http://theses.ncl.ac.uk/jspui/handle/10443/62 2026-05-07T11:33:42Z 2026-05-07T11:33:42Z Shah, Punit Jaipal http://theses.ncl.ac.uk/jspui/handle/10443/6760 2026-05-06T15:24:50Z 2025-01-01T00:00:00Z

Title: The Influence of Hindustani classical music on Indian cinema : a rasa-raga tala approach Authors: Shah, Punit Jaipal Abstract: This thesis seeks to identify and appreciate the lasting influence of two pioneering notions from the Indian sub-continent’s cultural memory and history – rasa theory and Hindustani classical music – on Indian cinema’s music making traditions. Rasa theory is an important contribution from the ancient Indian Sanskrit drama compendium, the Nāṭyaśāstra, whose rudimentary precepts have provided a template for the workings of nearly all major fine art forms in the sub-continent. North Indian or Hindustani classical music is known to be rasacentred, as, without emotional expression, its effectiveness is negligible and creates no counter-emotional responses in the audience. Both rasa and Hindustani classical music have informed Indian cinema such that a majority of film songs are based on some rāga and tāla, and each song or piece of background music score corresponds to a particular emotion. The thesis argues that in an Indian talkie film there is little or no rasa manifestation without the rāga-tāla or melodic/rhythmic intervention. The thesis is divided into two parts. Part 1 provides the essential background, history and theory to ancient Indian aesthetics, the system of North Indian classical music and Indian cinema. Part 2 leads to further detailed analyses and case studies based on selected works of music directors, including Madan Mohan, Roshan, Naushad and Rahul Dev Burman. This part also examines in detail two rasa-centred films: Jalsaghar (1958) by Satyajit Ray and Devdas (2002) by Sanjay Leela Bhansali. While there is academic research that views Indian cinema more generally through the lens of rasa, there is no evidence of scholarly work which specifically explores the influence of rasa-rāgatāla on Indian cinema. This thesis addresses that gap and fills it with relevant analyses. The thesis not only demonstrates how to appreciate Indian cinema and associated expressive acting, diegetic and non-diegetic musical compositions, dances and melodramatic narratives using the rasa theory and Hindustani classical music; it also analyses in detail, what lies behind the formation of various situational film songs: particular rāgas and tālas implemented, specific melodic and rhythmic combinations used. It also scrutinises the impact on spectators with respect to manifestation of rasa-bhāva experiences, where rasa, the essence, signifies a fundamental mental state, and bhāva, the state of mind, is understood to be feeling, emotion or mood. 2 My conclusions argue that while western models of film criticism have been in favour of realism, this is not relevant here because the generic codes and conventions of Bollywood are non-realist. Instead of a bias towards a predominantly rational and realism-oriented medium of film criticism, a rasa-rāga-tāla-based analysis draws the focus of critical attention back to emotion-infused music and its various possible methods of expressive enunciation. Simultaneously rasa theory’s capacity for understanding the art of abhinaya (acting) in conjunction with Hindustani classical music in the context of the culture – of its makers, various characters, and their performances – proves to be an invaluable asset for analysing and re-thinking apparently stereotypical, stylised performances of Hindi cinema. Overall, this research work covers relevant aspects of Hindustani classical music, Hindi film/music studies, the ancient rasa theory, Sanskrit studies, Indian philosophy, anthropology and culture, thus making it a cross-disciplinary venture. Description: PhD Thesis

2025-01-01T00:00:00Z Cong, Cen http://theses.ncl.ac.uk/jspui/handle/10443/6757 2026-05-06T08:24:15Z 2025-01-01T00:00:00Z

Title: Exploring the Impact of Positive and Negative Emotions on the Performance of Student Interpreters in Simultaneous Interpreting Authors: Cong, Cen Abstract: Emotions can affect communication and cognitive processes like attention, memory, and judgment. Previous studies mainly investigated cognitive challenges in simultaneous interpreting (SI) or interpreters’ role in emotional situations, but little explored how their performance is affected by emotion. This thesis aims to understand the impact of emotions on interpreters’ SI performance by answering three questions: Are interpreters’ emotions affected by positive and negative emotional stimuli? If affected, how does it impact their performance in terms of omissions, errors, and incompletions? What are the possible contributing factors? To address these questions, this study adopted a mixed-method approach, using interviews, skin conductance measurements, and scales. Thirty student interpreters completed a 15-minute English-to-Chinese SI task. Positive and negative music was used to induce their emotional responses before interpreting. Their emotional states were evaluated using the self-assessment scale between tasks, and their skin conductance was measured throughout the experiment to monitor emotional changes. Target speeches were recorded and analysed for occurrences of omissions, errors, and incompletions. Post-SI semi-structured interviews were conducted to gain an in-depth understanding of their emotions and perceptions of performance. Results show that interpreters’ emotions were significantly affected by music, which further affected their subsequent interpretation. Interpreters under positive emotions made more referential omissions and conative errors but fewer incompletions, while those under negative emotions made fewer omissions but more conative errors and incompletions. According to Barrett’s theory of constructed emotion, Solomon’s model of perceptual processing, and Setton’s model of SI, such emotional influences could be attributed to the impact of emotion on attention, memory, and information processing, as well as individual differences in emotion perception and expression. This thesis highlights the need for understanding interpreters’ emotions and contributes new knowledge about the process of interpreting through the lens of emotion, which further informs interpreter training and opens new avenues for interpreting studies. Description: PhD Thesis

2025-01-01T00:00:00Z Jones, Daniel http://theses.ncl.ac.uk/jspui/handle/10443/6753 2026-05-01T10:24:10Z 2025-01-01T00:00:00Z

Title: Geographies of Impulse : Tourette Syndrome and the embodied experience(s) of public space Authors: Jones, Daniel Abstract: Tourette Syndrome, characterised by impulsive vocal and motor tics, is of increasing interest to researchers, and the experiences had by Tourettic folks are distinct. With the nuance and complexity of ticcy experiences, an interdisciplinary approach is required. Through taking an interdisciplinary crip approach to disability, drawing upon participatory practices, medical sociology, geographical, bioethical, and crip influences, the thesis aims to bring to light these distinct experiences that are had by Tourettic adults in and around public spaces, in both the physical and digital realms. Through careful analysis of the stories told by the project’s participants, the research found that experiences in and around public spaces occur in ways that relate to chance encounters. The material and immaterial elements of public spaces contribute the Tourettic encounters that might occur in them, and the way that Tourettic adults manage and strategically respond to these encounters in creative ways is distinct from non-disabled people. These processes highlight the various ways in which Tourettic people are othered in both physical and digital public spaces, which contributes to increased levels of loneliness within the Tourettic community. With loneliness a distinct part of the Tourettic experience, the research highlights the need for better spaces of support for adults, and problematises those that already exist. In doing so, it offers the example of the zineing workshop space as a site for the facilitation of solidarity and community building within the Tourettic community. The results of the research offer steps forwards in producing data that highlights the need for further consideration of adults with Tourette Syndrome, not only in regard to the design and provision of support services but also conceptually within academic research spaces. In doing so, it also offers the case for a geography of impulse, whereby concepts of impulse can be applied more broadly in the study of public spaces and the processes that happen within and around them. Description: Ph. D. Thesis.

2025-01-01T00:00:00Z Sinden, Dafydd http://theses.ncl.ac.uk/jspui/handle/10443/6751 2026-04-30T15:37:58Z 2025-01-01T00:00:00Z

Title: Forms of perception in late modernist British poetry, 1966-2020 Authors: Sinden, Dafydd Abstract: This thesis examines the forms of perception explored in the work of four late modernist British poets writing between 1966 and 2020. By analysing the poetry of Peter Riley, R. F. Langley, Colin Simms and J. H. Prynne, it argues that British poetry in this period negotiates a fundamental tension between perceptual contact—the possibility of a direct, unmediated engagement with the world—and its mediation, the abstraction of perception through linguistic, epistemological and literary frameworks. While American modernists like Charles Olson and Ed Dorn celebrated the ethical, phenomenological valences of perception, their British successors grappled with how modernist perceptual forms conflicted with, or were refracted through, a nexus of British linguistic, prosodic and epistemological traditions. Drawing on hitherto-unstudied correspondence and archival sources, I demonstrate how my chosen poets exposed the paradoxes in the forms of perception celebrated by their modernist precursors, revealing how attempts to sustain an ethical perceptual mode risked either instrumentalising the external world or becoming totalising and assimilative. Building on existing accounts of British late modernism, such as Mellors (2005), Latter (2015), and Rowland (2022), I argue that British poets reconceptualised mediation as a force that either exposed the ethical constraints of perception or properly situated the perceiving subject within language, culture and history. Chapter One traces Riley’s work in The English Intelligencer, from an early embrace of Olsonian perceptual immediacy to a growing scepticism about its assimilative tendencies. Chapter Two examines Langley’s negotiation of perception and knowledge, culminating in his later turn to English lyric and dramatic monologue as vehicles for intersubjectivity. Chapter Three explores Simms’s engagement with landscapes and animals, revealing how they are always-already disclosed through ecological and colonial frameworks. Chapter Four considers J. H. Prynne’s late poetry, where lyricism emerges as an intrinsically mediated process, embedded within historical and linguistic structures. Description: PhD Thesis

2025-01-01T00:00:00Z