Alan Pauls: Poéticas del anacronismo

Alan Pauls (b. 1959) is an Argentine novelist and essayist. His works have barely been studied outside of Latin America; therefore, my work will be one of the first to focus critically and theoretically on his oeuvre and raise awareness of his importance to Contemporary Latin American Literature. The fundamental concept of my thesis is anachronism, which I develop by investigating the ways in which the present and the past are interconnected in the same temporal space. My dissertation has two interconnected parts. In the first, I propose an approach to Pauls’ literary work that emphasizes its engagement with literary and cultural theory. Specifically, I analyze how Pauls’ first novels –El pudor del pornógrafo (1984), El coloquio (1989), Wasabi (1994)– are strongly influenced by various theoretical discourses, especially the work of Roland Barthes. The guiding question of my dissertation’s first part is how one can narrate a fictional text without strictly appropriating narrative devices. Namely, I suggest that Pauls’ conception of literature is inevitably related to critical discourse. In the second part, I study a trilogy that Pauls wrote about the 1970s in Argentina: Historia del llanto (2007), Historia del pelo (2010), and Historia del dinero (2013). Here I focus on how Pauls uses the 1970s to propose a new conceptualization of the “political.” For Pauls, the “political” is not represented in the great events of a particular time but rather in the “effects” that these events produce; these effects are minor, almost imperceptible, and for that reason much more powerful as a literary event mechanism per se. From my point of view, this new conceptualization of the “political” contains in itself a problematic issue: the articulation between personal experience, history, and fiction. In conclusion, this interrelation between theory, politics, history, and fiction defines the path of my dissertation, which would have been just the “starting point” in my personal attempt to reconfigure the map of the Latin American literary contemporaneity.

VIXEN, VIRGIN, AND GODDESS: PERFORMANCE PRACTICE AND THE BAROQUE HEROINE

This dissertation comprises performance of three soprano roles in Baroque musical theater pieces, recorded on compact disc. These roles are "Poppea" in The Coronation of Poppea (1642) of Claudio Monteverdi (a filly-produced staging of the 1989 Alan Curtis critical edition in English translation, with the Maryland Opera Studio at the Kay Theater, Clarice Smith Performing Arts Center, University of Maryland, College Park, Maryland, May 3 and 6, 2002; Ken Slowik, conductor); "Galatea" in Acis and Galatea (1718) of George Friederich Handel (a staged reading at Gildenhorn Recital Hall, Clarice Smith Performing Arts Center, University of Maryland, College Park, Maryland, May 29,2003; Edward Maclary, conductor); and "Miecke" (Soprano Soloist) in Mer hahn en neue Oberkeet (Peasant Cantata), BWV 212 (1742) of Johann Sebastian Bach (a staged and costumed performance with the Washington Bach Consort at Rachel M. Schlesinger Concert Hall, Alexandria, Virginia, February 2,2003; J. Reilly Lewis, conductor). In addition to performing these three roles, I was the stage director for the reading of Acis and Galatea. Close readings of the libretti, examination of contemporary guides to ornamentation, and research into production histories inform the improvisatory ornamentation found in these compact disc recordings.

EFFECT OF MUSIC ON THE SOUL: INTENT OR INDIFFERENCE IN THE COMPOSITION OF EWAZEN, FETTER, HIDAS, HOVHANESS, PEDERSON AND WILDER

This performance dissertation completed in 2009 by bass trombonist and Doctor of Musical Arts candidate Karl Wiederwohl consists of three live recitals and a written document which serves as a complement to the performances. The document discusses the six composers whose music is performed on the recitals. The document's six chapters respectively discuss each composer's disposition with regard to their purpose in composing music. As a complement to the performances the document gives special attention to each composer's thoughts on affecting listeners through their music. Wiederwohl creates a window into the mentality behind the artistry of Eric Ewazen, David Fetter, Frigyes Hidas, Alan Hovhaness, Tommy Pederson and Alec Wilder. The document serves to inform and enrich the experience of both performers and listeners of these six composers. This is achieved through the document's treatment of the following four questions for each composer: How did each come to be a composer? How did each come to compose in his particular style? Does the composer intend his music to serve a purpose? Does the composer intend his music to serve a purpose, and, if so, does this purpose involve reaching and/or affecting the listener at the deepest level?

IN SEARCH OF THE DIVINE: SPIRITUALITY AND PRAYER IN DIVERSE VIOLIN REPERTOIRE FROM BIBER TO IVES

Composers from all eras and of all ethnicities explore spirituality and prayer by using one or a combination of the following ideas: having a spiritual concept in mind when composing certain pieces, quoting hymns, being influenced by their own personal beliefs, or portraying spiritual figures and ideas in their works. Some musical works are inspired by spirituality; others, as in the case of Bloch's Nigun, even serve as prayers themselves. These recitals gave me the opportunity to approach a wide variety of musical styles while discovering my own mode for expression. The unaccompanied violin works throughout this project trace a distinct lineage from the baroque to the twentieth century. Biber's appendix to the Rosary Sonatas, the Passacaglia for solo violin, is a crucial predecessor to Bach's monumental Chaconne. Eugene Ysaye was inspired to write the Six Sonatas, Op. 27 after he attended a performance of Bach's Sonatas and Partitas given by Josef Szigeti. Ysaye's second solo sonata blatantly quotes Bach's Partita No.3 in E major throughout the first movement. Every movement also contains quotations from and variations on the plainchant Dies Irae. Although each of the solo violin works presented in this project may be viewed as virtuosic concert pieces, each piece allows the performer to transcend the technical hurdles-and perhaps even utilize them-to serve a higher, artistic and spiritual purpose while alone on the concert stage. Each of the sonata works in this project requires a close, equal collaboration between violinist and pianist, rather than displaying the violinist as soloist.

SELECTED ICONIC CHAMBER MUSIC WORKS WITH PIANO FROM THE NINETEENTH AND TWENTIETH CENTURIES

Chamber music repertoire featuring the piano blossomed from the mid-nineteenth through the early twentieth century. The quantity of works increased greatly during this time and the quality of these works reached the highest level. Among the many symbolic works that were composed were sonatas for a single string instrument with piano, piano trios, quartets: and quintets as well as two-piano works and four-hand duets. Being able to study and perform many of these iconic works before I graduated was one of the major goals I set for myself as a collaborative pianist. The abundance of repertoire has made it easy to choose works considered "iconic" for my dissertation's three recitals. Iconic is defined as "very famous or popular, especially being considered to represent particular opinions or a particular time" in the online Cambridge Advanced Leamer's Dictionary & Thesaurus © Cambridge University. The compositions featured in the recitals were composed from 1842 through 1941, including works by Schumann, Brahms, Faure, Rachmaninoff, Ravel, and Lutoslawski. Choosing the repertoire with my fellow performers in mind was an important part of this dissertation. In addition to trying to make balanced programs which include variety, working with different instruments and performers is one of the most fulfilling parts of the musical experience for me as a collaborative pianist. Joining me for the concerts were members of the Aeolus String Quartet (violinist Nicholas Tavani, violinist Rachel Shapiro, violist Greg Luce, and cellist Alan Richardson), pianist Hsiao-Ying Lin (a doctoral student from the Peabody Conservatory), and my colleagues from the Peabody Institute Preparatory Division (faculty violinist Dr. Christian Tremblay and cellist Alicia Ward), and Derek Smith, Associate Principal violist of the Annapolis Symphony Orchestras). The three recitals were performed in the Gildenhom and Ulrich Recital Halls at the University of Maryland, College Park, Maryland. They are recorded on CD and available on compact discs, which can be found in the Digital Repository at the University of Maryland (DRUM).

Evaluating Alternative Nutrient Sources in Subsistence-Level Aquaponic Systems

Many food production methods are both economically and environmentally unsustainable. Our project investigated aquaponics, an alternative method of agriculture that could address these issues. Aquaponics combines fish and plant crop production in a symbiotic, closed-loop system. We aimed to reduce the initial and operating costs of current aquaponic systems by utilizing alternative feeds. These improvements may allow for sustainable implementation of the system in rural or developing regions. We conducted a multi-phase process to determine the most affordable and effective feed alternatives for use in an aquaponic system. At the end of two preliminary phases, soybean meal was identified as the most effective potential feed supplement. In our final phase, we constructed and tested six full-scale aquaponic systems of our own design. Data showed that soybean meal can be used to reduce operating costs and reliance on fishmeal. However, a more targeted investigation is needed to identify the optimal formulation of alternative feed blends.