This thesis has examined the military career of a nineteenth century English peer, the seventh Earl of Cardigan, from his early years as a cavalry officer, moments of personal and national controversy surrounding his methods of command, and his military activities during the Crimean War of 1854-1856. A detailed study has been made of Lord Cardigan’s military service as a cavalry commander and the controversy concerning his command, especially in regard to the Crimean War, his leadership as commander of the Light Brigade, and the events that took place during the Battle of Balaclava October 25, 1854.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1968. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Informe de Seminario para optar al grado de Licenciado en Lengua y Literatura Inglesa

Informe de Seminario para optar al grado de Licenciado en Lengua y Literatura Inglesa

Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, 2008. / Submitted by Priscilla Brito Oliveira (priscilla.b.oliveira@gmail.com) on 2009-09-09T20:59:14Z No. of bitstreams: 1 Dissert_Janaina Fontes.pdf: 962665 bytes, checksum: d3e9bfcb2facb6d6d8d11970f7ce2ec6 (MD5) / Approved for entry into archive by Guimaraes Jacqueline(jacqueline.guimaraes@bce.unb.br) on 2009-12-12T12:18:06Z (GMT) No. of bitstreams: 1 Dissert_Janaina Fontes.pdf: 962665 bytes, checksum: d3e9bfcb2facb6d6d8d11970f7ce2ec6 (MD5) / Made available in DSpace on 2009-12-12T12:18:06Z (GMT). No. of bitstreams: 1 Dissert_Janaina Fontes.pdf: 962665 bytes, checksum: d3e9bfcb2facb6d6d8d11970f7ce2ec6 (MD5) Previous issue date: 2008 / A experiência da maternidade tem suscitado complexos sentimentos desde os mitos existentes nas primeiras sociedades, que comparavam a capacidade reprodutiva das mulheres às forças da natureza. Durante os séculos, tal comparação foi distorcida pela sociedade patriarcal para satisfazer seus interesses, causando a opressão e o sofrimento de milhares de mulheres. Esse processo está presente também na literatura, que é capaz de refletir e perpetuar essas distorções ou desconstruí-las, contribuindo para novas visões dessa complexa experiência. Neste trabalho, analiso a representação da maternidade em romances de autoria feminina, mais precisamente, Maria, or the Wrongs of Woman e Mary, a Fiction, de Mary Wollstonecraft (escritora inglesa do século XVIII), e Fair Exchange, de Michèle Roberts (escritora inglesa contemporânea), auxiliada por exemplos em diversos textos teóricos de como o papel da mãe foi construído ao longo do tempo e pela contribuição dos estudos feministas para a desconstrução dos mitos patriarcais sobre a maternidade. _________________________________________________________________________________________ ABSTRACT / The experience of motherhood has roused complex feelings since the myths existing in the first societies, wich used to compare women’s reproductive capability to the forces of nature. Throughout the centuries, such comparison was distorted by the patriarchal society in order to satisfy its interests, causing the oppression and the suffering of thousands of women. This process is also present in literature, which is able to reflect and perpetuate these distortions or deconstruct them, contributing to new views on this complex experience. In this work I analyze the representation of motherhood in novels written by women, more precisely, Maria, or the Wrongs of Woman and Mary, a Fiction, by Mary Wollstonecraft (eighteenth-century English writer) and Fair Exchange, by Michèle Roberts (comtemporary English writer), assisted by examples in different texts of how the mother’s role has been constructed throughout time and by the contributions of the feminist studies for the deconstruction of patriarchal myths about motherhood.

This thesis focuses on the interpretation of harpsichord sonatas written by Josef Antonín Štěpán / Joseph Anton Steffan (1726–1797), who was an important figure in Viennese musical life of the eighteenth century. His works influenced a large number of his contemporaries, including Joseph Haydn, Jan Křtitel Vaňhal, Leopold Koželuh, and Wolfgang Amadeus Mozart. His compositional procedures departed from period conventions: a number of his sonatas and concertos for keyboard instruments begin with a slow introduction to an opening fast movement; he experimented with one-movement forms (sonatas, capriccios); in 1778 he published the very first collection of Germans songs with piano accompaniment in Vienna. The foundation for his music is his detailed knowledge of counterpoint and thoroughbass practice, and he draws on influences from Italian music, Czech folk music, the Gallant style and the Sensitive style. In his late works, he even arrives at a Pre-Romantic style. It is incomprehensible that he has nearly been forgotten in spite of his fame in his own day. In an attachement there is enclosed a critical edition of Steffan´s sonatas, PicŠ. 19–21 issued in ARTA (April 2017). Key words: Joseph Anton Steffan / Josef Antonín Štěpán Sonatas for keyboard instruments Sonata form Interpretation Chamber music with harpsichord Musical archive of the Arcibishop´s castle in Kremsier (the Czech Republic)

Made available in DSpace on 2014-06-11T19:27:26Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-06-27Bitstream added on 2014-06-13T19:56:12Z : No. of bitstreams: 1 biancolino_t_me_ia.pdf: 8518794 bytes, checksum: e0883b41634079e4cc679ac8ef255b1d (MD5) / Os escritos estéticos dos autores do Frühromantik (Primeiro Romantismo), surgidos a partir das duas últimas décadas do século XVIII, constituíram a base do pensamento do Romantismo musical alemão. De vital importância dentro desta nova concepção estética foi o entendimento da música instrumental como a manifestação mais nobre das artes, algo que ia contra o preceito que vigorara até então, segundo o qual a música sem voz possuía pouco valor, por ser incapaz, apenas por meio de sons, de imitar o mundo físico e despertar sentimentos nos ouvintes. Paralelamente a esse processo, o piano - cujos primeiros modelos bem sucedidos surgiram entre 1698 e 1730 - ganhou maior repertório no último quarto do século XVIII e, ao mesmo tempo, passou a ser utilizado como substituto de formações instrumentais maiores, em reduções de sinfonias e óperas. Este trabalho trata da importância que os fenômenos de valorização da música instrumental, da formação da linguagem do piano e da utilização deste instrumento enquanto redutor da orquestra exerceram no aparecimento do Lied em princípios do século XIX, um gênero híbrido entre música e poesia e entre música vocal e música instrumental, que se contrapôs à tradição da canção estrófica setecentista. Mais especificamente, esta pesquisa investiga em qual medida a composição da parte do piano do ciclo de canções Winterreise (1827) de Franz Schubert foi realizada sobre a idéia de evocação de sonoridades de outros instrumentos, tomando por base similaridades de escrita entre determinadas passagens da obra de Schubert e aquelas retiradas de obras sinfônicas e de câmara, do próprio Schubert e de outros compositores que representaram grandes influências suas, especialmente Haydn, Mozart e Beethoven. / The aesthetic writings by Frühromantik (Early Romantic) authors, which appeared during the last decades of the eighteenth century, became the basis of German musical conception of Romanticism. Fundamentally important that new aesthetic idea was the undestanding of instrumental music as the noblest manifestation of arts, which was against the old precept that music without singing was worthless, as it was incapable of imitating the physical world and reviving the listener's sentiments. Simultaneously, the repertoire for piano - which early successful model appeared between 1698 and 1730 - was substantially increased during the last quarter of the eighteenth century and, at the same time, gradually started to be used as a substitute for larger instrumental groups, and reductions of symphonies and operas. The present work discusses how the phenomena of instrumental music valorization, piano idiom formation and its use as a substitute for an orchestra (piano reduction) influenced the advent of Lied at the beginning of the nineteenth century - a hybrid genre between music and poetry - and between vocal and instrumental music, in opposition to the eughteenth century strophic song tradition. More specifically, this research examines how much of the piano accompaniment of Fraz Schubert's song cycle Winterreise (1827) was based on the idea of the evocation of the sonorities of other instruments, using as evidence stylistic similarities between some of the passages from Schubert's works and those extracted from symphonic and chamber pieces - by both Schubert himself and other composers, notably his major influences: Haydn, Mozart and Beethoven.

In the investigation of the Diary and its validity as evidence, the origin and structure of the treaty System, and the functioning of the treaties, in both their original form and subsequent modification, has been examined, with special reference to Stretch and the Gaika tribes.

Franz Peter Schubert (1797-1828) created the accompanied art song as we know it. His achievement as a composer of Lieder stands at the very core of his labors as a creator. Franz Liszt (1811-1886) in addition to being a composer of genius, was also the greatest virtuoso pianist of the nineteenth century. He had a particular affinity for Schubert's music, which led him to transcribe as many as 54 of the Lieder for piano solo. These transcriptions are faithful recreations of Schubert's musical thought, yet the pianistic layout is completely Lisztian. Franz Schubert was hardly a public figure during his lifetime, and he gave just one public concert of his works, on March 26, 1828 in Vienna. According to Hans Gal: "In 1828 there were the beginnings of an improvement in his circumstances. His songs were becoming more widely known, German publishers were beginning to show an interest in his music, and Schubert was induced by his friends to give a public recital of his works. It was his first and last... Schubert's supporters could easily fill a hall, and the undertaking was both artistically and financially a great success."

This thesis examines a selection of verses taken from the Urdu divan of Mirza Asadullah Khan Ghalib. Ghalib is considered by many to be the preeminent writer of the classical Urdu ghazal (circa 1750-1850). Although the examination is restricted to Ghalib's verse, the problem it investigates is broader in nature and involves questions which some aspects of the ghazal raise with respect to the reader's involvement. An essential feature of the ghazal form is the fact that, although the ghazal poem consists of a set of couplets, each couplet of a ghazal is itself a complete text with respect to its content The question, then, is "how does the reader become involved in a form limited to two lines of text?" This thesis discusses the question from a narratological perspective: the couplet involves the reader by telling a story. The narrative of the couplet differs from what one normally thinks of as narrative in that the significance of its plot is derived, not from a series of episodes arranged in chronological order, but from a thematic continuity which links couplet to couplet within the tradition as a whole. The world of the ghazal is inhabited by a few characters, the principal being the lover and the beloved, whose behaviour and attitudes are determined largely by a set of well-defined conventions. The characters who appear in the individual couplet are already familiar from the dramas to which these characters have been subjected in previous readings of other couplets. However, unlike the characters in a traditional novel whose histories connect a great variety of events within a chronological framework, the couplet is extremely limited in term of the number of chronological connections it can establish. The depiction of time in the ghazal is radically different from the often elaborate histories presented in forms such as the novel. The world of the ghazal is merely suggested. Consequently, the reader's role in reconstructing the world of the text is of particular importance in compact forms such as that of the ghazal. The contention of this thesis is that the restrictions imposed by the couplet on plot structure has been compensated for by the cultivation of a narrative style in the ghazal text which often forces the reader to become aware of the process of discovering the drama of the text. The first chapter begins with an introduction to the thesis, and is followed by an introduction to the formal features of the ghazal text and some of the important themes of the tradition. The second chapter presents a review of critical writings in English on the Urdu ghazal. The third chapter presents a discussion of methodology. In this chapter I use Peter Rabinowitz' analysis of the reader's beliefs in my attempt to define what I mean by the reader's involvement in the world of the text. According to Rabinowitz, a fictional work invites its reader to pretend that its plot is a historical account, even though the reader knows that the world of the text is imaginary. To account for the reader's dual role, Rabinowitz divides the reader's beliefs into what he calls the "authorial audience" and the narrative audience." Briefly, the authorial audience can be viewed as the competent reader, the one who possesses the required knowledge to understand the text, to decipher its allusions, but who knows the world of the text is a fiction. The narrative audience sees the fictional text as a description of events that "really" happened. My investigation of the reader's attempt to discover the world of the text is from the point of view of the narrative audience. The third chapter attempts to apply Rabinowitz' views to some general features of the plot structure in the ghazal text. The fourth and final chapter examines the ways in which the ghazal text forces the reader to become aware of the process of discovering the world of the text. / Arts, Faculty of / Asian Studies, Department of / Graduate