Thesis (M.S.)--University of Wisconsin--Madison, 1962. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 136-142).

by Petros Kapasouris, Michael Athans, Gunter Stein. / Caption title. "Prepared for 27th IEEE Conference on Decision and Control--Austin, Texas--December 7-9, 1988." "TP-291." / Includes bibliographical references. / Support provided by the General Electric Corporate Research and Development Center. Support provided by the NASA Ames and Langley Research Centers. NAS/NAG 2-297

This thesis is a study of the theological views of a leading Victorian evangelical Anglican, Bishop John Charles Ryle. The main sources for the study are the bishop's extensive writings, which run to some seven thousand pages. Ryle's writings, for the most part, are occasional, pastoral and evangelistic, but they are suffused with theological concern, to the extent that a "systematic theology" can almost be compiled from them. Because of this, the method adopted in this work is to study Ryle's writings according to the traditional theological "loci," and to analyse his understanding of each of them. The study also seeks to make the analysis in the light of the historical theological and ecclesiastical background to his writings, particularly as Ryle frequently interacted with the various disparate elements that comprised the Victorian religious scene. The most extensive studies in this thesis relate to Ryle's exposition of the distinctive emphases of Evangelicalism, viz. the Inspiration and Authority of Scripture, human depravity, the Atonement, and the saving and sanctifying work of the Holy Spirit. Other important areas are the sacraments, in which Ryle engages in a strong polemic against the Anglo-Catholics of his day, and the doctrine of the Church. The thesis emphasises some characteristics of Ryle's theology, in particular its biblical basis, traditional orthodoxy, evangelicalism and moderate Calvinism. An interesting feature of Ryle's work is his polemic, which is directed against the newly emerging liberals, and the increasingly influential Anglo-Catholics. We also take note of Ryle's style of presentation, including his simplicity of expression, strong pastoral application, and his didactic method of inculcation by repetition. The thesis concludes with a resume of his work, a description of its character, together with a constructive critique and evaluation, and an indication of Ryle's importance for our own day. / Thesis (DPhil)--PU for CHE, 1992.

Giovanni Paisiello's Barber of Seville, although no longer an opera that is frequently performed, was very popular in the eighteenth and early nineteenth centuries. Based on a play by Pierre-Augustin Caron de Beaumarchais, Le barbier de Seville (1775), was translated into many different languages, and performed by companies all over Europe and America. Paisiello's work was so successful that Mozart, inspired by the idea, wrote a sequel in 1786, The Marriage of Figaro in collaboration with Da Ponte. When Rossini presented his own version of Barber of Seville in Rome in 1816, the public hissed with indignation and outrage to demonstrate a predilection for Paisiello. Giovanni Paisiello (1740 - 1816) was a Neapolitan composer who worked at St. Petersburg, Russia from 1776 - 1784 in the court of Catherine II where he was appointed Kapelmeister of Italian opera. The composer chose the French play by Beaumarchais as his point of departure, having it adjusted and rewritten in Italian verse in order to please his patroness. Due to the restrictions set upon the duration of the spectacle and the subject matter, the comedy was shortened and its socio-political critique eliminated. Thus Le barbier de Seville, which the Empress essentially considered democratizing and harmful to the absolute monarchy, was transformed into an opera buffa, Il barbiere di Siviglia, that involved harmless clowning. Il barbiere is significant because its creation demonstrates how Italian opera buffa became a vehicle to distract the public from considering the issues that were in the air prior to the French Revolution. This thesis examines the many contradictory factors involved in allowing this sort of entertainment at the Imperial Court. The study explores Catherine the Great and her character, as well as her clever ability to maintain a successful image as an Enlightened Despot. The differences and similarities between the French play and the Italian libretto are surveyed in order to demonstrate the simplifications that had to be made. A discussion treating the shift of focus that resulted by moving attention away from Figaro toward Dr. Bartholo, will indicate how the play was transformed into a libretto which proved to be emasculated and irregular. The music and how the composer dealt with the text will be discussed. Paisiello's buffo characterization of the old miserly doctor will be considered through use of musical examples. Additionally, the composer's setting of ensembles will be examined given their particular prominence in this work. The use of unifying elements will also be surveyed. The ideas of the era of Enlightenment affected both the bourgeoisie and the aristocracy. However, each group interpreted education and rationalism in its own way. While the members of the middle class attempted to change the structure of society (ancien regime), the authorities needed to maintain it. Through Italian opera buffa, however, both seemed to find the middle ground for compromise. It was acceptable because it was musical theatre that was made to appear harmless.

This thesis is a study of the theological views of a leading Victorian evangelical Anglican, Bishop John Charles Ryle. The main sources for the study are the bishop's extensive writings, which run to some seven thousand pages. Ryle's writings, for the most part, are occasional, pastoral and evangelistic, but they are suffused with theological concern, to the extent that a "systematic theology" can almost be compiled from them. Because of this, the method adopted in this work is to study Ryle's writings according to the traditional theological "loci," and to analyse his understanding of each of them. The study also seeks to make the analysis in the light of the historical theological and ecclesiastical background to his writings, particularly as Ryle frequently interacted with the various disparate elements that comprised the Victorian religious scene. The most extensive studies in this thesis relate to Ryle's exposition of the distinctive emphases of Evangelicalism, viz. the Inspiration and Authority of Scripture, human depravity, the Atonement, and the saving and sanctifying work of the Holy Spirit. Other important areas are the sacraments, in which Ryle engages in a strong polemic against the Anglo-Catholics of his day, and the doctrine of the Church. The thesis emphasises some characteristics of Ryle's theology, in particular its biblical basis, traditional orthodoxy, evangelicalism and moderate Calvinism. An interesting feature of Ryle's work is his polemic, which is directed against the newly emerging liberals, and the increasingly influential Anglo-Catholics. We also take note of Ryle's style of presentation, including his simplicity of expression, strong pastoral application, and his didactic method of inculcation by repetition. The thesis concludes with a resume of his work, a description of its character, together with a constructive critique and evaluation, and an indication of Ryle's importance for our own day. / Thesis (DPhil)--PU for CHE, 1992.

Th.--Théol.--Helsinki, 1962. / Bibliogr. p. 264-276. Index.

Giovanni Paisiello's Barber of Seville, although no longer an opera that is frequently performed, was very popular in the eighteenth and early nineteenth centuries. Based on a play by Pierre-Augustin Caron de Beaumarchais, Le barbier de Seville (1775), was translated into many different languages, and performed by companies all over Europe and America. Paisiello's work was so successful that Mozart, inspired by the idea, wrote a sequel in 1786, The Marriage of Figaro in collaboration with Da Ponte. When Rossini presented his own version of Barber of Seville in Rome in 1816, the public hissed with indignation and outrage to demonstrate a predilection for Paisiello. Giovanni Paisiello (1740 - 1816) was a Neapolitan composer who worked at St. Petersburg, Russia from 1776 - 1784 in the court of Catherine II where he was appointed Kapelmeister of Italian opera. The composer chose the French play by Beaumarchais as his point of departure, having it adjusted and rewritten in Italian verse in order to please his patroness. Due to the restrictions set upon the duration of the spectacle and the subject matter, the comedy was shortened and its socio-political critique eliminated. Thus Le barbier de Seville, which the Empress essentially considered democratizing and harmful to the absolute monarchy, was transformed into an opera buffa, Il barbiere di Siviglia, that involved harmless clowning. Il barbiere is significant because its creation demonstrates how Italian opera buffa became a vehicle to distract the public from considering the issues that were in the air prior to the French Revolution. This thesis examines the many contradictory factors involved in allowing this sort of entertainment at the Imperial Court. The study explores Catherine the Great and her character, as well as her clever ability to maintain a successful image as an Enlightened Despot. The differences and similarities between the French play and the Italian libretto are surveyed in order to demonstrate the simplifications that had to be made. A discussion treating the shift of focus that resulted by moving attention away from Figaro toward Dr. Bartholo, will indicate how the play was transformed into a libretto which proved to be emasculated and irregular. The music and how the composer dealt with the text will be discussed. Paisiello's buffo characterization of the old miserly doctor will be considered through use of musical examples. Additionally, the composer's setting of ensembles will be examined given their particular prominence in this work. The use of unifying elements will also be surveyed. The ideas of the era of Enlightenment affected both the bourgeoisie and the aristocracy. However, each group interpreted education and rationalism in its own way. While the members of the middle class attempted to change the structure of society (ancien regime), the authorities needed to maintain it. Through Italian opera buffa, however, both seemed to find the middle ground for compromise. It was acceptable because it was musical theatre that was made to appear harmless. / Arts, Faculty of / Music, School of / Graduate

This dissertation comprises an exploration of the concept of home and its link to propriety as it was imposed on women, focussing specifically on Jane Eyre and Villette by Charlotte Bronte. These novels share a preoccupation with notions of 'home' and what this means to the female protagonists. The process of writing on the part of the author, Charlotte Bronte, and the act of first-person narration on the part of the two female protagonists, Jane Eyre and Lucy Snowe, is significant in that the "muted culture" of women (Showalter 1999: xx) of the nineteenth century was given authorial and authoritative power in their stories. Questions of identity and location developed from Jane Eyre's and Lucy Snowe's being orphans, penniless and without homes. Subsequently issues of ownership and self-sufficiency emerged in their stories, all of which found particular focus in the home. This "muted culture", examined through the theories of marxism and new historicism, is also illuminated by a feminist analysis of Jane Eyre and Villette which reveals that the marginal female figures are entitled to, or deserving of, the privileges of home and selfhood only once they have made some sacrifice for this "unthinkable goal of mature freedom" (Gilbert & Gubar 2000:339). The exploration of 'home' finds resonance in a post-colonial context, as Bronte encompassed marginal figures in her society who remained homeless, bereft of their stories due to the effect of drastically "interrupted experiences" (Ndebele 1996: 28) in the process of identity formation. The situated analysis of the concept of home operates in two contexts in this thesis, that of nineteenth-century Britain and twentieth-century South Africa. Njabulo Ndebele states that South Africans have been marked by the experience of homelessness, "The loss of homes! It is one of the greatest of South African stories yet to be told" (1996: 28-9). By drawing on Bronte to illuminate the concept of home, a South African reader is able to further an understanding of the multi-faceted nature of this concept and to see that the new possibilities claimed for marginal figures at the periphery may have their origins in the representation of an earlier woman writer's "double-edged" (Eagleton 1988: 73) representation of 'home' . / Thesis (M.A.)-University of KwaZulu-Natal, 2005.

Texte remanié de: Thèse--Lettres--Paris X, 1977. / Bibliogr. p. 241-252. Thèse soutenue sous le titre : "Catalogue raisonné de la céramique attique conservée à la Société archéologique de Montpellier"

Leung, Eva. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2010. / Includes bibliographical references (leaves 133-138). / Abstracts in English and Chinese. / Abstract --- p.i / Acknowledgment --- p.iv / Introduction --- p.1 / Chapter Chapter One: --- Misrecognition / Non-Recognition / Chapter Section One: --- the lack of the first bond --- p.14 / Chapter Section Two: --- the significant others --- p.37 / Chapter Section Three: --- the other important individuals --- p.67 / Chapter Chapter Two: --- Recognition / Chapter Section One: --- recognition bringing at-homeness --- p.93 / Chapter Section Two: --- abused recognition --- p.105 / Chapter Section Three: --- recognising the strangers in the selves --- p.114 / Conclusion --- p.130 / Works Cited --- p.133