Sweden was transformed to a democratic industrial society in the late 19th century. Political influence had been bound to the four estates, nobles, clergy, burghers and farmers. The reforms of the 1860s moved Sweden towards political democracy with universal suffrage. At the national level a two-chamber parliament was established in 1866. Political power should now be a function of economic status. The right to vote was seen as a right for those who paid taxes and contributed to the community. There were even significant changes at the local level. The right to participate in town governance expanded to new groups in the society. This development was, however, not equal in al towns. A new municipal civic concept was issued in 1862 with the local Government reform. Citizenship in the towns used to be a right for the bourgeoisie. The reform created a connection between civil rights and fiscal performance. The right to vote was graduated according to income and wealth. The purpose with the local Government reform in 1862 was to build an independent local board against the State. It was also decided that city council was mandatory for towns with more than 3,000 citizens. For those towns that had less than 3000 citizens were the choices of retaining public town hall or establish a city council. Uppsala had more than 3,000 inhabitants in 1862. Enköping introduced city council in 1887 when the population reached the limit. This study examines the consequences of this decision for Uppsala and Enköping. This study examines local Government reform of 1862 from a new perspective. The reform has often been studied from a local perspective and the development of one town or municipality. What is missing is that the degree of political influence could be a product of where people lived.

Even though Marcel Prevost was considered neither an author of world magnitude nor even important within the framework of French literature, he interests us from an historical perspective. The discursive tone he uses in his novels conveys a negative vision of feminism that was common in the last century. Prevost expresses within the romantic structure of his novels the unyielding masculine attitude in the face of women's quest for self-assertion. In his novels one cannot escape the tone of domination and control, and the revival of patriarchal power. Always very aware of his popularity as a writer, Prevost sought to instill his doctrine in the most subtle way possible, and while posing as women's ally, he remained true to his ideal of a domineering male. / It is only in the light of contemporary thought that we perceive the idealistic structure he was building. We rediscover the likeness of our ancestors, our great grandmothers, real and idealized by a masculine mind. Over the course of Prevost's novels we observe his image of Woman changing from a chaperoned entity to a quasi autonomous being, while retaining, in his eyes, the same mentality. The stereotyped and fixed role given her since time immemorial have left her without the ability to release her shackles and escape her subservient position. / Prevost 's language reveals the resistance of a man who foresees the inevitable day when Man will have to hand over to Woman the control over her own destiny. Throughout his works, mostly forgotten today, he exalts the young virgin, the loving wife and the fulfilled mother. Women who deviate from these norms are relegated to the role of degenerate, hysterical or unsound beings. The interplay between the forces of good and evil serves as a model to incite the reader into making the right choice. Prevost's only goal is to redress women's behaviour and help maintain their traditional role. His work strikes a nostalgic note of the past, recalling "la Belle Epoque" when women were imprisoned as much by conventions as by their corsets, while still letting one guess at their charms. Prevost chooses to continue not to see or understand Woman, only to better reinvent her on the wings of his imagination.

Nitobe Inazō (1862-1933) ranked among the elite in prewar Japan. He had won early fame, before he was forty years old, as a scholar and a master of the English language with his book Bushido, the Soul of Japan. Subsequently, his career as an administrator in Taiwan, headmaster of the prestigious First Higher School, a scholar of Colonial Policy at Tokyo Imperial University, a noted writer of popular literature for youth, and later Under Secretary-General at the League of Nations and Japanese Chairman of the Institute of Pacific Relations (IPR) made him a well-known personage both within Japan and abroad. He was constantly in the public's eye, and was frequently invited to address diverse audiences on inter-cultural topics. But after his death in Victoria, British Columbia in 1933, his work fell into obscurity. Most Japanese in 1985 do not know who he is, except for the fact that his portrait now adorns the 5000 yen note. There are several published biographies of Nitobe, in Japanese and in English, but thus far, no one has attempted to reconstruct his career upon an investigation of primary materials. Therefore, much of the facts concerning his life are inaccurate, as they stem mainly from anecdotes published after his death. Though Nitobe authored over twenty books--in English, Japanese, and German--and hundreds of articles, only one work, Bushido, has survived the ravages of time. He was not, in my opinion, a "thinker" who held and expressed subtle and profound thoughts. Rather, he was a man of action who, by his behavior, influenced a great many people, especially the young. For this reason, I deal only summarily with his ideas. Scholars disagree on Nitobe's importance in history. His many disciples still adore him as a great man who contributed much to the development of internationalism and liberal thought in postwar Japan. But many others see him as a misguided moralist and reactionary who buckled when he encountered militarism within his country in the 1930s. This dissertation is a biographical study of Nitobe. It is divided into three main parts: Part One, "The Making of the Internationalist" deals with the first 44 years of Nitobe's life. Part II, "Educator East and West," which focuses on Nitobe in middle age, examines his activities as a charismatic Japanese educator during the late Meiji and Taishō periods; and in Part III, "Diplomat in International Limelight" the focus is upon the activities that Nitobe engaged in during the last 14 years of his life. The theme that runs throughout the dissertation is the "internationalist." Except for the Introduction and Conclusion, I utilize a narrative style. I have relied upon diverse sources of information, including archives in Japan and North America, as well as interviews and letters with people who knew Nitobe personally. I portray Nitobe as a man who, early in life, became obsessed with achieving honors for himself, on the one hand, and a place of respect among the leading nations of the world for his country, on the other. He was a highly idealistic man who, nevertheless, acted always in a pragmatic way. Ideals were things to be worked for. In a world of conflicting values and demands, Nitobe knew that ideals realize themselves slowly. His actions, thus, whenever they appear to be a compromise of his higher principles, have to be seen in light of the circumstances that surrounded him. / Arts, Faculty of / Asian Studies, Department of / Graduate

This thesis proposes to show the satirical element in the works of Nestroy. Nestroy was playwright and actor, producer and director. His dramatic art represents the highest development in the three hundred year tradition of the “Wiener Volkstheater”. For this reason, the thesis begins with a summary of the evolution of the "Wiener Volkstheater". Following a brief chapter appraising comedy, various definitions of satire have been summarized. The theories have been examined with the intention of finding a general definition of the genre. It has been concluded that each author of satire has an individualized style and use of satire, based on his selection of models and their subsequent interpretation by him. Thus diverse definitions of satire must be incorporated in evaluating Nestroy’s works, as his satire ranges from fine irony to invective. As the satiric element in Nestroy’s plays evolves out of familiar comic conventions, it represents an unusual blend in the history of the “Wiener Volkstheater" (satirical farce). For Nestroy the stage was not a means of transforming a poetic vision into reality, but for reflecting with satiric wit upon man’s caricatured image. The hilarious framework of his plots are a concession to the audience, as is the reference to local institutions, topography and habits. Despite a surprising variety of language technique, which he inherited from the “Wiener Volkstheater”, he created new forms of language usage. In his satirical attacks, he exposes the shortcomings of his contemporaries through deliberately unpoetic dialogues, witty antithesis, vivid figures of ironic speech, provocative aphorisms and series of questions and definitions that reveal the weaknesses of his characters. By interweaving technical terminology in his dialogues, Nestroy achieved comic and parodistic effects; through these hilarious incongruities he satirized various professions. Nestroy’s dramatic satire originates in his hyperbolic portrayal of human shortcomings. Behind a gay facade, the sceptic views presented in Nestroy’s plays are not immediately obvious. However, a pessimistic outlook dominates Nestroy’s satire. His satirical contrasts demonstrate the imperfection of man, and reveal Nestroy’s doubt about the validity of ideals. Nestroy recognized, perhaps intuitively, that measuring reality against the ideal on the stage might create a "Schaubühne als moralische Anstalt." As a result, Nestroy often refers to transcendence through intellect. Nestroy found it sufficient to portray human shortcomings, often in hyperbolic manner, without reference to an acceptable ideal. He leaves the interpretation of his satirical attack to his audience. All of the elements of stage technique heighten the masterly dialogue in Nestroy’s plays, making his unique satirical farces among the most admirable within the German tradition of comedy.

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應用於音樂的轉換理論，自大衛·盧因於1987年首先提出，至今已逾四分之一個世紀。在轉換理論中，盧因極具創見地將音樂的動態以數學中的群論及函數的概念表達，冀望以此改變過往音樂分析中過於注重對音樂素材及其特性的靜態研究，而忽視素材之間轉換過程的問題。盧因的研究對於西方理論學界產生了極大的影響。有關理論的深層探討，特別是在音樂與數學結合的方向顯示了驚人的成果。然而，就如何將轉換理論系統地應用於音樂分析，迄今最為成功的嘗試仍僅為盧因1993年成書的四首作品分析。對於轉換理論如何體現某個作曲家個人風格及其發展的研究，更是絶無僅見。本文將轉換理論應用於分析德彪西的兩首管弦樂傑作《牧神午後前奏曲》及芭蕾舞劇《遊戲》。雖然有關德彪西作品的分析者眾，但囿於理論途徑的限制，能充分展現在新舊風格轉換的歷史語境下，德彪西音樂獨特之處的研究仍極為有限。在本文中，轉換理論因其彈性的適用性，為兩首作品中的音高組合與曲式的關係，以及由此體現的風格衍變與美學思想，提供了獨特而極具說服力的分析視角。 / Theoretical development that stems from David Lewin’s transformational theory has flourished since its inception in 1987. However, the analytical application of Lewin’s theory remains scant, with Musical Form and Transformation: Four Analytical Essays (1993) standing out as one major achievement. Transformational theory is more often used to address specific theoretical issues, rather than to enhance our understanding of musical works or stylistic traits of individual composers. This study explores the applicability of Lewin’s transformation theory to two of Debussy’s orchestral masterworks, Prélude à l’après-midi d’un faune and Jeux, and contributes to Debussy scholarship by offering readings that cast new light on the interrelationship between pitch organization and form in them. / Detailed summary in vernacular field only. / Hong, Ding. / Thesis (Ph.D.) Chinese University of Hong Kong, 2014. / Includes bibliographical references (leaves 181-191). / Abstracts also in Chinese.

Reproduction de : Thèse de doctorat : Stylistique anglaise : Lyon 3 : 2003. / Titre provenant de l'écran-titre. Bibliiogr. Index.

Stuart E. Madnick, Y. Richard Wang. / Bibliography: p. 17-18.

Sanjeev R. Kulkarni, Sanjoy K. Mitter, Thomas J. Richardson. / Cover title. / Includes bibliographical references. / Supported by the U.S. Army Research Office (Center for Intelligent Control Systems) DAAL03-86-K-0171 Supported in part by the Department of the Navy for SDIO.