This thesis aims to provide a critique of the conclusions of Gershom Scholem regarding the potential for ‘Gnostic’-Kabbalistic filiation, and to establish whether, in light of the available evidence, Scholem’s arguments (which have yet, to my mind, to be sufficiently challenged) can be reasonably supported. I strive to offer an arguably clearer definition of the relevant taxonomic terms than is often presented in scholarly analyses of this question, whilst also arguing for the applicability to this debate of certain pertinent methodological approaches drawn from the wider school of comparative mythology. As such, I also attempt to establish a clear methodology for judging the probability of the genetic descent of one ‘system’ from another, viz. that perhaps the most logical method for assessing potential similarities between different ‘systems’ is to assume in the first instance that all correspondences identified are essentially coincidental, dismissing this assumption only if one can identify a high level of exactness in these comparisons (such as would render pure coincidence relatively improbable) and/or establish a secure chain of transmission between two sources, a chain which renders the transmission of ideas not only possible but indeed probable. Applying this methodology to certain potential routes by which second century ‘Gnostic’ thought might have been transmitted to the origin point of the medieval Kabbalah, I attempt both to demonstrate the wider applicability of such a methodology beyond the narrow question of ‘Gnostic’-Kabbalistic relationships, and to illustrate the serious difficulties with advancing any of these potential routes as a reliable source for the transmission of ‘Gnostic’ ideas to the Kabbalah. Rather, I argue that it may be more logically defensible, in the absence of clear source evidence, to ascribe such correspondences as are located purely to coincidence, albeit a coincidence perhaps somewhat tempered by certain observations regarding the relative ubiquity of certain concepts and modes of thought.

Thesis (MMus (Music))--University of Stellenbosch, 2009. / The work presented herewith is an orchestration of one of the most idiomatic piano pieces composed by Alexander Scriabin: the Sonata no.3 in F‐sharp minor, Op. 23. This particular orchestration involved a process of profound examination and comprehension of the form of the sonata, as well as understanding the role of each instrument of the symphony orchestra, and how they could contribute to an orchestral reconstruction of Scriabin’s work. The re‐creation of the piano part, and the whole experience that supported this challenge, resulted in the individual production in which my particular interpretation of Scriabin’s music reflects the maturity of an absorbed investigation of his style of composition.

This research both develops new methods and expands upon existing methodologies in order to improve our understanding of voting patterns and party competition in Britain. The thesis comprises five sections, each of which relates to a particular research focus. The first and principal section describes the process of determining a new method for decomposing electoral bias for three-party competition under simple plurality rules of voting. The study of electoral bias is important for voting systems that requires periodic boundary reviews intended to equalise electorate and to remove malapportionment. These papers describe both the process for developing the threeparty bias method and later its application to UK general elections from 1983 onwards. The second section uses aggregate data gathered for the elections to the Greater London Authority in order to understand the patterns of electoral support across the capital, particularly support for minor parties. A considerable amount of research effort has been expended upon providing reliable models for electoral forecasting both in the UK and elsewhere. The third section includes a paper that develops a forecast model that utilises aggregate local election data to estimate national vote shares for the three main parties in the UK. A fourth section brings together a series of papers that are linked by the themes of voter behaviour, either in terms of geographical or ballot context. A study of voter turnout in a London borough describes the relationship between proximity to polling station and electoral turnout at different types of election. A 8 number of papers included in this section also detail the effects of candidate ballot order on electoral support. The fifth and final section groups together two papers that using individual-level survey data to describe the pattern of candidate recruitment for local elections in Britain and, specifically, the under-recruitment of both women and Black, Asian and other minority ethnic candidates.

This study explores the hermeneutical issues raised by critical approaches to the Book of the Twelve and their implications for the concepts of authorial intent, history, and canon. By means of a critical engagement with the Twelve’s modern reception history it seeks to demonstrate that with few exceptions, recent attempts to come to terms with the peculiar character of the prophetic intentionality at work in the Twelve reflect the continuing impact of historicism and its hermeneutical legacy upon the study of Old Testament prophecy. As a result the key roles played by theological pressures and the hermeneutical significance of canon in the Twelve’s formation history continue to be marginalized, particularly with respect to the eschatological and typological moves involved in the redactional expansion of prophecy. The study seeks to constructively address these problems by offering a theological exegesis of Hosea 1:5 and 2:23-25, arguing that the study of these ‘Day of the Lord’ texts and the larger theological significance of Hosea’s prologue for the Twelve has been virtually eclipsed by the central hermeneutical role assigned to Joel by the Twelve’s modern interpreters. The larger contribution to the hermeneutical logic of prophecy rendered by Hosea’s ‘wisdom coda’ (Hosea 14:10) has also not been given its proper due, exegetically speaking. With these concerns in mind, the study then proceeds to argue that Hosea’s prologue establishes a theological context for the logic of prophecy, eschatology, and typology in the Twelve which finds its hermeneutical ground in Exodus 32-34 and the continuing theological significance of Yahweh’s name for his providential dealings with Israel. In this way Hosea’s prologue constrains the interpretation of prophecy and the DOL in the Twelve by linking their theological function to the significance of Yahweh’s name for Israel. The wisdom coda both embraces and extends this agenda for readers of Joel through Malachi by instructing them in the proper stance toward prophecy and “the ways of Yahweh” toward Israel and the nations vis-a-vis his revealed character in Exodus 34:5-7. The book of Hosea thus ends by establishing hermeneutical guidelines for the “wise” interpretation of prophecy, a stance which is then further facilitated by the summons to wisdom in Joel’s prologue (1:1-4) and Joel’s own deployment of the DOL in Joel 1-2.

This lecture recital seeks to prove that Sergei Taneyev's only piano concerto is a valuable addition to the piano concerto repertoire for historical and theoretical examination. Taneyev's biographical background proves he was one of the major figures in Russian musical life during the late nineteenth century. For one who had such an important role in music history, it is an unfortunate that his music has not been popular. Through letters to contemporary composers and friends, Taneyev's master teacher Tchaikovsky revealed why his music and piano concerto were not as popular as they should have been. This lecture recital examines Taneyev's compositional style and illustrates his influence in the works of his famous student Sergei Rachmaninoff through examples from Taneyev's Piano Concerto in E-flat Major and Rachmaninoff's Piano Concerto No. 2. Taneyev's Piano Concerto and Tchaikovsky's Piano Concerto No. 1 have both similarities and differences that resulted from the composers' close relationship. Letters between the teacher and student enlighten readers to the compositional process of the two piano concertos and demonstrates the value of Taneyev's Piano Concerto. A detailed theoretical analysis is included in this dissertation. The principal themes and motifs are presented with a detailed analysis of the structure of the concerto's first movement as the themes, motifs, and variations are woven into a unified piece of music. The second movement of the concerto is remarkable for its harmonic progressions. This research substantiates that Taneyev's Piano Concerto is valuable to the current piano repertoire and worthy of performances throughout the world. The concerto occupies an important role in music history and theory and is useful for piano students to study.

The popular millenarian movement founded by Joanna Southcott (1750-1814) enjoyed a complex relationship with political radicalism in early nineteenth-century Britain. Southcott opposed radicalism during her lifetime, encouraging her followers to await a messianic agent of the millennium. Within two decades of the prophet’s death – as Southcott expected to give birth to this messiah – some surviving Southcottians became political radicals, most notably, John ‘Zion’ Ward (1781-1837) and James Elishama Smith (1801-57). Ward was a popular preacher during the agitations around the Reform Bill, Smith a radical lecturer, editor of Robert Owen’s journal Crisis, and ideologue within general trades unionism in 1833-34. The respective influence of each figure drew several hundred Southcottians into engagement with politics. This thesis presents a new interpretation of why such millenarians engaged with radicalism. Utilising a substantial range of Southcottian and radical sources, many previously unstudied, it challenges the existing explanations of Southcottian radicalism of E.P. Thompson, J.F.C. Harrison, Barbara Taylor and others. Through a close study of the religious experience, ideas and practices of Southcottians in 1815-35, it locates an altered disposition towards social activity through the evolving millennial theologies of Southcottian groups and the personal acquaintanceship of individual believers with radical freethinkers. Under the prophetic leadership of Zion Ward and John Wroe (1782-1863), earlier Southcottian notions of the respective roles of divine and human agency in the realising of the millennium were changed by 1830. This led Southcottians to a new sense of agency, where their own actions took on a millennial significance when directed towards the achievement of God’s perceived intentions for the world. For some, this presented engagement with political radicalism, even freethought radicalism, in a new light: as action apposite to their beliefs. This argument features an alternative theoretical framework for millenarian beliefs which takes account of the way conceptions of human agency can vary within religious movements centred on modern prophecy. In exposing the inadequacy of existing pre- and postmillennial categories to explain such beliefs, it demonstrates how visionary religion can inspire expectations of both disruptive and evolutionary change, and require both divine and human agency, in the realisation of the millennium. This is a study in religious history, orientated towards politics. It demonstrates that a sensitivity to how visionary religious ideas influenced individuals involved in political movements, aids an improved understanding of political motivations and ideals.

This thesis proposes to determine the construction of the two string quartets and to reveal through the study of the quartets the similarities and contrasts of the creative musical characteristics of Debussy and Ravel.

The purpose of the following study is to make an analysis of the structural elements and stylistic characteristics in the Second Concerto for Violin by the modern Russian composer, Serge Prokofieff. These include the composer's treatment of form, melody, rhythm, harmony, and medium of expression.

The primary purpose of this thesis will be to examine the orchestration of the trombone section in the Viennese symphonies of the early Romantic period. In order to fully understand the function of the trombone section in these syphonies, a review of the trombones usage in previous centuries is in order.

The purpose of this paper is to give a historical and stylistic analysis of the Sonata, Op.31, No.2 in D minor of Beethoven. The historical background of Beethoven, the time period the sonata was written, and the influence that the piano of the time had on the sonata is first discussed. The author then discusses the general aspects of Beethoven's style followed by a detailed analysis of the sonata.