HUNDRED YEARS OF SOLITUDE. he has also written two collections of short fiction, NO ONE WRITES TO THE COLONEL and LEAF STORM (both available in Bard editions). García Márquez currently lives with his wife and children in Barcelona. Other Avon Bard Books by Gabriel Garcia Marquez THE AUTUMN OF THE PATRIARCH IN EVIL HOUR Avon Books are available at special quantity discounts for bulk purchases for sales promotions, premiums, fund raising or educational use. Special books, or book excerpts, can also be created to fit specific needs. For details write or telephone the office of the Director of Special Markets, Avon Books, Dept. FP, 105 Madison Avenue, New York, New York 10016, 212-481-5653. ONE HUNDRED YEARS OF SOLITUDE GABRIEL GARCIA MARQUEZ TRANSLATED FROM THE SPANISH BY GREGORY RABASSA AVON BOOKS – NEW YORK This book was first published in Argentina in 1967 by Editorial Sudamericana, S.A., Buenos Aires, under the title Cien Años de Soledad. Assistance for the translation of this volume was given by the Center for Inter-Ame r i c an Relations. AVON BOOKS A division of The Hearst Corporation 105 Madison Avenue New York, New York 10016 English translation © 1970 by Harper & Row, Publishers, Inc. Published by arrangement with Harper & Row, Publishers, Inc. Library of Congress Catalog Card Number: 7483632 ISBN: 0-380-01503-X All rights reserved, which includes the right to reproduce this book or portions thereof in any form whatsoever except as provided by the U.S.
    [Show full text]
  • 17 3Rd WORLD ELECTRIC (Feat. Roine Stolt)
    24-7 SPYZ 6 – 8 3rd AND THE MORTAL Painting on glass - 17 3rd WORLD ELECTRIC (feat. Roine Stolt) Kilimanjaro secret brew digipack - 18 3RDEGREE Ones & zeros: volume I - 18 45 GRAVE Only the good die young – 18 46000 FIBRES )featuring Nik Turner) Site specific 2CD – 20 48 CAMERAS Me, my youth & a bass drum – 17 A KEW’S TAG Silence of the sirens - 20 A LIQUID LANDSCAPE Nightinagel express – 15 A LIQUID LANDSCAPE Nightingale express digipack – 17 A NEW’S TAG Solence of the sirens – 18 A SILVER MT ZION Destroy all dreamers on / Debt 6 depression digipack – 10 A SPIRALE Come una lastra – 8 AARDVARK (UK) Same - 17 ABACUS European stories (new album) – 17 ABDULLAH Graveyard poetry – 10 ABDULLAH Same – 10 ABIGAIL'S GHOST Black plastic sun - 18 ABRAXIS Same – 17 ABRETE GANDUL Enjambre sismico – 16 ABYSMAL GRIEF Feretri – 16 ABYSMAL GRIEF Reveal nothing - 16 ABYSMAL GRIEF Strange rites of evil – 16 AC/DC Let there be rock DVD Paris 1979 - 15 AC/DC Back in black digipack – 16 AC/DC Rock or bust – 21 AC/DC The razor’s edge digipack – 16 ACHE Green man / De homine urbano – 17 ACHIM REICHEL & MACHINES Echo & A. R. IV 2CD - 23 ACHIM REICHEL Grüne reise & Erholung - 17 ACID BATH Pagan terrorism tactics – 10 ACID MOTHERS TEMPLE & THE MELTING PARAISO U.F.O. Live in occident digipack – 17 ACINTYA La citè des dieux oublies – 18 ACQUA FRAGILE Mass media stars (Esoteric) - 18 ACQUA FRAGILE Same (Esoteric) – 18 ACTIVE HEED Higher dimensions – 18 ADEKAEM Same – 20 ADICTS Smart alex – 17 ADICTS Sound of music – 17 ADMIRAL SIR CLOUDESLEY SHOVELL Don’t hear it…fear it (Rise Above) – 18 ADRIAN SHAW & ROD GOODWAY Oxygen thieves digipack – 15 ADRIAN SHAW Colours - 17 ADRIANO MONTEDURO E LA REALE ACCADEMIA DI MUSICA Same (Japanes edition) – 18 ADTVI La banda gastrica – 8 ADVENT Silent sentinel digisleeve – 18 AELIAN A tree under the colours – 8 AEONSGATE Pentalpha – 17 AEROSMITH Live and F.I.N.E.
    [Show full text]