Doctor of Philosophy(PhD) / Revised September, 2007 / This study examines the continuity of mediaeval literary tradition in selected rhymed narrative verse. These verses were composed for entertainment at various times prior to 1648. At or shortly before this date, they were collected into The Percy Folio: BL. Add. MS. 27,879. Selected texts with an Historical or Romance topic are examined from two points of view: modification of source material and modification of traditional narrative stylistic structure. First, an early historical poem is analysed to establish a possible paradigm of the conventions governing the mediaeval manipulation of fact or source material into a pleasing narrative. Other texts are compared with the result of this analysis and it is found that twenty paradigmatic items appear to summarize early convention as their presence in other poems is consistent — no text agreeing with less than twelve. The second step is the presentation of the results of an analysis of some fifty mediaeval Romances. This was undertaken in order to delineate clearly selected motifemic formulae inherent in the composition of these popular narratives. It is shown that these motifemes, found in the Romances, are also present in the historical texts of The Percy Folio. The findings, derived from both strands of investigation, are that mediaeval continuity exists in the texts studied. The factors which actually comprise this ‘mediaeval continuity’ are isolated: it is then seen that rather than discard tradition as society grew further and further from the early circumstances that gave rise to it, later poets have chosen to contrive modifications designed to fit new requirements as they arise. Such modifications, however, are always within the established conventional framework. In short, no text examined failed to echo tradition, and mediaeval continuity is an important feature of the popular rhymed narrative in 1648 and The Percy Folio.

Newspaper article: "Fearless woman remembered. A beautiful monument in Grahamstown, shown in this picture above, was erected to commemorate an act of outstanding bravery by a woman during the battle of Grahamstown in 1819. She was Elizabeth Margaret Salt who, with her husband Sergeant Salt, was among those besieged in Fort England, which was surrounded by hordes of Kafirs.”

This master thesis deals with analysis of the first act of ballet Giselle. It is focused on the dramaturgy, dramatic actions and psychology of the characters. It compares different images of the first act from these sources: original libretto by Théophile Gautier and Jules-Henri Vernoy de Saint-Georges, notes by russian ballet master Antoine Titus, manuscript of Henri Justamant, libretto by Rostislav Zakharov, simplified choreographic script written by Cyril Beaumont and Leonid Lavrovsky's choreography written down by Natalia Konius. Attention is particularly focused on Justamant's manuscript and Konius's written record.

Made available in DSpace on 2014-06-11T19:31:43Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-04-26Bitstream added on 2014-06-13T19:02:12Z : No. of bitstreams: 1 martins_crp_dr_rcla.pdf: 3528391 bytes, checksum: 6600de4077c7912391d57dccd5f0ff47 (MD5) / No presente trabalho apresentamos uma análise da a “Parte Primeira” da obra “Sulla Risoluzione Delle Equazioni Algebriche” (1852), de Enrico Betti (1823–1892). Com foco na Teoria das Equações Algébricas, ela pode também ser elencada como as obras que pertencem à fase embrionária da Teoria de Grupos, uma vez que a parte citada contempla a então chamada Teoria das Substituições, que envolve os conceitos de permutação, grupo de permutação, sub-grupo e sub-grupo normal, entre outros. Iremos apresentar seu conteúdo matemático, relacionando-o com a forma com que hoje é estudado, como também, os fatos históricos e os resultados matemáticos anteriores aos abordados pela obra citada, principalmente aos que se referem à vida e obra de Evariste Galois (1811-1832) / We present an analysis of the “First Part” of the work “Sulla Risoluzione Delle Equazioni Algebriche” (1852), Enrico Betti (1823–1892). Focusing on the Theory of Algebraic Equations, it can also be classified as works belonging to the early stage of the Theory of Groups, since the portion cited includes the so-called Theory of substitutions, which involves the concepts of permutation, permutation group, sub-group or sub-normal group, among others. We will present its mathematical content, linking it with the way today is studied, as well as the historical facts and mathematical results covered by the previous work cited, especially those that relate to the life and work of Evariste Galois (1811 -1832)

Made available in DSpace on 2015-08-20T17:10:04Z (GMT). No. of bitstreams: 0 Previous issue date: 2015-03-20. Added 1 bitstream(s) on 2015-08-20T17:25:56Z : No. of bitstreams: 1 000841172.pdf: 1126715 bytes, checksum: 74d1263162a94bdea5f2edde140e168b (MD5) / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / O presente estudo tem como objetivo discutir as teorias de Friedrich Schiller (1759-1805) e Heinrich von Kleist (1777-1811) sobre a graça, a dignidade, o belo e o sublime, comparando-as, a fim de mostrar as divergências e as confluências dessas concepções estéticas, que foram desenvolvidas nos períodos clássico (com Schiller) e romântico (com Kleist). Tendo como referencial principal para a análise dessas categorias os ensaios Sobre graça e dignidade (Über Anmut und Würde), de Schiller, e Sobre o teatro de marionetes (Über das Marionettentheater), de Kleist, procuramos mostrar na dissertação como as teorias estéticas dos dois autores refletem as tensões existentes entre Classicismo e Romantismo na Alemanha, e como essas tensões estabelecem diferenças entre a ideia de forma em Schiller e Kleist, tendo em vista que a harmonia clássica e a desarticulação dessa harmonia são temas frequentes. Schiller preza pela manutenção da harmonia e busca na arte o caminho para que o homem alcance o equilíbrio; Kleist, pela via da desconstrução do modelo clássico, joga com a forma, de maneira a desarticulá-la, transformando-a em palco para o advento do ritual dionisíaco; não mais a serenidade e harmonia de Apolo que imperam, mas sim o frenesi de Dionísio, que domina e se expande de maneira extraordinária. Dessa maneira, as categorias do belo, da graça e do sublime ganham em Schiller e Kleist dimensões díspares e afins, abrindo espaço para a comparação de suas obras. Aproveitando-nos dos apontamentos feitos por Friedrich Schiller sobre a tragédia como instância que proporciona ao homem o entretenimento e a liberdade através de meios morais, utilizamos as peças Die Jungfrau von Orleans (Friedrich Schiller, 1801) e Penthesilea (Heinrich von Kleist, 1808) como via de exemplificação prática de como estes autores usaram as concepções estéticas apontadas acima para a construção da ação de suas heroínas... / This study has the objective to discuss the theories of Friedrich Schiller (1759-1805) and Heinrich von Kleist (1777-1811) about grace, dignity, beauty and sublime, comparing them in order to show the differences and the confluences of these aesthetic concepts that were developed in the classical period (with Schiller) and romantic (with Kleist).Using as a basis for the analysis of these categories the essays On Grace and Dignity (Über Anmut und Würde), by Schiller and On the Marionette Theatre (Über das Marionettentheater), by Kleist, we are showing as the aesthetic theories of the two authors reflect the tensions between Classicism and Romanticism in Germany, and how these tensions establish differences between the idea of form in Schiller and Kleist, considering that classical harmony and the dismantling of this harmony are common themes. Schiller values the maintenance of harmony and search in the art a way for men to achieve balance; Kleist, through the deconstruction of the classical model, play with form, dismantling it, turning it into a stage for the advent of the Dionysian ritual; no more serenity and harmony of Apollo that reign, but the frenzy of Dionysus, which dominates and expands in an extraordinary way. Therefore, the categories of beauty, grace and sublime acquire in Schiller and Kleist different and similar dimensions, making possible the comparison of their works. Utilizing the notes made by Friedrich Schiller about the tragedy as an instance that provides entertainment to man and freedom through moral means, we are using the plays Die Jungfrau von Orleans (Friedrich Schiller, 1801) and Penthesilea (Heinrich von Kleist, 1808) as a form of practical exemplification of how these authors used the aesthetic conceptions mentioned above for the construction of the action of his heroines, characterizing them to attend these aesthetic assumptions

Dissertação (mestrado)—Universidade de Brasília, Instituto de Artes, 2011. / Submitted by Shayane Marques Zica (marquacizh@uol.com.br) on 2011-10-17T09:58:46Z No. of bitstreams: 1 2011_ElisaTeixeiradeSouza.pdf: 5895328 bytes, checksum: b4af31db2c780db698d29cb78efc4dc1 (MD5) / Approved for entry into archive by Leila Fernandes (leilabiblio@yahoo.com.br) on 2011-10-18T10:54:07Z (GMT) No. of bitstreams: 1 2011_ElisaTeixeiradeSouza.pdf: 5895328 bytes, checksum: b4af31db2c780db698d29cb78efc4dc1 (MD5) / Made available in DSpace on 2011-10-18T10:54:07Z (GMT). No. of bitstreams: 1 2011_ElisaTeixeiradeSouza.pdf: 5895328 bytes, checksum: b4af31db2c780db698d29cb78efc4dc1 (MD5) / Aborda idéias de dois importantes provocadores da dança moderna: François Delsarte e Émile Jaques-Dalcroze, bem como influências exercidas por suas idéias e práticas sobre a dança cênica nascida no início do século XX, considerando o papel desempenhado nesse processo pela cultura física chamada Delsartismo Norte-Americano. Fornece dados e informações biográficas referentes a Delsarte e Dalcroze, assim como informações menos aprofundadas relativas a outros personagens da história da dança moderna, como Isadora Duncan, Ruth Saint Denis, Ted Shawn, Mary Wigman, Rudolf Laban e Vaslav Nijinsky. Apresenta o sistema filosófico de Delsarte para a expressividade gestual e o método de Dalcroze de aprendizado rítmico corporal. Ao discutir o Delsartismo Norte-Americano, ressalta e contextualiza a participação de Steele Mackaye e Genevieve Stebbins no processo de gestação da dança moderna norte-americana, bem como a reflexão de Ted Shawn a respeito da influência delsarteana nessa dança e a participação de Henrietta Hovey na Denishawn School. Por fim, relaciona o sistema de Delsarte com o método de Dalcroze e explora conexões existentes entre estes e inovações expressivas trazidas por emblemáticos representantes da dança moderna norte-americana e européia. _______________________________________________________________________________ ABSTRACT / It addresses the ideas of two provocative modern dance: François Delsarte and Emile Jaques-Dalcroze as well as influences exerted by their ideas and practices on the new dance born in the early twentieth century, considering in this process the role played by the physical culture called North American Delsartism. Provides biographical information and data relating to Delsarte and Dalcroze as well as less detailed information relating to other personalities involved in the history of modern dance, like Isadora Duncan, Ruth St. Denis, Ted Shawn, Mary Wigman, Rudolf Laban and Vaslav Nijinsky. Presents the philosophical system of Delsarte for gestural expressiveness and Dalcroze method of rhythmic body learning. In discussing the North American Delsartism, highlights and contextualizes the participation of Steele Mackaye and Genevieve Stebbins. It also deals with the reflection of Ted Shawn about the delsartist influence and participation in this dance, as well as the Henrietta Hovey participation on the Denishawn School. Finally, it relates the Delsarte system with the Dalcroze method and explores connections between these and expressive innovations brought by significative representatives of North American and European modern dance.

Orientador: Carlos Fernando Fiorini / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-17T02:31:21Z (GMT). No. of bitstreams: 1 Oliveira_PriscilaOttFalcao_M.pdf: 40472969 bytes, checksum: 819f80eebcbf8211e35c5ad3661415b2 (MD5) Previous issue date: 2010 / Resumo: O presente trabalho tem como objetivo principal propor sugestões interpretativas para a segunda versão para piano dos Sonetos de Petrarca 47, 104 e 123 de Franz Liszt (1811-1886). Para isso, foi feito um levantamento bibliográfico e histórico da vida do compositor, juntamente com a pesquisa sobre Francesco Petrarca (1304-1374), autor dos poemas utilizados como base da composição musical. Considerando a importância das demais versões escritas pelo compositor - para tenor e piano, duas para piano e para barítono e piano - foi realizada uma análise comparativa entre estas quatro versões existentes, abordando sua estrutura, forma e harmonia. Com base nestes elementos e no estudo ao piano, foram elaboradas e apresentadas as sugestões interpretativas. A pesquisa é voltada mais a pianistas que buscam subsídios para interpretação, a cantores e a interessados pela composição musical de Liszt, uma vez que as quatro versões englobam 44 anos da vida do compositor / Abstract: This work's main objective is to propose interpretative suggestions to the second piano version of Franz Liszt's (1811-1886) Petrarch's Sonnets 47, 104 and 123. To accomplish this goal a bibliographical and historical survey has been made on the composer's life, and also a research on Francesco Petrarch (1304- 1374), the author of the poems used as the basis of the musical composition. Considering the importance of the other versions written by the composer -for tenor and piano, two for piano and for baritone and piano - a comparative analysis has been made between these four existent versions, approaching their structure, form and harmony. With the support of these elements and the piano study, the interpretative suggestions have been prepared. The research is mainly addressed to pianists that look for interpretative information, to singers and to people concerned with the musical composition of Liszt, since the four versions cover 44 years of the composer's life / Mestrado / Praticas Interpretativas / Mestre em Música

Orientador: Marilia Vieira Soares / Acompanha 8 cartões, plastificados, das figuras analisadas, em bolso / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-08T14:33:23Z (GMT). No. of bitstreams: 1 Andrade_CarolinaRomanode_M.pdf: 5008133 bytes, checksum: ffaec0bdde12d9fac3b269708ea409b1 (MD5) Previous issue date: 2006 / Resumo: A presente dissertação baseia-se no legado de François Delsarte, para estudar analiticamente e procurar entender a dramaticidade e expressividade do gestual humano nas pinturas barrocas de igrejas de Ouro Preto-MG. Analisamos minuciosamente o forro da Igreja Nossa Senhora da Conceição, pintado por Lourenço Petriza. Procuramos relacionar as idéias de Delsarte para entender as emoções impressas nas pinturas deste forro. Ademais, elaboramos uma composição cênica que procura sintetizar a poesia de tudo que vivemos nesta pesquisa, que examinou e agregou elementos pictóricos, pesquisa de campo e a subjetividade artística como inspiração fundamental para nossa criação coreográfica / Abstract: This essay is based on the works of François Delsarte to study analytically and understand the dramatic nature and expressiveness of human gesture on the Baroque painting of the Ouro Preto's churches. We analised minutely the ceiling of Nossa Senhora da Conceição's church painted by Lourenço Petriza. To understand the emotions impressed on this ceiling we report to Delsartes's ideas. We organize a scenic composition that resume the poetry of all moments that we lived in this essay, that examinated and added pictorial elements, search and artistical subjectivity to our coreografic creation / Mestrado / Artes Visuais / Mestre em Artes

James Brownlee was born in April 1824. He was the second of three sons (and five daughters) born to the missionary John Brownlee, and his colonial born wife Catharine. The importance of James as an historical character is obscured by that of his father and elder brother Charles. James had a varied career which was cut short by his untimely death in March 1851 at the youthful age of twenty-six years and eleven months. We are fortunate that he has left a vivid account of several aspects of the seventh Frontier War in a diary which he kept from April to September 1846. The diary also points to the significance of his family in the history of the Eastern Cape. Thesis, p. 1.

[From Introduction]. The name of John Fairbairn is remembered with honour in South Africa for the part he played in the achievement of a freer press in the Cape Colony, in the campaign to prevent Britain from establishing a convict station on Cape soil, and in the movement which resulted in the establishment of a form of representative government in the Cape in 1853. More controversial is his share, as the editor of the first modern newspaper in the Colony, in a campaign to secure just treatment for the natives both inside and outside of the Colony. It is with his treatment of the conflicts, both small and great, between the Colony and the AmaXhosa tribes on its Eastern Frontier that this study is concerned.