Matador is an opera scored for orchestra, mixed chorus and soloists (mezzosoprano, 3 tenors, 2 baritones). The work is in one act divided into two main sections. Each of these sections is divided into subsections. The libretto is aphoristic in nature and dictates the form of each of these subsections. The division into two parts also serves as a means to evoke a sense of hopelessness of emotions in the first and a transforming disposition that culminates in a jubilant song in the second.

The thesis ―Inside, Outside is a poetry collection of twenty-five poems organized by themes that fit into chapters titled ―Heart and Mind, ―Family, and ―The World

Orientador: Renata Maria Facuri Coelho Marchezan / Banca: Maria Célia Mendonça / Banca: Maria Inês Batista Campos / Resumo: Hodiernamente, observa-se, no âmbito educacional, um grande destaque aos vestibulares como meio de ingresso em boas universidades do país. Como consequência disso, ganha força, dentro de colégios, a prática da produção textual, em especial da redação argumentativa. Tendo isso em vista, esta pesquisa objetiva identificar como ocorrem as relações dialógicas entre o conjunto de enunciados - comumente denominado coletânea - componentes da proposta de redação argumentativa e a redação argumentativa elaborada pelo candidato no vestibular aplicado pela Fundação Universitária para o Vestibular (FUVEST) nos anos 2012 e 2013. Para concretizar o objetivo apontado, primeiramente, são discutidos como e por que a proposta de redação argumentativa e a redação argumentativa escolar podem ser consideradas gêneros do discurso. Seguidamente, são analisadas 14 redações oriundas da prova de vestibular supracitada que mais cumpriram os quesitos avaliados pela banca examinadora. Esta pesquisa caminha pela Análise Dialógica do Discurso, tendo, como eixo basilar de fundamentação, as ideias propostas pelo Círculo de Bakhtin, em especial os conceitos relações dialógicas, diálogo, enunciados, gêneros do discurso, esferas de atividade humana, além de um estudo acerca dos processos de citação e seus tipos. São utilizadas, como corpus, duas propostas de redação argumentativa do vestibular FUVEST (2012 e 2013) e 14 redações argumentativas escolares que, segundo a banca examinadora, atingiram as expectativas... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: Nowadays it's common to observe, especially in the scholar context, a huge emphasis in the vestibular exams, since they are a manner to access great universities around the country. Consequently, the practice of textual production, mainly the argumentative genre, gains prominence within schools. Considering this, our research aims to identify how occur the dialogic relations between the group of utterances (which composes the reading material, named by us as argumentative essay proposition) and the argumentative essays created by the candidates who applied to an undergraduating school by using the vestibular exam organized by the University Foundation for Vestibular (FUVEST), during 2012 and 2013. Firstly, in order to accomplish our objectives, it will be discussed how and why the argumentative essay proposition and the middle school argumentative essay may be considered genres of discourse. Furthermore, it will be analyzed 14 essays collected form the FUVEST vestibular exam. These 14 essays were considered by the examiners as having accomplish totally or almost totally the evaluation criteria. It's important to highlight this research has as basis the Dialogic Discourse Analysis theories, especially the theories proposed by the Bakhtin's Circle, notably the concepts: dialogic relations, dialogue, utterance, genres of discourse, spheres of human activities, as well as a study of the quotations' process. Moreover, our corpus is composed by two FUVEST exam's argumentative essay... (Complete abstract click electronic access below) / Mestre

Este trabalho aplica metodologia de Wang (2003a, 2003b) para definir uma nova medida do produto de bancos brasileiros. Acredita-se que tal medida seja superior às comumente utilizadas na literatura por se tratar de uma variável de fluxo, incorporar os depósitos bancários de maneira teoricamente embasada e levar em consideração a exposição ao risco. Esta nova variável de produção é utilizada na estimação de fronteiras estocásticas de produção e custo para o setor bancário brasileiro, visando a mensurar sua eficiência técnica e econômica, assim como a magnitude de suas economias de escala. As fronteiras estimadas apresentam especificação dada pela forma funcional flexível de Fourier e incorporam variáveis determinantes da eficiência. Os resultados apontam para uma acentuada ineficiência do setor bancário, assim como para a ocorrência de retornos crescentes de escala. / This work applies the Wang (2003a, 2003b) methodology to define Brazilian banks\' output. It is believed that this new output measure is superior to the ones commonly used by the literature, since it treats output as a flow variable, provides a theoretical basis for defining the role of deposits and takes account of risk exposure in defining output. This new measure is applied to the estimation of stochastic production and cost frontiers for the Brazilian banking sector, aiming at measuring its technical and economic efficiency, and also the size of its scale economies. The frontiers follow a Fourier flexible functional form especification and incorporate efficiency determinants. The results point to the existence of high inneficiency in the banking industry, and also to the ocurrence of increasing returns to scale.

Purpose: Accounting practices vary not only across firms, but also across countries, reflecting the respective legal and cultural background. Attempts at harmonization therefore continue to be rebuffed. The purpose of this paper is to argue that different wordings in national laws, and different interpretations of similar wordings in national laws, can be explained by taking recourse to the philosophy of language, referring particularly to Searle and Wittgenstein. Design/methodology/approach: The example of the substance over form principle, investigated in seven countries, is particularly suitable for this analysis. It is known in all accounting jurisdictions, but still has very different roots in different European countries, with European and international influences conflicting, which is reflected in the different wording of the principle from one country to the next, and the different socially constructed realities associated with those wordings. Findings: This paper shows that, beyond accounting practices, the legal and cultural background of a country affects the wording of national law itself. The broad conclusion is that different socially constructed realities might tend to resist any attempt at harmonized socially constructed words. Originality/value: The paper contributes to the debate surrounding the possible homogenization of accounting regulations, illustrating the theory of the social construction of both "reality" and "language" on the specific application of one common principle to various Member State environments.

The study of scattering amplitudes in the maximally supersymmetric Yang-Mills theory (N = 4 SYM) is a thriving field of research. Since the reformulation of perturbative gauge theory as a twistor string theory by Witten, this area has witnessed a flurry of activity, leading to the discovery of a multitude of novel techniques, such as recursion relations and MHV diagrams, collectively referred to as on-shell methods. In parallel, many previously hidden properties and rich mathematical structures have been found, a powerful example of such being the dual superconformal symmetry. It is natural to ask whether this understanding can be extended to phenomenologically relevant theories as well as other quantities. The goal of the present work is to apply the modern on-shell methods to calculations of form factors, with particular focus on those which are relevant for describing Higgs production in QCD from the point of view of an effective field theory. Specifically, our analysis will be carried out in supersymmetric gauge theories at two-loop level and will consist of several steps. We focus first on operators in the SU(2j3) closed subsector of N = 4 SYM, in particular two non-protected, dimension-three operators. We then move on to consider the trilinear operator Tr(F3) and a related descendant of the Konishi operator which contains Tr(F3), also in N =4 SYM. Finally, we concentrate on two-loop form factors of these two operators in theories with less-than-maximal supersymmetry. The result of our investigation shows an emergence of a small number of universal building blocks, ultimately related to the two-loop form factor of a trilinear half-BPS operator. This finding suggests that the most complicated, maximally transcendental part of Higgs plus multi-gluon amplitudes in QCD can be equivalently computed in a remarkably simple way by considering form factors of half-BPS operators in N =4 SYM.

Thesis (Ph.D.)--Massachusetts Institute of Technology, Dept. of Mathematics, 1980. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND SCIENCE. / Bibliography: leaves 225-237. / by William Eric Leifur Grimson. / Ph.D.

Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1982. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH. / Bibliography: leaves 146-150. / by Cecilia Lewis Kausel. / M.S.

A prevailing scholarly view holds that John Milton’s monism (his belief that matter and spirit are inseparable) is a reaction to seventeenth-century determinism. My thesis, however, posits that Milton’s monism in fact emerges from his exploration of literary form. Chapter one traces the classical roots of the philosophy and its compatibility with Genesis. It posits the comprehensiveness of monist philosophy and highlights the vitalist (or animate) implications of ancient monist theories for literary form. Spoken or written words, Democritus suggests, correspond to the material building blocks or “elements” of the universe: the construction of literary form is analogous to the creation of the cosmos. Indeed, Lucretius’ letter-atom analogy suggests that the process of creating literary form is essentially identical to the atomic method underlying the composition of other material forms in the universe. Greek atomist thought, the chapter proposes, finds a striking parallel in Jewish mystical beliefs about creation. It is with the letters of the divine name that the Lord was said to have created the universe. I argue that, for Milton, Aristotle is most influential in expressing a vitalist conception of literary form, for in his philosophy, soul generates voice, which manifests itself in writing. Milton acknowledges the association between words and atoms, between letters and primordial substance, and between voice, or breath, and spirit in his monist materialism; after all, in Genesis, God creates by utterance. Examining the relation of vitalism to Aristotelian poetics, I suggest the relevance of the concept to Milton’s hybrid literary forms. Then, analysing the material nature of voice in Milton’s works, I posit in chapter two that Milton’s polemical pamphlets underscore the sense of spirit in writing that we find in the poetry. That literary forms can be perceived to embody soul because they evoke voice is evident also from Milton’s Art of Logic (1672). I suggest in chapter three that Logic is saturated with materialism because the Aristotelian sources on which Milton’s Ramist logic is based express material monism. Milton’s Logic and Areopagitica (1644) provide further evidence of his thinking about the vital potential of literary form through the logical construction of texts, a continued interest, I argue, which ultimately engenders his mature monism. Milton use of dream narratives in Paradise Lost, I propose, suggests that reality varies materially by degrees. The parts that reality comprises become more distinct after the Fall, when Milton’s dream narratives, and his cosmology, changes. Before the Fall, the poet imagines that Earth orbits the sun, and that the sun orbits heaven at the centre of the cosmos, a formation, I explain, that has striking resemblance to modern knowledge of the solar system. With careful attention to the dreams of Paradise Lost, I have determined that monism, for Milton, encompasses the workings of intellect, and in the final chapter, I argue that this principle is central to understanding Paradise Regained. The Son’s method of survival in the wilderness becomes the means by which paradise (the spiritual reality) is regained. Understanding his own nature permits the Son of God physiologically to sustain himself through dreaming; the intellectual achievement alters the material nature of his body so that he is sustained by spiritual food. Monism is at the very heart of Paradise Regained. It is a monist methodology of literary form which enables the poet across his oeuvre truly to represent the nature of reality.

by Wong Yat Sze, Yates. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1997. / Includes bibliographical references (v. 1, leaves 90-98). / VOLUME 1 / LIST OF APPENDICES --- p.ii / CHAPTER / Chapter I. --- INTRODUCTION --- p.1 / Chapter II. --- A BIOGRAPHICAL SKETCH OF SERGEI PROKOFIEV --- p.5 / Chapter III. --- THE CRITERIA FOR THE USE OF SONATA FORM IN --- p.12 / TRADITIONAL MUSIC AND ITS EXPANDED USE IN THE TWENTIETH-CENTURY / Chapter IV. --- ANALYSIS OF SELECTED FIRST MOVEMENTS IN PROKOFIEV'S WORKS --- p.14 / Chapter 1. --- "Piano Sonata No. 1 in F Minor, Op. 1 (1909)" --- p.15 / Chapter 2. --- "Piano Concerto No. 1 in D-flat Major, Op. 10 (1911-12)" --- p.18 / Chapter 3. --- "Piano Sonata No. 2 in D Minor, Op. 14 (1912)" --- p.19 / Chapter 4. --- "Classical Symphony in D Major, Op. 25 (1916-17)" --- p.22 / Chapter 5. --- "Piano Sonata No. 3 in A Minor, Op. 28 (1917)" --- p.26 / Chapter 6. --- "Symphony No. 2 in D Minor, Op. 40 (1924-25)" --- p.30 / Chapter 7. --- "Symphony No. 3 in C Minor, Op. 44 (1928)" --- p.34 / Chapter 8. --- "String Quartet No. 1 in B Minor, Op. 50 (1930)" --- p.39 / Chapter 9. --- "Violin Concerto No. 2 in G Minor, Op. 63 (1935)" --- p.42 / Chapter 10. --- "Piano Sonata No. 7 in B-flat Major, Op. 83 (1939-42)" --- p.45 / Chapter 11. --- "Piano Sonata No. 8 in B-flat Major, Op. 84 (1939-44)" --- p.48 / Chapter 12. --- "String Quartet No. 2 in F Major, Op. 92 (1941)" --- p.50 / Chapter 13. --- "Flute Sonata in D Major, Op. 94 (1943)" --- p.54 / Chapter 14. --- "Symphony No. 5 in B-flat Major, Op. 100 (1944)" --- p.58 / Chapter 15. --- "Piano Sonata No. 9 in C Major, Op. 103 (1947)" --- p.62 / Chapter 16. --- "Symphony No. 6 in E-flat Minor, Op. 111 (1945-47)" --- p.65 / Chapter V. --- COMPARATIVE ANALYSIS AND CONCLUSION --- p.70 / Chapter VI. --- BIBLIOGRAPHY --- p.90 / VOLUME 2 / APPENDICES --- p.1 / LIST OF APPENDICES / Appendix / Chapter 1. --- Musical Examples --- p.1 / Chapter 2. --- Prokofiev's Works divided by Periods --- p.145 / Chapter 3. --- Prokofiev's Works divided by Genres --- p.154 / Chapter 4. --- Proportion and Developmental Techniques --- p.155 / Chapter 5. --- "Proportions of Beethoven's Nine Symphonies, First Movements" --- p.157 / Chapter 6. --- Key Relationship between the First and Second Themes of the Exposition --- p.158 / Chapter 7. --- Themes and Tonal Schemes --- p.159 / Chapter 8. --- Map of Soviet Union --- p.164