The songs of Puccini provide another approach to understanding the composer's musical development. The objective of the study is twofold; first to provide a discussion of the musical style of Puccini's songs; and second, to show how Puccini utilized and integrated the preexistent material into the operas. The songs are grouped and characterized in three stylistic periods. In each period, Puccini was concerned with different issues in text setting. They anticipated or corresponded to the musical style of his operas, and this is evident by his use of the earlier songs in the later operas. Three examples of such cases are examined. The details involved in the transformation of self-borrowing are illustrated in terms of recomposition, expansion of the vocal line and orchestration. Each case illustrates the textual and/or musical consideration by Puccini of the original source for the new dramatic context of the opera. The borrowed material, often incorporated with new themes and expressive orchestration, blooms as an effective dramatic piece of music in his operas. In addition to the lecture recital, based on the dissertation and given on June 23, 1997, three other public recitals were performed. The first, on February 27, 1989, included works of Schubert, Brahms, Wolf, and Strauss. The second program, an operatic performance of The Queen of Spades by Tchaikovsky, was given on April 20, 1991. The third recital was performed on February 20, 1995, and included works by Handel, Mozart, Stravinsky, Schubert, Poulenc, and Turina.

The nineteenth century was an era that great centralization and codification attempts were realized in the Ottoman Empire. One of these attempts was the Ottoman Land Code of 1858, which put various land regulations throughout the empire into a standard code. But this standard Code gave different results when applied to different regions which had their own characteristic features. Eastern Anatolia, which had an autonomous position since its incorporation to the Ottoman Empire, was also in the scope of the Land Code. The object of this study is to examine the implementation of the Land Code of 1858 in eastern Anatolia and the impacts of this implementation process in the region. Indeed, the general situation of the region greatly disaffected the implementation of the Code in eastern Anatolia. Because of the dominant disorder within the region and problems of the state in these lands, the Land Code could not be properly implemented in eastern Anatolia. The Land Code and the title deeds, which were distributed in accordance with the Code, were so important that they became the base of later ownership claims. Therefore, the implementation of the Code had deep and long lasting effects on the land patterns and social relations in the region. In this respect, this study will evaluate the implementation process of the Land Code throughout eastern Anatolia and the socio-economic transformation of the region as a result of this process.

Madame Butterfly is analyzed as a cultural icon. Puccini s Madaina Butterfly and the Butterfly icon, i.e. the submissive Oriental beauty who cannot live after her Western lover betrays her, permeate Western stereotypes of Eastern culture. Through this mindset, miscommunication develops. This concept was popularized in David Henry Hwang's play M. Butterfly, which builds upon Puccini's opera. Through the character's misperceptions of each other, the opera's tragic ending is repeated in Hwang's play after the French diplomat Gallimard realizes that his ideal woman is actually a male spy. Traditions regarding homosexuality and cross-dressing help Song to create Gallimard's feminine ideal. The theater contributes through tan and onnagata roles where men are trained to create perfect feminine illusions. These stereotypes are problematic because they do not allow for the complexities that exist in the theater, on film, and in actual events. Through increased sensitivity and awareness, individuals can see past the stereotypes to see other's complexities. / Department of English

The composer Ethel Smyth (1858-1944) claimed that sex discrimination had prevented her from succeeding as a composer, and she cast much of the blame on the press. This study examines the critical reception of Smyth’s Mass and first four operas in England and Germany, with a focus on their premieres. It evaluates Smyth’s claims, and places the works more broadly in context, tracing the processes by which they gained performance, and the circumstances of the productions. Rich and multiple interpretations are made possible by reading from different perspectives, allowing the complexity of critical commentary and the subtle intersection of concerns with gender, nationalism and style to be revealed. Despite the pervasiveness of gender bias in the reviews, there is much more to the critical reception of Smyth’s music than the way in which it represents her in relation to patriarchal stereotypes of femininity. / Performances researched include the Mass’s premiere in 1893 and its revival in 1924, and the early productions of Fantasio, Der Wald, The Wreckers and The Boatswain’s Mate. These operas were composed with hopes of performance both in England and Germany, and therefore provide the best case studies for an examination of press reception in these two countries, notwithstanding the fact that the first was performed only in Germany and the fourth only in England. The reviews are interpreted in light of the different contexts that affected critics’ perceptions: local circumstances, contemporary politics and knowledge about the composer. Chapter 1 explores the significance of Smyth’s biography and autobiography and Chapter 2 traces each work from composition to performance, examining the challenges Smyth faced and her responses to them. Smyth’s connections with royalty and aristocracy, both in England and Germany, were of great assistance to her, and this has hitherto been insufficiently acknowledged. Smyth’s music elicited a diverse range of praise and criticism from critics, and the last three chapters focus on issues of gender, discussion of the libretti and music of the operas, and national preoccupations. / The complex question of gender in the Smyth criticism includes the problem of the woman composer, definitions of femininity and masculinity and the effect of Smyth’s feminism and persona on reception of her music. Critical writings rarely included detailed technical discussion of the music, but libretto and comedy, text-setting and orchestration all received attention. The division of Smyth’s career between England and Germany led to her being seen as foreign in both countries, and the performance of her music contributed to nationalist debates about the selection of repertoire. The division between English and German critics is most marked in their attribution of influence on Smyth’s operas. German critics distinguished various styles and genres in Smyth’s music and were perceptive in recognising the underlying eclecticism of her mature voice. Smyth’s countrymen knew she had studied in Germany and persisted in hearing this influence in her scores, although some allowed that she was contributing to the formation of an English voice.

In 1857, hostilities broke out against the ‘rule’ of the East India Company (EIC) in northern India.Measures to suppress the hostilities, known as the 'Mutiny', 'Rebellion' or 'War' of 1857', included legislation enacted by the EIC's Government of India criminalising 'rebellion' and 'waging war' and establishing temporary civil and military commissions. From 1857 to 1859, the Government of India tried soldiers and civilians, including the last Mughal Emperor, the King of Delhi Bahadur Shah II, for their conduct during the hostilities. The law and trials have not previously been the subject of study. his thesis assesses the validity, according to the international law of the time, of the trial by military commission of the King of Delhi in 1858. The research and writing of this study is original for no review of the trial according to international law has previously been attempted. (For complete abstract open the document)

Thesis (M.A.)--Trinity Evangelical Divinity School, 1985. / Includes bibliographical references (leaves 156-166).

Thesis (M.A.)--York University, 2005. Graduate Programme in Psychology. / Typescript. Includes bibliographical references (leaves 111-123). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url%5Fver=Z39.88-2004&res%5Fdat=xri:pqdiss &rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR11786

Made available in DSpace on 2014-06-11T19:23:36Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-06-01Bitstream added on 2014-06-13T19:47:25Z : No. of bitstreams: 1 ferreira_lm_me_mar.pdf: 542129 bytes, checksum: bfe0a2f7b1f116da253a9dd672306727 (MD5) / Esta dissertação possui dois objetivos fundamentais, quais sejam, analisar as condições subjetivas do progresso científico em Sociologia, por meio do conceito de obstáculo epistemológico e aplicar esse conceito a certos postulados da Sociologia de Émile Durkheim tendo como pano de fundo sua obra Da divisão do Trabalho Social (1999). Nossa ideia central é que Sociologia deve superar certos obstáculos. Tais quais, sua concepção de homem, considerado apenas em seu âmbito moral e as explicações do social pelo social. Os quais frente à atualidade de questões como as problemáticas sócio-ambientais tem se apresentado insuficientes para a formação de um novo espírito científico em Sociologia. Na medida em que desconsideram a relação do homem com a natureza / This dissertation has two main objectives namely to analyze the subjective conditions of scientific progress in Sociology, through the concept of epistemological obstacle and apply this concept to certain postulates of the sociology of Emile Durkheim as background with his work The Division of Labor social (1999). Our central idea is that sociology must overcome certain obstacles. As such, his conception of man, considered solely in its scope moral and social explanations of the social. The front of the current which issues such as social and environmental issues has appeared insufficient for the formation of a new scientific spirit in Sociology. To the extent that disregard the relationship between man and nature

This research analyzes the Bolivarian historical ideology since the Simon Bolívar death in 1830 until the end of the 20th Century, focusing on the development of what we shall call social consciousness practices in an experience of popular armed confrontation: The Venezuela’s Federal War of 1858-1863. Our aim was to understand and evaluate the potentialities of the historical memory as a social and emancipatory mobilization practice. In order to conduct the research and guided by the available documents and other historical sources, we did characterized "bolivarianism" as a revolutionary-romantic ideology, with a special and contradictory unity between revolution and conciliation. The research has revealed that Bolivar’s project of creating Gran Colombia was a relevant part of the Federal War political proposal. Bolivarianism was also a general ideological reference to important individuals during the Federal War. Finally, the study brought new evidence and insight regarding the nexus between historical memory and ideology as an activity of remembrance in an operative present, which helps to explain how the past is selected through conflicting projects of future.

The complete process of Giacomo Puccini?s opera called Turandot for DAMU International Master Degree final tasks, that includes the analysis of the play, the characters studies, performance references, the design process and the result of the model making and the photographs The writer personal view on how the story influenced her to created the space.