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It shall be the purpose of this study to present an accounting of the career of public service of Gallatin as a legislator and as a diplomat, showing the great value of his service to the country of his adoption. The presentation shall be divided into several sections, namely those of Gallatin's early experiences in America, his activities while Secretary of the Treasury, while a commissioner at the Treaty of Ghent, and that part of his period of public service following Ghent.

胡志偉. / 稿本(電腦打印本). / Thesis (M.A.)--香港中文大學歷史學部. / Gao ben (dian nao da yin ben). / Includes bibliographical references (leaves 175-177). / Hu Zhiwei. / Thesis (M.A.)--Xianggang Zhong wen da xue li shi xue bu. / Chapter 第一章 --- 緒論 / Chapter (一) --- 引言 / Chapter (二) --- 近代學界研究阮元概況簡述 / Chapter (三) --- 本文研究方案 / Chapter 第二章 --- 阮元學術思想述論 / Chapter (一) --- 小引 / Chapter (二) --- 阮元的論學要點述評及與其學術宗旨的關係 / Chapter 1 --- 訓詁 / Chapter 2 --- 求實 / Chapter 3 --- 尚古 / Chapter 4 --- 阮元論學之獨特處 / Chapter 5 --- 阮元論學要點及其大旨的結構關係 / Chapter (三) --- 訓詁的內容 、 理據及其限制 / Chapter (四) --- 義理之層序和檢核標準 / Chapter (五) --- 『訓詁明則義理明 』 的再檢討 / Chapter (六) --- 小結 / Chapter 第三章 --- 阮元的公平學 / Chapter (一) --- 小引 / Chapter (二) --- 阮元思想與公平學的接合處 / Chapter (三) --- 阮元對公平學之態度旁證 / Chapter (四) --- 阮著 《春秋公羊傳注疏校勘記》分析 / Chapter (五) --- 小結 / Chapter 第四章 --- 阮元與 『詁經精舍』 / Chapter (一) --- 『詁經精舍』沿革述略 / Chapter (二) --- 『詁經精舍』之創辦及立學大旨 / Chapter 1 --- 《經籍纂詁》之修撰與『詁經精舍』之關係 / Chapter 2 --- 『詁經精舍』之成立日的與講學宗旨 / Chapter (三) --- 『詁經精舍』課習內容分析 / Chapter 第五章 --- 阮元與『學海堂』 / Chapter (一) --- 『學海堂』之立學緣起及與『詁經精舍』之關係 / Chapter (二) --- 『學海堂』之立學宗旨與陳建《學部道辯》之關係 / Chapter 第六章 --- 阮元與《皇清經解》 / Chapter (一) --- 小引 / Chapter (二) --- "《皇清經解》編修之緣起 ， 經過和續編 / Chapter (三) --- 《皇清經解》作者群與阮元之關係 / Chapter (四) --- 《皇清經解》的學術宗尚與阮元學術規模之關係 / Chapter 第七章 --- 阮元與《十三經注疏》 / Chapter (一) --- 重刊十三經的背景，緣起和經過 / Chapter (二) --- 《十三經注疏》的輯校原則 / Chapter (三) --- 《十三經注疏》簡評 / Chapter 第八章 --- 結論 / 參考書目舉隅 / 後記

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Proefschrift : Rechtsgeleerdheid : Leiden : 1983. / Résumé en anglais. Bibliogr. p. 301-316. Index.

Reason is an important focus-word in ‘ Abduh’s worldview and has a great influence' on his theological system and news. Because of his position of ascribing' great powers to reason and limited- functions to revelation, his system and views are in glaring contradiction with those of the Ash'ariyah who have a distrust in the power of reason and great reliance on revelation. His system and views, on the other hand, greatly resemble those of the Mu’tazilah who have been wel1-known for their high appreciation of the power- of reason and little reliance on revelation. With those of the maturidiyah in both their Samarqandi and Bukhara branches, who adopt an intermediate position pertaining to the power of reason and the function of revelation, Abduh' s theological system and views have many disagreements. Contrary to the prevalent opinion Abduh is neither an Ash’arI, nor a maturidi, nor an eclectic. He is rather a Mu' tazili.

Frederic Chopin's contemporaries took note of his preference for a piano with a light escapement. They commented that his method of playing was light in touch, and that his demeanor on stage contrasted strongly with that of other performers who were outwardly expressive. Although his performances enjoyed support from some members of his society, most contemporary commentators viewed his performances negatively. His performances were seen as deficient when they were contrasted with those of others, and especially those of Franz Liszt. Some of Chopin's contemporaries saw his playing as feminine and contrasted his works with those of Beethoven, whose works seemed to them to express masculinity. Negative assessments of Chopin's works also appear in later critical and musicological literature. In 1889, the music critic Henry T. Finck suggested that the desire of French, Polish, German and Viennese audiences for what he called "aesthetic jumboism" was detrimental to Chopin's popularity. It is my thesis that smallness has been, and often still is, associated with femininity and that those pianists and authors who advocated largeness - however defined (be it 'grand,' 'healthy,' 'forte,' or 'masculine') - were afraid that Chopin's refined pianism and the "small" aspects of his compositions might be used as evidence that Chopin was not strictly heterosexual. Largeness seems to have been linked in a number of ways to heroism, and it seems that smallness was seen consequently as lacking in heroism. Thus, musicians and musicologists have criticized his works for their lack of complexity and length and for the nature of their melodies, characteristics that I show to have been associated with both size and masculinity. For example, in 1986, Jean-Jacques Eigeldinger analyzed Chopin's compositions in a way that seems to me to reveal Eigeldinger's own search for complex underlying forms. This search appears to be an attempt to illustrate that Chopin was intellectually 'heroic' because he could match the organic unification that some musicologists find in the works of other great composers. While the nineteenth-century development of the piano into a powerful concert instrument undoubtedly reflected the changing nature of concert venues and audiences, since recitals moved from the salon to the concert hall, the changes in design could also been seen as reflecting an ever-increasing desire for largeness. The forcefulness and consequent loudness with which Chopin's music was played on these larger pianos might well have caused (and could still be causing) some pianists' physical problems. Jeffrey Kallberg has analyzed an array of gender-oriented metaphors in relation to Chopin's possible gender-ambiguity, wishing to remove the veil of suspicion that surrounds smallness. It is my argument that a veil of suspicion is indispensable when analyzing the language that people have used to describe their experiences with music, because they have used language to express their preferences for certain kinds of experiences. Thus I attempt to show that during the hundred and fifty years since Chopin's death, both pianists' performance practices and musicological discourse have attempted to cleanse Chopin's music from its associations with smallness and, consequently, with femininity. / Thesis (Ph.D.)-University of Natal, Durban, 2004.

Reason is an important focus-word in Abduh's world view and has a great influence on his theologioal system and views.

Thèse--Lettres--Rennes, 1965. / Avant-titre : "La Reconstruction catholique dans l'Ouest après la Révolution"

Dissertação (mestrado)—Universidade de Brasília, Instituto de Artes, Departamento de Música, Programa de Pós-Graduação Música em Contexto, 2017. / Submitted by Raquel Viana (raquelviana@bce.unb.br) on 2018-08-23T17:57:12Z No. of bitstreams: 1 2017_DianaDaherLopesdaCosta.pdf: 12193532 bytes, checksum: 6a743bb32992115e3c51518f0ea36ce9 (MD5) / Approved for entry into archive by Raquel Viana (raquelviana@bce.unb.br) on 2018-08-27T22:28:26Z (GMT) No. of bitstreams: 1 2017_DianaDaherLopesdaCosta.pdf: 12193532 bytes, checksum: 6a743bb32992115e3c51518f0ea36ce9 (MD5) / Made available in DSpace on 2018-08-27T22:28:26Z (GMT). No. of bitstreams: 1 2017_DianaDaherLopesdaCosta.pdf: 12193532 bytes, checksum: 6a743bb32992115e3c51518f0ea36ce9 (MD5) Previous issue date: 2018-08-23 / O presente trabalho apresenta investigações sobre a ocorrência de texturas polifônicas na Sonata op. 35 n. 2 de Fryderyk Chopin, bem como estratégias de estudo que possam auxiliar na interpretação expressiva de tais texturas. Assim, esta dissertação estrutura-se em duas partes: a primeira apresenta diversas acepções sobre polifonia e, em seguida, aborda a forma em que a textura polifônica se encontra especificamente na obra de Chopin, à luz daquele contexto histórico e das diversas influências exercidas sobre o compositor. A segunda parte é composta pelos denominados “trechos polifônicos”, que são excertos escolhidos da Sonata op. 35, analisados e acompanhados de sugestões de estudos que visam o aprimoramento da execução polifônica. A pesquisa foi feita a partir da experiência de preparação para a performance da sonata e contempla a análise formal e interpretativa da obra, bem como a contextualização histórica da vida e obra de Chopin. Também são abordadas na pesquisa investigações musicológicas as quais vêm sendo feitas no sentido de elucidar aspectos polifônicos presentes ao longo de toda a produção chopiniana, bem como desvendar os principais fatos motivadores desta prática, quais sejam: a influência da música de Bach e o apreço de Chopin pela música vocal, especialmente o Bel Canto italiano, ao qual se atribui a presença dos diferentes caráteres ou vozes que compõem sua polifonia. / The present dissertation aims at investigating the occurrence of polyphonic textures in Fryderyk Chopin’s piano Sonata No. 2 Op. 35, as well as presenting study strategies that may aid in the expressive interpretation of such textures. Therefore, the present work is divided in two parts. The first one presents a myriad of interpretations on polyphony itself and then tackles the way polyphonic texture presents itself in Chopin’s works in light of the then-existing historical backdrop and the multitude of influences exerted upon the composer. The second part comprises the so-called “polyphonic stretches”, which are passages selected from Sonata Op. 35. These excerpts are analyzed and followed by study suggestions which aim at refining polyphonic execution. This research is rooted in the experience resulting from the author’s preparation for the execution of the sonata and encompasses the formal and interpretative analysis of this particular piece, as well as the historic contextualization of Chopin’s life and oeuvre. Musicological investigations are pursued throughout the research and they endeavor to clarify polyphonic aspects which are present in Chopin’s works, as well as unveil the main motivating factors behind such practice, namely Bach’s influence and Chopin’s own predilection for vocal music, most notably the Italian Bel Canto, to which different characters or voices that comprise his polyphony are attributed.