Until recently, Schubert's sonata forms have been treated as the partially successful products of a classicist who often misunderstood his models. The development of sonata form in his early string quartets, though, raises serious questions about such a view. The quartets (ca. 1810 to 1816), constitute the composer's first concentrated work in large-scale instrumental music and include some of his earliest compositions in any genre. The first sonata-form movements all lack the most basic features of the structure, specifically a clearly delineated subordinate theme and subordinate key in the exposition. The evolution of Schubert's sonata form from 1810 to 1816 consists of an expansion to encompass such necessary tonal and thematic contrast. This process, however, does not lead to a close imitation of the Classical prototype but rather to a highly original reinterpretation of the form. By the end of 1814, many of the distinctive tendencies in his writing are already evident. These include (1) unusual modulatory strategies dependant upon tonal ambiguity and surprise, (2) the first signs of an intensely lyrical quality in the thematic material, (3) complementary, as opposed to derivative, thematic relationships, in which the musical discourse is divided between two contrasting motivic regions connected by underlying harmonic links and (4) a widespread allusiveness in his handling of harmony, which allows an initial harmonic event or "sensitive sonority" to become increasingly significant as the music proceeds. Ultimately Schubert's innovative approach to sonata form, while weakening the Classical attributes of clarity and conciseness, infuses a new atmosphere into the structure, making it the perfect vehicle for the expression of Romantic sentiment.

The present thesis studies the representations of the idea of progress within nineteen of Jules Verne's novels, written between 1864 and 1904. It aims at demonstrating that Verne's writing and the topics favored therein constitute an account of the opinions prevailing during the second half of the XIX$ sp{ rm th}$ century. Following an examination of the changes brought by scientific discoveries and their technical applications in French society, as well as of the fears arising from the speedy material progress, it picks out the images that allow the author of the Voyages extraordinaires and the creator of the "scientific novel" to translate and transform the expressions of progress of the period. Finally, the thesis aims to nuance this enthusiastic portrait, and stresses the fact that warnings and ambivalences towards technical progress are not absent from a work that prefers to instruments giving access to progress a moral spirit guiding them.

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The diploma thesis discusses the Piano Quintet "The Trout" by the Viennese composer Franz Schubert. It includes the circumstance of it?s origin, pieces which inspired the composer to creat this work, but also the pieces which were inspired by this particular one subsequently. It includes formal and interpretive analysis of the work. A special chapter deals with two dramatic pieces that were directly inspired by Schubert?s Piano Quintet in A major. Last but not least, it lists 18 other works of the same instrumentation, created between 1799-2011.

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O objetivo deste trabalho é discutir a alimentação de rua na cidade de São Paulo no período entre 1828 e 1900. Quando falamos de alimentação de rua, estamos nos referindo de modo geral às variadas formas de comer fora de casa (restaurantes, cafés, confeitarias, botequins, etc.). Mas o foco principal é a alimentação consumida na própria rua, que tem o tabuleiro das quitandeiras (e posteriormente os vendedores ambulantes) como o principal foco dessa atividade. Nosso intuito é compreender as relações entre a comida de rua e a própria cidade em um momento de intensas transformações sócio-espaciais. / The aim of this paper is to discuss the street food in the city of Sao Paulo in the period between 1828 and 1900. When we talk about street food, we are referring generally to many forms of eating outside the home (restaurants, cafes, confectionery, botequins, etc.). But the main focus is the food consumed in the street, which has a board of greengrocer (and later the street vendors) as the main focus of this activity. Our purpose is to understand the relationship between street food and city in a time of intense socio-spatial processing.

O objetivo deste trabalho é discutir a alimentação de rua na cidade de São Paulo no período entre 1828 e 1900. Quando falamos de alimentação de rua, estamos nos referindo de modo geral às variadas formas de comer fora de casa (restaurantes, cafés, confeitarias, botequins, etc.). Mas o foco principal é a alimentação consumida na própria rua, que tem o tabuleiro das quitandeiras (e posteriormente os vendedores ambulantes) como o principal foco dessa atividade. Nosso intuito é compreender as relações entre a comida de rua e a própria cidade em um momento de intensas transformações sócio-espaciais. / The aim of this paper is to discuss the street food in the city of Sao Paulo in the period between 1828 and 1900. When we talk about street food, we are referring generally to many forms of eating outside the home (restaurants, cafes, confectionery, botequins, etc.). But the main focus is the food consumed in the street, which has a board of greengrocer (and later the street vendors) as the main focus of this activity. Our purpose is to understand the relationship between street food and city in a time of intense socio-spatial processing.

It is the purpose of this investigation to examine his popularity and influence in the United States during this period so as to provide a basis for a considered and adequate understanding of the problems and their implications.