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      <image:title>Writings - Queer theory in sonata form: exploring homogenous motivic development - Figure 1: Ah! Vous Dirai-je, Maman contained within one octave</image:title>
      <image:caption>Figure 1: Ah! Vous Dirai-je, Maman contained within one octave</image:caption>
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      <image:title>Writings - Queer theory in sonata form: exploring homogenous motivic development - Figure 2: Ah! Vous Dirai-je, Maman calling octave equivalence into question.</image:title>
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      <image:title>Writings - Queer theory in sonata form: exploring homogenous motivic development - Figure 3: The ‘cell’ in Beethoven's Fifth Symphony and the initial forms of permutation in transpositions.</image:title>
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      <image:title>Writings - Queer theory in sonata form: exploring homogenous motivic development - Figure 4: Oil on wood (103 cm × 73.5 cm). “The Lamentation around the remains of Christ”. Anonymous painter, probably painted at the end of XVI century. Museum of Notre-Dame à la Rose Hospital, Lessines, Belgium.</image:title>
      <image:caption>Figure 4: Oil on wood (103 cm × 73.5 cm). “The Lamentation around the remains of Christ”. Anonymous painter, probably painted at the end of XVI century. Museum of Notre-Dame à la Rose Hospital, Lessines, Belgium.</image:caption>
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      <image:title>Writings - Queer theory in sonata form: exploring homogenous motivic development</image:title>
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      <image:title>Writings - Queer theory in sonata form: exploring homogenous motivic development - Make it stand out</image:title>
      <image:caption>Figure 6: Theme from the Prelude inverted as a counter-statement of theme. A form of self-generation of materials.</image:caption>
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