The Serbian-born, German university educated Nebojša Jovan Živković is a virtuoso percussionist and an acclaimed composer of a large body of innovative music. The concert percussion community has embraced several of these works and this document examines two solo pieces: “ULTIMATUM I for Solo Marimba,” Opus 24.1 (1990/91), and “Generally Spoken It Is Nothing But Rhythm for Percussion Solo,” Opus 21 (1994/95). The intention of this study is to be a practical performance guide to aid in making decisions that will inform expressive interpretation. Both works are examined in the context of the formal structure and how the motivic, thematic, and harmonic elements relate to the form. Performance aspects such as instrument selection, setup optimization, interpretation, utilization of expressive dynamics and articulations, dynamic balance, extended techniques, universal four-mallet techniques, practice strategies, and suggestions for preparation are included. Overall, the challenges of “ULTIMATUM I” are many—technical, musical, physical, and emotional. The composer’s comments concerning Opus 24.1 focus on an energetic and expressive attitude. The energy is written into the music, but the performer must communicate this ultimative energy to the audience. Opus 24.1 has an angular texture, complex rhythms, fast tempos, and extremely loud dynamics. The aggressivo middle section contains many of the greatest challenges of the piece. Inherent to any multi-percussion setup are technical challenges and these are compounded in “Generally Spoken“ due to the inclusion of the vibraphone. Opus 21 is an excellent addition to any percussion recital and a performance will captivate the audience—due in particular to the unique sonorities achieved between tuned almglocken, tuned toms, Chinese gongs, and vibraphone. The music of Živković may have limited appeal to listeners unaccustomed to solo concert percussion. More scholarly research into Živković’s personal history, Balkan heritage, and compositional concepts may help widen audience appreciation. / Literature review -- Ultimatum I for solo marimba opus 24.1 (1994/95) -- Generally spoken, it is nothing but rhythm for percussion solo opus 21 (1990/91) / School of Music

Thèse (M.A.) -- Université du Québec à Chicoutimi, 2002. / Bibliogr.: f. [59]-63. Document électronique également accessible en format PDF. CaQCU

Conselho Nacional de Desenvolvimento Científico e Tecnológico / The objective of this dissertation is to demonstrate the conceptual roots of the phenomenology of consciousness and ontology Sartre characterizes the approach and detachment with the tradition of phenomenology and metaphysics, especially with Husserl and Heidegger emphasizing the relationship and understanding of the concepts themselves and Para- in-itself in the context of existentialist philosophy. Research is carried through the exploration of literature and is divided into three parts. The first was intended to approach the concept of intentionality, travels Husserlian phenomenology, focusing on the constitution of the transcendental ego. The second part aimed to develop a critical overview of phenomenological ontology of Being and Nothingness, often pointing to critical issues regarding the problems of metaphysics and the unilateral conception of realism and idealism. The third part has a contrast of Sartre's phenomenological ontology with the problems resulting from the standoff between the metaphysics of realism and idealism. Finally, we dealt with the problem constructed by putting some problematic aspects of Sartre's phenomenological ontology in view of their involvement with the great questions of Western metaphysics. / O objetivo desta dissertação é demonstrar as raízes conceituais da fenomenologia da consciência e da ontologia sartreana caracterizando a aproximação e o distanciamento com a tradição da fenomenologia e da metafísica, de modo especial com Husserl e Heidegger enfatizando a compreensão e a relação dos conceitos de Para-si e Em-si no contexto da filosofia existencialista. A pesquisa é desenvolvida através da exploração bibliográfica e está dividida em três partes. A primeira destinou-se à abordagem do conceito de intencionalidade, percorre a fenomenologia husserliana, com enfoque na constituição do ego transcendental. A segunda parte teve o objetivo de desenvolver uma síntese crítica da ontologia fenomenológica de O Ser e o Nada, apontando frequentemente para aspectos críticos em relação aos problemas da metafísica e das concepções unilaterais do realismo e do idealismo. A terceira parte fez uma contraposição da ontologia fenomenológica de Sartre com a problemática que resulta do impasse entre a metafísica do Realismo e Idealismo. Por fim, abordou-se a problemática construída, situando alguns aspectos problemáticos da ontologia fenomenológica de Sartre tendo em vista sua implicação com as grandes questões da metafísica ocidental.

Em Tutaméia, Guimarães Rosa propõe e experimenta um recorte muito peculiar do cômico, cuja função não seria a de causar o riso, mas a de dar acesso a \"novos sistemas de pensamento\". A natureza e os mecanismos do cômico são discutidos no primeiro prefácio e valorizados por sua capacidade de desfazer estereótipos, abrindo espaço para outras possibilidades, para o inédito (sentido primordial de anedota), por exemplo. A própria obra incorpora formas e estruturas do cômico: seus quatro prefácios retomam em nova configuração elementos da comédia clássica, principalmente a parábase; assinalamos várias estórias organizadas segundo as formas cômicas debatidas no prefácio; até mesmo na composição de frases ou vocábulos percebe-se princípios próprios do cômico. A perspectiva cômica, infiltrada em vários planos da obra, cumpre inúmeras funções. Uma delas seria a de revelar o engano de raciocínios e valores viciados, já que alarga as possibilidades de representação ao incorporar \"outras lógicas\", normalmente banidas do pensamento sério, como no caso do louco, da criança, do criminoso, do palhaço, do velho esclerosado etc. Alguns procedimentos cômicos discutidos - seria o caso do \"processo de niilificação\" e da \"definição por extração\" - e também observados em estórias seriam modos de se acessar o \"nada\", tema amplamente recorrente e que faz parte inclusive do título: Tutaméia é \"ninharia\", \"quase nada\". A comicidade, ainda, contribuiria para ampliar o próprio idioma; ao desfazer clichês possibilita apreender a realidade não atingida pelo senso comum ou por formas convencionais. Note-se que Tutaméia não é uma obra cômica, mas foi composta a partir da perspectiva cômica, o que parece corresponder a uma vertente do pensamento moderno que valoriza o cômico por permitir a liberação do censurado, por dar acesso a tudo o que é excluído como \"não oficial\", \"não sério\", e que no entanto participa da totalidade (Dasein). A questão da comicidade ganha extraordinária complexidade na obra, confundindo-se muitas vezes com outros procedimentos (o estranhamento, a ironia, o grotesco) e sugerindo a dissolução das formas: há elementos trágicos, épicos, míticos, dramáticos, fantásticos, cinematográficos; além do minimalismo das estórias, do desdobramento cubista de perspectivas, da sondagem subjetiva etc. Enfim, o manejo do cômico em Tutaméia culmina num sistema de pluralidade e simultaneidade de perspectivas. / In his Tutaméia, Guimarães Rosa proposes and experiments with a very peculiar approach to the comical, whose purpose, rather than cause laughter, is to lead to new systems of thought. The main subject of the first preface of Tutaméia is the nature and procedures of the comical, whose importance is attributed to its ability to unmake stereotypes, opening up room for new possilibilities, for the \'unexpected\' (etymological meaning of the Portuguese word \"anedota\" - joke). Elements of the comic can be found throughout the whole of Tutaméia: its four prefaces retake, in a special way, the parabasis, an exclusive part of the classical comedy; many of its stories are structured according to the comical forms (the same ones discussed in the first preface); even in the composition of sentences or words, the comical process seems to be the guideline. The comical point of view in this work of Rosa fulfills many functions. One of them woud be to disclose the mistakes of commonplace reasoning and values, since it widens the possibilities of representation when it incorporates other \"kinds of logic\", usually banished from the realm of what is considered serious thought, as is the case of the reasoning of the insane, the child, the criminal, the clown and the such. Some comical procedures discussed - it would be the case of the \"process of niilificação\" and of the \"definition from extration\" - and also perceived in stories, would be ways of accessing the \"nothing\", widely recurrent subject which is also part of the title: Tutaméia means \"almost nothing\". The comical, still, would contribute to extend the range of reach of language itself: on unmaking clichés, it allows the apprehension of reality not grasped by common sense or conventional thought. Lastly, Tutaméia is not a comedy in itself, but it was composed from the comical perspective, what seems to correspond to the modern philosophical thought that values the comical for allowing the release of censured contents, for allowing access to what is excluded as \"not official\", \"not serious\", and that however participates in the totality (Dasein). The question of the comical gains extraordinary complexity in Tutaméia, confusing itself many times with other procedures (such as the strangeness, the irony, the grotesque) and allowing the dissolution of the forms: it has tragic, epic, mythical, dramatical, cinematographic elements; beyong the minimalism of the stories, the cubist unfolding of perspectives, the subjective sounding. The handling of the comical in Tutaméia culminates in a system of plurality and concurrence of perspectives.

abstract: This thesis addresses the following fundamental maximum throughput routing problem: Given an arbitrary edge-capacitated n-node directed network and a set of k commodities, with source-destination pairs (s_i,t_i) and demands d_i> 0, admit and route the largest possible number of commodities -- i.e., the maximum throughput -- to satisfy their demands. The main contributions of this thesis are three-fold: First, a bi-criteria approximation algorithm is presented for this all-or-nothing multicommodity flow (ANF) problem. This algorithm is the first to achieve a constant approximation of the maximum throughput with an edge capacity violation ratio that is at most logarithmic in n, with high probability. The approach used is based on a version of randomized rounding that keeps splittable flows, rather than approximating those via a non-splittable path for each commodity: This allows it to work for arbitrary directed edge-capacitated graphs, unlike most of the prior work on the ANF problem. The algorithm also works if a weighted throughput is considered, where the benefit gained by fully satisfying the demand for commodity i is determined by a given weight w_i>0. Second, a derandomization of the algorithm is presented that maintains the same approximation bounds, using novel pessimistic estimators for Bernstein's inequality. In addition, it is shown how the framework can be adapted to achieve a polylogarithmic fraction of the maximum throughput while maintaining a constant edge capacity violation, if the network capacity is large enough. Lastly, one important aspect of the randomized and derandomized algorithms is their simplicity, which lends to efficient implementations in practice. The implementations of both randomized rounding and derandomized algorithms for the ANF problem are presented and show their efficiency in practice. / Dissertation/Thesis / Masters Thesis Computer Science 2020

This dissertation is concerned with the paradox of revelatory deception a form of 'lying' which reveals truth instead of concealing it in four Shakespearean plays: Much Ado About Nothing, As You Like It, Hamlet, and King Lear. Through close analysis, I show that revelatory deceptions in these plays are metatheatrical, and read them as responding to contemporary writers who attacked the theatre for being inherently deceitful. This reading leads to the identification of parallels in the description of theatre in antitheatrical texts and the descriptions of revelatory deceptions in the plays. I suggest that correlations in phrasing and imagery might undermine antitheatrical rhetoric: for example, the plays portray certain theatrical, revelatory deceptions as traps which free their victims instead of killing them. Such 'lies' are differentiated from actual deceits by their potentially relational characteristics: deceptions which reveal the truth require audiences to put aside their self-interest and certainty to consider alternative realities which might reflect, reconfigure, and expand their understanding of the world and of themselves. The resulting truths lead either to the creation or renewal of relationships, as in Much Ado About Nothing and As You Like It, or offer glimpses at the possibility of renewal, which is ultimately denied, as in Hamlet and King Lear. In both cases the imperatives for truth and right action are underscored not obscured, as antitheatricalists would have argued through the audience's vicarious experience of either the gains or losses of characters within the plays. / Dissertation (MA)--University of Pretoria, 2017. / English / MA / Unrestricted

A popular perception persists that the Franciscan friars of Romeo and Juliet and Much Ado About Nothing bear heavy blame for the results of the play, adversely for Friar Lawrence and positively for Friar Francis. The friars do formulate similar plans, but their roles vary significantly. I contrast their approaches using Michel Foucault's definition of pastoral power, with Friar Lawrence as an overly manipulative friar controlling the lovers in spiritual matters, and Friar Francis as a humble military friar returning from the Wars of Religion to share his authority with others. This distinction--especially with Friar Lawrence appearing chronologically first--demonstrates Shakespeare as more fluid in religious themes, contrary to a significant body of scholarship that asserts Shakespeare's pro-Catholic sympathies.

This thesis is a collection of poems.

Aristotle proclaimed in his Poetics that there were six elements to drama: spectacle, music, diction, thought, character, and plot. This paper will analyze the play Thom Pain (based on nothing) against these six elements. I will discuss the aspects of each element that are present in the show as well as the ideas and concepts my director, Tad Ingram, and I brought to the show. Through the rehearsal and performance process I discovered a seventh element; the element of fearlessness. In his Poetics, Aristotle does not fully address what the actor brings to the performance and this aspect is just as important as what the script and staging bring to the performance.

No description available.