anglicky: Title of the thesis: Molière in modern Czech theatre Keywords: Molière, preciousness, classicism, baroque, comedy, commedia dell'arte, comedy-ballet. Abstract: The thesis treats the works of Jean-Baptiste Poquelin also known as Molière and their legacy in modern Czech theatre. It characterizes French society of the seventeenth century and the main features of contemporary philosophical and artistic styles, focusing on the dramatic creation of classicism. It also summarizes the life of Molière and his work, subdividing it according to generic, formal and thematic criteria. Within this frame, it gives a detailed analysis of the most important plays, representing the individual categories. It also studies the modern Czech theatrical stage. Focusing on the historical context, it explores the development of the stage from the end of the Second World War until nowadays. It gives a complex outline of Molière's plays presented during the different periods, evaluating the influence of cultural and historical context on the particular interpretation. This evaluation is based on the information presented in contemporary press and promotional materials of the given theatres and thus examines Molière's plays performed on Czech theatre stages in the present. On the basis of a questionnaire...

O presente trabalho trata de questões relativas à interpretação musical das Bagatelas op. 119 de Beethoven. São abordados assuntos como: dificuldades técnicas, andamentos, dinâmica, fraseado, articulação, pedalização, entre outros. A finalidade é ressaltar alguns detalhes de estrutura e de notação utilizados pelo compositor que podem ajudar e enriquecer o processo de construção de uma interpretação musical desta obra. Discorre-se também sobre as circunstâncias que levaram Beethoven a compor suas Bagatelas, primeiras edições e o paradeiro de alguns dos esboços e manuscritos relativos a essas obras. Esta dissertação utiliza os textos musicais de duas das mais conceituadas edições da obra disponíveis no mercado (G. Henle Verlag, de 1970 e Wiener Uxtert/Schott Universal Edition, de 1973) e é fundamentada em trabalhos de especialistas da área, notadamente, Sandra Rosenblum (Performance Practices in Classic Piano Music), Barry Cooper (Beethoven\'s Portfolio of Bagatelles) e Alan Tyson (The First Edition of Beethoven\'s op.119 Bagatelles). / The present work deals with issues concerning the musical interpretation of Beethoven\'s Bagatelle op. 119. Were approached subjects such as technical demands, tempo, dynamic, phrasing, articulation, pedaling, among others. The goal is to bring out some of the composer\'s structural and notational details, which may help and enrich the process of creating a musical interpretation of this piece. It has also been discussed on the circumstances that led Beethoven to compose his Bagatelles, first editions and whereabouts of some of the sketches and manuscripts relating to these works. This essay uses the musical scores of two of the most prestigious editions available (G. Henle Verlag, 1970 and Wiener Uxtert/Schott Universal Edition, 1973) and is based on works from experts in the field, notably, Sandra Rosenblum (Performance Practices in Classic Piano Music), Barry Cooper (Beethoven\'s Portfolio of Bagatelles) and Alan Tyson (The First Edition of Beethoven\'s op.119 Bagatelles).

O presente trabalho trata de questões relativas à interpretação musical das Bagatelas op. 119 de Beethoven. São abordados assuntos como: dificuldades técnicas, andamentos, dinâmica, fraseado, articulação, pedalização, entre outros. A finalidade é ressaltar alguns detalhes de estrutura e de notação utilizados pelo compositor que podem ajudar e enriquecer o processo de construção de uma interpretação musical desta obra. Discorre-se também sobre as circunstâncias que levaram Beethoven a compor suas Bagatelas, primeiras edições e o paradeiro de alguns dos esboços e manuscritos relativos a essas obras. Esta dissertação utiliza os textos musicais de duas das mais conceituadas edições da obra disponíveis no mercado (G. Henle Verlag, de 1970 e Wiener Uxtert/Schott Universal Edition, de 1973) e é fundamentada em trabalhos de especialistas da área, notadamente, Sandra Rosenblum (Performance Practices in Classic Piano Music), Barry Cooper (Beethoven\'s Portfolio of Bagatelles) e Alan Tyson (The First Edition of Beethoven\'s op.119 Bagatelles). / The present work deals with issues concerning the musical interpretation of Beethoven\'s Bagatelle op. 119. Were approached subjects such as technical demands, tempo, dynamic, phrasing, articulation, pedaling, among others. The goal is to bring out some of the composer\'s structural and notational details, which may help and enrich the process of creating a musical interpretation of this piece. It has also been discussed on the circumstances that led Beethoven to compose his Bagatelles, first editions and whereabouts of some of the sketches and manuscripts relating to these works. This essay uses the musical scores of two of the most prestigious editions available (G. Henle Verlag, 1970 and Wiener Uxtert/Schott Universal Edition, 1973) and is based on works from experts in the field, notably, Sandra Rosenblum (Performance Practices in Classic Piano Music), Barry Cooper (Beethoven\'s Portfolio of Bagatelles) and Alan Tyson (The First Edition of Beethoven\'s op.119 Bagatelles).

Cognitive scientists seeking a computational account of consciousness almost universally opt for a process theory of some kind: a theory that explains phenomenal experience in terms of the computational processes defined over the brain's representational vehicles. But until recently cognitive science has been dominated by the classical computational theory of mind. Today there is a new player on the scene, connectionism, which takes its inspiration from a computational framework known as parallel distributed processing (PDP). It is therefore appropriate to ask whether connectionism has anything distinctive to say about consciousness, and in particular, whether it might challenge the dominance of process theories. I argue that connectionism has the resources to hazard a vehicle theory of consciousness. A vehicle theory places consciousness right at the focus of cognition by identifying it with the explicit representation of information in the brain. Classicism can't support such a theory because it is committed to the existence of explicit representations whose contents are not phenomenally conscious. The connectionist vehicle theory of consciousness aligns phenomenal experience with stable patterns of activation in neurally realised PDP networks. It suggests that consciousness is an amalgam of phenomenal elements, both sensory and non-sensory, and the product of a multitude of consciousness-making mechanisms scattered throughout the brain. This somewhat unorthodox picture is supported, I claim, by careful analysis of experience, and by the evidence of the neurosciences. One obstacle facing this account is the apparent evidence, both direct and indirect, for the activity of unconscious explicit representations in human cognition. I establish that much of the direct evidence for this thesis is open to doubt on methodological grounds. And studies that support the dissociation thesis indirectly, by way of an inference to the best explanation, are vulnerable to alternative connectionist explanations of the relevant phenomena. What is most significant about the connectionist vehicle theory of consciousness is not the fact that it's a connectionist theory of consciousness, but that it's a vehicle theory - an account which takes cognitive science into largely unexplored territory, but in so doing brings into clearer focus the issues with which any theory of consciousness must contend. / Thesis (Ph.D.)--Department of Philosophy, 1998.

Thesis (Ph.D.)--Yale University, 1896. / Prefatory note signed: A. S. C. [i.e. Albert S. Cook]

Based on thesis, University of London. / Bibliography: p. 171-212.

Unlike the eminent Nordic composers Edward Grieg, Jean Sibelius, and Carl Nielsen, Swedish composer Wilhelm Stenhammar (1871-1927) and his compositions have been long forgotten. However, the composer and his works are gradually being recognized through an increase in performances, recordings, and research. This paper discusses Stenhammar's three early chamber works for piano and strings, Allegro brillante for Piano Quartet in E-flat Major (1891), Allegro non tanto for Piano Trio in A Major (1895), and Sonata for Violin and Piano in A Minor, op. 19 (1899-1990) in search of the elements of German Classicism, German Romanticism, and Swedish Nationalism, that define his mature style. Although these works might be considered to be juvenilia lacking any of Stenhammar's distinguishing color, these three early chamber works are stepping stones to the musical traits that characterize his later mature works.

In this thesis I trace the origins, morphology, and attributes of a particular strain of anti-materialism in the Western literary and cultural imagination of the second half of the twentieth century. With reference to previous work done on this topic I discuss how this anti-materialism rejects materialistic and rationalistic aspects of modernity and emphasises instead the importance of non-material aspects of society such as cultural integrity and cohesion, tradition, and instinct. I demonstrate that this strain relies on what Raymond Williams termed “organic form”, the fallacious belief that human society can and should follow a set of rules which can be objectively deducted from nature and I argue that it should be placed within the context of a long established anti-enlightenment tradition. Through an analysis of such writers as George Orwell, Aldous Huxley, JRR Tolkien, Edward Abbey, James Howard Kunstler, Chuck Palahniuk, Brian Aldiss and others I show how a common feature of this anti-materialism is concern and anxiety over the potentially destabilising or degenerative effects of life in a technologically advanced society where mechanisation, mass production, and scientific advances have brought relative comfort and prosperity to most people in society and hence I refer to this particular strain of anti-materialism as anti-technologism. More specifically, I am interested in this thesis with examining the way in which this reaction allows for a curious confluence and convergence of progressive and reactionary tendencies. I argue that anti-technologism is a distinct and detectable mood in Western literature, and I trace its origins and influences. Without claiming to provide a functionalist analysis, I consider the role of anti-technologism in Western literature which I see as broadly facilitating an exploration and discussion of themes of cultural vitality and cohesion in the increasingly cosmopolitan and technologically advanced societies of the West.

Cette recherche met en parallèle les cultures germanophone et francophone par l’entremise de l’histoire de la contrebasse. La problématique consiste à expliquer l’absence de littérature en français sur l’école viennoise de contrebasse, qui s’est développée dans la seconde moitié du XVIIIe siècle et qui a eu une certaine incidence sur le développement de cet instrument. La première section propose une biographie des principaux représentants de cette école, tous contrebassistes virtuoses actifs à Vienne autour de 1750. Suivent un tour d’horizon des œuvres pour contrebasse concertante du classicisme viennois, puis un rappel historique sur le déclin de cette école. Dans la deuxième section, un parallèle est tracé entre l’avancée du violoncelle et le recul de la contrebasse au XIXe siècle. Suivent une présentation des instruments les plus appréciés de cette époque, à savoir le piano, le cor français et le violoncelle, puis une comparaison entre l’évolution de la contrebasse en France et dans les pays germanophones au XIXe siècle. Finalement, la troisième section est consacrée à la renaissance de l’école viennoise de contrebasse, amorcée au milieu du XXe siècle. Pour observer le déploiement de cette évolution dans les cultures française, germanophone et anglo-saxonne, cette section comporte un examen des œuvres publiées par les maisons d’édition spécialisées en musique ainsi que de celles enregistrées par les contrebassistes. / This research draws a parallel between the German and the French cultures through the history of the double bass. The problematic consists in explaining the absence of literature in French about the Viennese school of bass playing, which developed in the second half of the 18th century and had a certain impact on the development of this instrument. The first section proposes a biography of the main representatives of this school, which where all virtuosos double bassists in Vienna around 1750. This is followed by an overview of works for solos double bass of the First Viennese School, and a brief history of the decline of this school. In the second section a parallel is drawn between the progress of the violoncello and the decline of the double bass in the 19th century. This is followed by a presentation of the most appreciated instruments of this era, i.e. the piano, the French horn and the violoncello, and a comparison between the evolution of the double bass in France and in the German speaking countries in the 19th century. Finally, the third section is dedicated to the renaissance of the Viennese school of bass playing, which was initiated half way through the 20th century. To look closer to this evolution in the French, German and Anglo-Saxon cultures, this section also includes a review of works published by music publishers and those recorded by double bassists. / Diese Forschung will zwei Kulturen, die deutschsprachige und die französische, in Verbindung mit der Geschichte des Kontrabasses bringen. Die Fragestellung besteht darin, das Versäumnis der französischen Literatur über die Wiener Kontrabassschule zu erklären, eine Schule die sich in der zweiten Hälfte des 18. Jahrhunderts entwickelt und die eine Wirkung auf die Entwicklung dieses Instrumentes gehabt hat. Im ersten Abschnitt wird eine kurze Biographie der Hauptvertreter dieser Schule vorgeschlagen, die alle Kontrabassvirtuose und um 1750 in Wien tätig waren. Es folgt ein Überblick der Werke der Wiener Klassik für konzertanten Kontrabass, dann ein historischer Exkurs über den Niedergang dieser Schule. Im zweiten Abschnitt wird eine Parallele zwischen dem Vorsprung des Violoncellos und dem Rückgang des Kontrebasses im 19. Jahrhundert gezogen. In diesem Abschnitt werden desweiteren die bevorzugten Instrumente dieser Epoche, nämlich das Klavier, das Horn und das Violoncello diskutiert, und die Entwicklung des Kontrabasses in Frankreich und im deutschsprachigen Raum im 19. Jahrhundert verglichen. Schließlich widmet sich der dritte Abschnitt der Renaissance der Wiener Kontrabassschule, die in der Mitte des 20. Jahrhunderts begann. Um eine richtige Betrachtung der Entfaltung dieser Entwicklung in den französischen, deutschsprachigen und angelsächsischen Kulturen zu ermöglichen, findet sich in diesem Abschnitt ebenfalls eine Untersuchung der Werke, die von den Musikverlagen veröffentlicht wurden wie auch derjenigen, die von den Kontrabassisten aufgenommenen wurden.

Thesis--Cornell University, 1914. / Reprint of the 1916 ed. Bibliography: p. [111]-113.