Thesis (MA(Bybel en Godsdienskunde)--Universiteit van Pretoria, 2006. / Includes bibliographical references (leaves 123-126)

Texte remanié de : Dissertation : ? : Philosophische Fakultät IV (Sprach- und Lietraturwessenschaften) der Universität Regensburg : 2003. / Bibliogr. p. [311]-332. Notes bibliogr. Index.

This document examines the performance practices of the chorales in Johann Sebastian Bach's (1685-1750) Passio secundum Johannem, BWV 245. While many modern-day scholars and performers believe that the congregation sang the Passion chorales and therefore perform them in an accordingly straightforward and homogenous manner, my involvement with this work has led me to consider other possibilities of performance. I am convinced by the evidence in the Ordnungen und Gesetze der Schola Thomana (Regulations and Legislations of the Thomas School), the evidence presented by three renowned Bach scholars, and the evidence of Bach’s music, that the congregation would not have sung the chorales of the Passion. Having scrutinized the musical language and text that Bach deliberately and thoughtfully laid out, I see the possibility for a more dramatic and contextualized approach to these chorales, something the congregation would not and could not have achieved. Because there is almost no published scholarship regarding the performance practice of Passion chorales, there is a need for a study of this nature. My goal is to provide conductors and performers with a historically-informed option to present Bach's chorales in a manner that reflects the drama of the Passion story. I will demonstrate that conductors should consider factors such as harmonic language, textual interpretation, and placement within the broader Passion narrative when making interpretive performance decisions for each of the twelve chorales.

The light harvesting systems of photosynthetic organisms harness solar energy by efficient light capture and subsequent transport of the light’s energy to a chemical reaction center. Man-made optical devices could benefit by mimicking these naturally occurring light harvesting processes. Supramolecular organic nanostructures, composed of the amphiphilic carbocyanine dye 3,3’-bis- (2-sulfopropyl)-5,5’,6,6’-tetrachloro-1,1’- dioctylbenzimida-carbocyanine (C8S3), self assemble in aqueous solution to form tubular, double-walled J-aggregates. These J-aggregates have drawn comparisons to light harvesting systems, owing to their optical and structural similarities to the cylindrical chlorosomes (antenna) from green sulfur bacteria. This research utilizes optical spectroscopy and microscopy to study the supramolecular origins of the exciton transitions and fundamental nature of exciton energy transport in C8S3 artificial light harvesting systems. Two J-aggregate morphologies are investigated: well-separated, double-walled nanotubes and bundles of agglomerated nanotubes. Linear dichroism spectroscopy of flow-aligned nanotubes is used to generate the first quantitative, polarized model for the complicated C8S3 nanotube excitonic absorption spectrum that is consistent with theoretical predictions. The C8S3 J-aggregate photophysical properties are further explored, as the Stokes shift, quantum yield, and spectral line broadening are measured as a function of temperature from 77 – 298 K. The temperature-dependent emission ratios of the C8S3 J-aggregate two-band fluorescence spectra reveal that nanotube emission is well described with Boltzmann partitioning between states, while the bundles’ is not. Finally, understanding energy transport in these materials is critical for the proposed use of artificial light harvesting systems in optoelectronic devices. The spatial extent of energy transfer in individual C8S3 J- aggregate structures is directly determined using fluorescence imaging. We find that aggregate structural hierarchy greatly influences exciton transport distances: impressive average exciton migration distances of ~ 150 nm are measured along the nanotubes, while these distances increase to over 500 nm in the bundle superstructures. / text

<p>Japanese horror film has since the late 1990: ies been extremely successful. The success could probably, at least partly, be due to the Japanese narrative style (which in my own opinion is quite suitable and effective in horror films). In what way does the Japanese narrative tradition work in matter of expression? My results point towards a narrative discrepancy between J-horror and American horror film, possibly due to the Japanese narrative tradition – a narrative tradition under the influence of various forms of ancient Japanese theatre and general Japanese culture.</p>

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This thesis examines the writings of Nobel Laureate J. M. Coetzee in order to explore pressing issues that have emerged in literary, philosophical, and theoretical approaches to animal studies. These include animals as disputed objects in claims to territorial, national, and cultural belonging; and the use of animality to manage cultural difference and mobilize identity-based violence. I investigate the roles that hierarchical discourses of species, and the rhetorics of animality that mobilize them, play in cultural and social inscription, cross-cultural conflict, and cultures of violence in the writing of J.M. Coetzee. My dissertation provides historical, material, and cultural context and specificity to the entanglements of race, gender, and culture with the rhetoric and hermeneutics of species, by demonstrating how colonial, Enlightenment, and traditional humanist thought mobilizes speciesism for the cultural work of violence. Intervening in assumptions about the irreconcilability of animal- and human-endorsing approaches to animal studies, I demonstrate that human and non-human animals alike are mutually implicated in conceptual economies that employ animality as a trope; and in the material logistics that mobilize discourses that surround nonhuman animals to do violence to human and nonhuman animals. Coetzee embeds questions about what nonhuman animals mean, or more precisely are made to mean, firmly within the broader politics of interpreting and recognizing alterity, regardless of species, while asking how animals might have a place—in our worlds, in our thought, and in our interventionist strategies—as more than means to human ends. Coetzee’s fictional and critical engagements with nonhuman animals, I argue, comprise a major reassessment of the codes of, and struggles concerning, human and nonhuman animal correspondence and difference. Highlighting the complex interrelations between the cross-cultural violence that mobilizes the rhetoric of species and its attendant violations of nonhuman animal life, Coetzee challenges speciesist schemata that give nonhuman animals symbolic and material currency by imagining how we might read across species differently, in ways that affirm, rather than master, nonhuman animal life. / Thesis (Ph.D, English) -- Queen's University, 2013-06-04 16:52:47.618

The aim of this study is to investigate conflict as a literary technique in general, and in J. M. Ntsime's play, Pelo e ja Serati, in particular. The discussion will focus on the structural causes and the effect of conflict in drama. The study comprises seven chapters. The aim, scope and methods of research are outlined and motivated in chapter one. The second chapter provides background about Ntsime's text. This mise en scene includes a plot summary, discussion of the genre of the play as well as information about the cast of characters. The chapter further considers some of the aspects upon which conflict relies, including characterisation, naming and setting. The third chapter offers some theoretical perspectives on conflict in general. These serve to determine the nature of conflict and its importance in drama. Chapter four deals with the structural analysis of conflict in Pelo e ja Serati. Emphasis is placed on the internal structure of conflict, to demonstrate its vital role in the development of dramatic action, from the beginning of the play through to its conclusion. Chapter five explores the relationship between dialogue and conflict in the play. It explores the ways in which dialogue develops and sustains conflict, Chapter six focuses on the style of the author. It discusses general stylistic techniques, including poetic language, imagery, proverbs and idioms. Particular attention was given to the use of these devices in Pelo e ja Serati and the manner in which they develop and sustain the conflict. Chapter seven revisits the main points of the study. By way of conclusion, I argued that the moral and ethical lessons portrayed by Ntsime in Pelo e ja Serati remain relevant to today's reader/audience. / Thesis (MA)--PU for CHE, 1999