The main aim of the study was to examine and discover the use of the clarinets and bass clarinet, in combination with other instruments, to portray the libretto in Puccini's opera Tosca. • scrutiny of the literature about Puccini's life and works, • an analysis of the score with emphasis on the clarinets', bass clarinet's and singers' parts and specific attention to the demands of the libretto, and • listening to a number of recordings of the opera A variety of different aspects are organized in the following chapters: Chapter 1 consists of general information about the study. Chapter 2 offers a short biography, while Chapter 3 provides a discussion about the libretto. In Chapter 4 the author deals with tonguing and articulation. Chapter 5 examines melodic aspects and Chapter 6 consists of views on dynamic aspects. In Chapter 7 a discussion about rhythmic aspects takes place, and in Chapter 8 the author explores the combination of the clarinets and bass clarinet with other instruments. Finally, Chapter 9 is a summary of the conclusions drawn in this study. • Puccini's predilection for continuous mixing of instrumental colours sometimes makes it difficult to separate the clarinet for analytical purposes. Nevertheless, the importance of the use of the clarinets or bass clarinet can clearly be detected. • Puccini employs all creative and technical capabilities of the clarinet and bass clarinet in creating and changing the atmosphere, depicting human emotions and emphasizing dramatic moments. • Carefully chosen and applied articulation, trills, tremolos and repeated notes in the clarinet and bass clarinet parts are Puccini's gestures in the expression of love, anger and fear. However, articulation in the clarinet and bass clarinet parts mainly matches the other instrumental lines in the orchestra. • Because the clarinet and bass clarinet blend well with any instrument and with the human voice, Puccini uses them in solo parts, in unison with the singer, or as an accompaniment to the singer's line. • As a consequence of Puccini's need to consciously pay minute attention to the details of the libretto, the structure, shape and length of the clarinet phrases constantly change. • Exploring the dynamic's capabilities of the clarinets and bass clarinet presents the wide palette of colours and nuances which these instruments can produce. Puccini uses a large number of dynamic markings in the clarinet and bass clarinet parts. They range between ppp and fff. The piano dynamic level is mainly used to suggest fear and suspicion or to portray lyrical moments in the libretto, while the forte level is a tool to create drama and express human anger, pain, or the struggle between good and bad. • Puccini puts very strong emphasis on rhythm as a device for illuminating the details of the libretto, stage actions, human feelings, and different atmospheres in the opera Tosca. The different rhythmical patterns and changes of metre affect all instruments. Sometimes the clarinet line has the same rhythmical figures as the rest of the woodwind, but very often the clarinet plays a different rhythm from the rest of the orchestra or the singer's melody. / Dissertation (M Mus (Performing Art))--University of Pretoria, 2007. / Music / unrestricted

No description available.

The Utah War and its aftermath changed Utah and the Mormons forever. This change came because of the growing Gentile influence in the territory and was reflected most adequately in the current periodicals of the period. The Valley Tan and the Mountaineer are especially important because their opposition to one another brought many important issues to the forefront of discussion. These issues would be important to the Mormons learning to live and work with those not of their faith and to share in their Zion.These newspapers were successful in giving to its reader, both past and present, a glimpse into the troubles and pains of a very difficult time in Utah history.

手稿本. / 論文 (碩士)--香港中文大學. / 參考文献 : p.1-12 (3d group) / Bibliography : p.1-12 (3d group) / 引言　　鴉片戰爭後中國思想界之變化 / Chapter 第一章 --- 康有為之思想學說 / Chapter 第一節 --- 康氏早年學養 / Chapter 第二節 --- 康氏思想之哲學基礎 / Chapter （一） --- 自然觀 / Chapter （二） --- 博愛主義 / Chapter （三） --- 人性論 / Chapter （四） --- 歷史觀 / Chapter 第三節 --- 新學偽經考與舊權威之否定 / Chapter 第四節 --- 孔子改制說與政治改革 / Chapter 第五節 --- 大同書與社會思想 / Chapter 第二章 --- 梁啟超承受師說之時代 / Chapter 第一節 --- 梁啟超從師康門 / Chapter 第二節 --- 萬木草堂時代 / Chapter 第三章 --- 闡揚師說與開始建立其獨立地位 / Chapter 第一節 --- 時務報時代´ؤ´ؤ變科舉　開學校　興民智 / Chapter 第二節 --- 初言保教與初唱民權 / Chapter 第四章 --- 梁啟超新鋩之初見 / Chapter 第一節 --- 時務學堂時代 / Chapter 第二節 --- 清議報時代（前期）´ؤ´ؤ保皇立憲與明倡民權 / Chapter 第五章 --- 梁啟超背棄師說與思想激盪時期（清議報後期與新民業報初期） / Chapter 第一節 --- 梁氏早年之友朋及其影響 / Chapter 第二節 --- 留居日本時期新學之影響 / Chapter 第三節 --- 倡言破壞主義與民族國家思想 / Chapter 第四節 --- 反對保教與大同 / Chapter 第五節 --- 放棄革命與共和 / Chapter 第六章 --- 民國開國前梁啟超思想學說之化成 / Chapter 第一節 --- 新民說與國民教育 / Chapter 第二節 --- 國體與政體之主張 / Chapter 第七章 --- 民國開國前康梁師弟思想學說之比較´ؤ君主立憲與保國粹 / 結語

The thesis is a structural biography of Harald Molander (1858-1900), stage manager, author, translator and critic.The investigation is based on his literary works and the reviews of these. Articles, letters and the director's comprehensive manuscripts and other documents are analyzed. The reactions of the audience are studied.Molander's authorship and directing were artistically coherent. In accordance with the theories of Felix Vodicka and Jan Mukarovsky a model of description is formulated for the study of the period norm. The structure of Molander's literary works, the reception of them, and the modern conception of stage management are related to the changes in the norm.As an. author Molander successively associated himself with tradition, with the realism of the modern breakthrough and the interest in historical subject. His works were often shaped by literary impressions. His works as an author and stage manager were frequently religiously tinged.As a director Molander was a transitional figure. He began as an author-director and gradually took up modern stage management. In this thesis his work as a director is studied as part of the division of labour in the theatre, as staging-procedure and as an expression of principles of style and artistic viewpoint. His directing was chiefly aimed at realizing the author's vision on the stage. He wanted to transform the possibilities of the drama into scenic reality.As a stage manager Molander was influenced by the Meininger Company and Wagner. As a director he was very systematic. He distanced himself from the kind of theatre which was dominated by the actors, from Romanticism and ideal realism, and he studied naturalism. Tradition, fidelity to authors, realism, historicism, ensemble-acting and the harmonization of the means of expression of the theatre characterized his stage managing. Molander also had a didactic view of the theatre; he wanted to discuss societal and psychological problems and he wanted to amuse his audience.Molanderwas active both in Sweden and in Finland. The highlight of his early period was the staging of Goethe's Faust (1889). He shaped it into a realistic-fantastic Gesamtkunstwerk. He made pictorially attractive stagings of Strindberg's historical dramas, Mäster Olof (1897), Gustaf Vasa and Erik XIV (1899). The staging of Hauptmann's The Weavers was his masterpiece. The instruction of the masses in this strike drama was consistent. The Swedish labour movement greeted the play with enthusiasm. / digitalisering@umu

Prenant appui sur Les formes élémentaires de la vie religieuse, ce mémoire s'intéresse à la nature et au fonctionnement de l'âme humaine par le biais du concept homo duplex. Esquissé dans l'œuvre de 1912, le syntagme est utilisé dans le cadre d'articles parus en 1913 et 1914. Émile Durkheim y précise aussi le caractère essentiel de toute religion : la vertu dynamogénique. Mettant en scène les composantes collective et individuelle de l'âme, le dualisme durkheimien affirme l'existence de deux systèmes d'états de conscience et de leur interaction. Un premier chapitre a pour objectif de suivre Durkheim dans le cheminement intellectuel qui le conduit à l'utilisation du concept homo duplex. Le second chapitre, aussi fidèle à la production de l'auteur, cherche à donner toute son extension à la notion d'individualisme. Y sont distinguées les unes des autres quatre formes d'individualisme, dont une qui peut être considérée comme typiquement durkheimienne. L'objectif de la démarche est de démontrer que, dans les dernières années de sa vie et dans ses efforts pour élaborer une science des faits moraux, ce fondateur de la sociologie française aurait mis d'avant le concept homo duplex afin d'introduire ses contemporains à une ontologie suggérant une morale individuelle qui va au-delà de la pensée kantienne. Accordant une attention particulière à l'étude de la composante individuelle de l'âme et considérant qu'une confusion à la fois sémantique et conceptuelle peut subsister entre différents types d'individualismes, nous nous proposons de répondre à une question principale : qu'est-ce qui caractérise l'individualisme durkheimien? ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Durkheim, individualisme, homo duplex, néocriticisme, morale.

This thesis investigates how the mapping of Africa by British institutions between c.1880 and c.1915 was more complex and variable than is traditionally recognised. The study takes three ‘cuts’ into this topic, presented as journal papers, which examine: the Bartholomew map-publishing firm, the cartographic coverage of the Second Boer War, and the maps associated with Sir Harry H. Johnston. Each case-study focuses on what was produced – both quantitative output and the content of representations – and why. Informed by theories from the history of cartography, book history and the history of science, particular attention is paid to the concerns and processes embodied in the maps and map-making that are irreducible to simply ‘imperial’ discourse; these variously include editorial processes and questions of authorship, concerns for credibility and intended audiences, and the circulation and ‘life-cycles’ of maps. These findings are also explored in relation to the institutional geography of cartography in Britain: the studies illustrate the institutional contingency of such factors and how this gave rise to highly variable representations of Africa. These three empirical papers represent the first sustained studies of each of the topics. By connecting their findings, the thesis also offers broader reconceptualisations of the British mapping of Africa between c.1880 and c.1915: with respect to cartographic representations, maps as objects, and the institutions producing them. Maps did not simply reflect ‘imperial’ discourse; they were highly variable manifestations of multifaceted and institutionally contingent factors and were mobile and mutable objects that were re-used and re-produced in different ways across different settings. Mapmaking institutions were discrete but interconnected sites that not only produced different representations, but played different roles in the mapping of Africa. By illuminating the institutional provenance, ‘life-cycles’ and content of the maps studied, this thesis extends current knowledge of British mapping of Africa during the late nineteenth and early twentieth centuries and raises questions for further research incorporating its lessons, sources and theories.

The problem of this research was to compare the ideas of Emile Durkheim and Max Weber concerning the relationship between society and religion. The primary sources for the study were The Elementary Forms of the Religious Life by Durkheim and The Protestant Ethic and the Spirit of Capitalism and The Sociology of Religion by Weber. An effort was made to establish similarities and differences in the views of the two theorists concerning (1) religious influences on social life and, conversely, (2) social influences on religion.

Tendo em vista uma contribuição para a discussão epistemológica sobre as ciências humanas e para o problema da objetividade do conhecimento científico que orientava os primeiros modelos filosóficos dirigidos à sustentação das Geistwissenschaften, esta dissertação procura reconstruir um modelo filosófico que teve papel ativo no debate, mas que ainda é pouco explorado em seu caráter epistemológico: o pensamento de Georg Simmel. Simmel fez parte de um grupo de filósofos alemães críticos ao nascimento naturalista das ciências humanas. Para eles, enquanto as naturais procuram explicar (erklären) a realidade por experimentação e análise causal, as ciências do espírito procuram compreender (verstehen) o fenômeno social através da interpretação das motivações dos indivíduos. Sua estratégia de penetração no fenômeno social recebeu o nome de Verstehen, ou compreensão. Devido à penetração no fenômeno social e aos diferentes pontos de vista abarcados, uma das críticas centrais enfrentada pelo grupo foi o perspectivismo, levantado como problema pelos positivistas. Simmel explorou o conceito de Verstehen partindo de uma crítica à visão mecanicista, circunscrita pelo realismo histórico e influenciada pelos pressupostos naturalistas e positivistas. Ademais, sua Verstehen sofreu modificações conceituais, as quais podem ser comparadas ao dividir o conjunto da obra simmeliana em dois grandes momentos epistêmicos: Idealista e Vitalista. Dada esta divisão, e tendo em mente o problema da objetividade e perspectivismo, a presente investigação é delineada a partir de três hipóteses iniciais. A primeira é, justamente, a existência de diferentes quadros conceituais em Simmel, os quais demonstram uma progressão intelectual madura e cada vez mais preocupada em explicar a natureza da Verstehen e como ela funciona. Esta hipótese contribui tanto para a discussão epistemológica das ciências, como para o melhor uso do autor, seja de seus escritos filosóficos ou sociológicos. A segunda hipótese refere-se especificamente ao conceito de Verstehen, admitindo-se a existência de duas noções de Verstehen, cada qual ligada a um dos períodos. Na fase Idealista, Simmel parece ter uma preocupação mais metodológica concernente à Verstehen. Na fase Vitalista, a Verstehen simmeliana surge como a relação fundamental entre indivíduos, ou seja, algo além de um conceito metodológico. De modo geral, a noção de compreensão perde o vínculo direto com a representação projetada e passa a vincular-se diretamente à noção de vida, como uma relação fundamental entre seres humanos. A terceira hipótese, por fim, vincula-se ao período Vitalista e tem como premissa um perspectivismo necessário para o conhecimento científico. Com o desenvolvimento intelectual da obra simmeliana, o perspectivismo deixa de ser um problema e passa a ser uma condição da investigação humana, uma condição que deve ser aceita com vistas a maior conhecimento científico da realidade social. Por fim, registram-se encaminhamentos para futuras investigações. / In order to contribute to the epistemological discussion about the human sciences and to the problem of the objectivity of scientific knowledge that guided the first philosophical models aimed at sustaining the Geistwissenschaften, this dissertation seeks to reconstruct a philosophical model that played an active part in the debate, but rather it is still little explored in its epistemological character: the thought of Georg Simmel. Simmel was part of a group of German philosophers critical of the naturalistic birth of the humanities. For them, while the natural sciences seek to explain (erklären) reality by experimentation and causal analysis, the human sciences seek to understand (verstehen) the social phenomenon through the interpretation of the inner motivations of individuals. Their strategy of penetrating into the social phenomenon was called Verstehen. Due to the penetration of the social phenomenon and the different points of view, one of the central criticisms faced by the group was the perspectivism, raised as a problem by the positivists. Simmel explored the concept of Verstehen from a critique of the mechanistic view, circumscribed by historical realism and influenced by naturalist and positivist assumptions. In addition, his Verstehen underwent conceptual modifications, which can be compared by dividing the whole of the Simmelian work into two great epistemic moments: Idealist and Vitalist. Given this division, and bearing in mind the problem of objectivity and perspectivism, the present investigation is delineated from three initial hypotheses. The first is precisely the existence of different conceptual frameworks in Simmel, which demonstrate a mature and increasingly preoccupied intellectual progression in explaining the nature of Verstehen and how it functions. This hypothesis contributes as much to the epistemological discussion of the sciences, as to the best use of the author, or of his philosophical or sociological writings. The second hypothesis refers specifically to the concept of Verstehen, admitting the existence of two notions of Verstehen, each connected to one of the periods. In the Idealist phase, Simmel seems to have a more methodological concern about Verstehen. In the Vitalist phase, the Simmelian Verstehen emerges as the fundamental relationship between individuals, that is, something beyond a methodological concept. In general, the notion of Verstehen loses the direct link with projected representation, and becomes directly linked to the notion of life as a fundamental relation between human beings. Finally, the third hypothesis is linked to the Vitalist period and is premised on the perspectivism as necessary for scientific knowledge. With the intellectual development of the Simmelian work, perspectivism ceases to be a problem and becomes a condition of human inquiry, a condition that should be accepted resulting in greater scientific knowledge of social reality. Finally, there are guidelines for future investigations.

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