"An amiable personality, not himself an unusually passionate man, HoIst has excited more violent passions than any other contemporary English composer. How difficult he is to assess as a creative artist is perhaps indicated by the extraordinary fluctuations in his reputation." For a number of years he was completely unknown and ignored, living a quiet and unhurried life as an obscure teacher. Then with a momentary flash, after outstanding works such as "The Planets," and the "Ode to Death," he was caught up in a wave of public approval that made him, for a time, the recipient of national and even international honors. He was awarded the gold medal by the Royal Philharmonic Society, was made a Fellow of the Royal Col.ege of Music, and was offered honorary degrees by American universities.

Orientador: Maria do Rosário Longo Mortatti / Banca: Rebecca Rogers / Banca: Carlota Boto / Banca: Maria Helena Câmara Bastos / Banca: Rosa Fátima de Souza / Resumo: Visando a contribuir para a história da formação de professores no Brasil e para aspectos ainda pouco explorados da história das disciplinas escolares, desenvolvi pesquisa de doutorado com o objetivo de compreender a história da disciplina Pedagogia no currículo dos cursos de formação de professores das escolas normais do estado de São Paulo, entre 1874 e 1959. Para o desenvolvimento dessa pesquisa, optei por abordagem histórica do tema, centrada em pesquisa documental e bibliográfica, por meio de procedimentos de localização, recuperação, reunião, seleção, ordenação de documentos fontes e de análise da configuração textual do documento selecionado como corpus da pesquisa, pelo seu caráter emblemático. Para apresentar o desenvolvimento da disciplina Pedagogia apoiei-me em documentos, tais como: manuais de ensino de Pedagogia, programas, atas, provas, ofícios e outros documentos. O documento emblemático intitulado O futuro da pedagogia é scientifico, publicado em 1914 e escrito por Oscar Thompson, possibilitou compreender a disciplina Pedagogia em dois momentos. O primeiro, de 1874 a 1900, refere-se a primeira vez que essa disciplina aparece no currículo das Escolas Normais do estado de São Paulo até o momento em que se iniciam modificações nesse currículo relativas as novas bases que iriam guiar o desenvolvimento da disciplina, a partir do século XX. O segundo momento se estende de 1900 a 1959 quando, então, a disciplina Pedagogia aparece pela última vez no currículo das Escolas Normais do estado de São Paulo. É nesse segundo momento ainda que a Pedagogia se constitui e se consolida como disciplina. Os resultados dessa pesquisa indicam que, ao longo do tempo, essa disciplina apresentou mudanças e permanências em sua organização e estrutura e no seu conteúdo e ensino... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: Aiming to contribute to the history of teacher training in Brazil and to aspects that have not been well explored in the history of school subjects, I developed this doctorate research with the purpose of understanding the history of Pedagogy as subject in the school curriculum of teacher training courses in normal schools in the State of São Paulo between 1874 and 1959. In order to develop this research, I opted for a historical approach of the topic, focused on documental and bibliographic research through the location, recovery, assemblage, selection, arrangement and analysis of the source documents and analysis of the textual configuration of the document selected as research corpus for its emblematic character. To present the development of Pedagogy as discipline, the following documents have been used as support: Pedagogy teaching manuals, programs, minutes, exams, official letters and other documents. The emblematic document entitled O futuro da pedagogia é scientifico [The future of Pedagogy is scientific], written by Oscar Thompson and published in 1914, has allowed the understanding of Pedagogy in two moments. The first, from 1874 to 1900, refers to the first time this discipline became part of the curriculum of Normal Schools in the State of São Paulo, until the moment changes started being made in this curriculum concerning the new bases that would lead the development of discipline from the 20th century. The second moment goes from 1900 to 1959, when Pedagogy was listed in the curriculum of Normal Schools in the State of São Paulo for the last time. It is still in this second moment that Pedagogy is constituted and consolidated as discipline. The results of this research point out that this discipline has shown changes and permanence in its organization and structure and teaching content along time... (Complete abstract click electronic access below) / Doutor

This thesis analyzes the interaction of three primordial circular concepts in the formation of the literary identity of Jorge Luis Borges: the English language, intertextuality, and translation. The allegory of concentric circles facilitates the explanation of the complexity of these processes that intertwine and interact expanding to the infinite. This is not only a metaphor but also a metaphysical dilemma which Borges has utilized to explain time not as an absolute progression where a before and after are feasible but rather as a cyclical idea in which the return and the repetition are eternal. The three key concepts will be analyzed, using as an example, a short story by one of the English writers who Borges has cited and translated, Gilbert Keith Chesterton, "The Three Horsemen of Apocalypse." Borges translated Chestertons tale prior to writing "The Garden of Forking Paths," and this thesis demonstrates how we may discern Chesterton's influence on the Argentine's fiction, particularly within the genre of the detective story. / by Susana Beatriz Carlino. / Abstract in English. / Thesis (M.A.)--Florida Atlantic University, 2012. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2012. Mode of access: World Wide Web.

La presente tesis es un estudio analítico-interpretativo del poemario Simbólicas (1911) de José María Eguren. Sobre la base de los alcances de la neorretórica y la teoría del símbolo poético, se busca dilucidar la naturaleza y función de los símbolos en el mencionado libro. Para ello se parte de las mismas reflexiones del poeta sobre el símbolo en sus Motivos, así como de la relación entre estas reflexiones y los poemas del libro que nos compete. Además, se problematiza la diferenciación de tres estrategias retórico-figurativas esenciales en el libro: la metáfora, la alegoría y el símbolo. Se busca analizar estas estrategias en correspondencia con el marco teórico formulado, el cual concuerda con la propuesta lírica egureniana en su representación de los símbolos como imágenes que nos hacen comprender y a su vez construir una realidad que, en este caso, es su particular universo poético. / Tesis

此論文旨在探究對稱技巧在十二音創作概念與實踐之間的關係。前者抽象、後者具體。我先在第一章指出十二音系統内的對稱潛質，再在其後兩章分析對稱技巧在荀白克的《摩西與亞倫》及魏本的交響曲作品21第二樂章内的展現。荀白克“音樂意念及“發展變奏這兩個概念，在《摩西與亞倫》扮演着重要的角式，大大影響了作品内對稱的處理；而魏本對音樂的“一體性“及“可瞭解性“的堅持，亦決定了交響曲第二樂章中對稱的演譯。最後一章總括十二音作曲概念及實踐的關係，並展望日後的研究方向。 / Through an analytical study of Schoenberg’s Moses und Aron and Webern’s Symphony Op.21, second movement, my thesis aims at exploring a central issue in interpreting symmetry in twelve-tone music: the relationship between abstract conception and concrete realization. / In Chapter one, I endeavour to contextualize the uses of symmetry in twelve-tone music within contemporary theoretical perspectives. After defining my methodology, subsequent chapters are analytical examinations of two pieces. Chapter two explores how Schoenberg’s uses of symmetry in the opening of Moses und Aron might be closely associated with his conception of “idea and “developing variation. Chapter three considers the ways in which the symmetrical manifestations in Webern’s variation movement demonstrate his concern for “unity and “comprehensibility. After studying the two composers’ different symmetrical treatments Chapter 4 revisits the relationship between abstract conception and concrete realization in twelve-tone composition, and suggests implications for further research. / Detailed summary in vernacular field only. / Liu, Man Yee. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts also in Chinese. / Abstract --- p.i / Abstract (Chinese) --- p.ii / Acknowledgements --- p.iii / List of Figures --- p.vi / List of Music Examples --- p.viii / Chapter Chapter 1 --- Abstract Conception versus Concrete Realization in Twelve-Tone Music --- p.1 / The Twelve-Tone System and its Symmetrical Potentials --- p.5 / Methodology, Selection of Pieces and Overview of Chapters --- p.8 / Chapter Chapter 2 --- Schoenberg’s "Idea" and Twelve-Tone Symmetry --- p.11 / Compositional Concerns / Row Design, Motive, Developing Variation and "Idea" --- p.14 / Moses und Aron: The Idea of God and the Twelve-Tone System --- p.20 / Pre-Compositional Plan / Schoenberg’s Divine Order --- p.28 / Compositional Practice / Realization of Unimaginable God --- p.33 / Realizations of Basic Set (P₉) and its Inversion (I₀) --- p.38 / Implications: Manifestation of Divine Order --- p.44 / First "Image": Musical Representation of the Row by Aron --- p.47 / Second "Image": Musical Representation of God by Aron in the Golden Calf scene --- p.53 / Schoenberg’s Allegory: Irreconcilability in Realizing "Idea" --- p.58 / Chapter Chapter 3 --- Webern’s Variationen and Twelve-Tone Symmetry --- p.64 / Compositional Concerns / Webern and Symmetry --- p.69 / Analytical Perspectives on Symphony Op.21, Second movement --- p.70 / Pre-Compositional Plan / Webern’s Statement on Symphony Op.21, Second movement --- p.73 / Compositional Practice / Thema --- p.77 / Variation I --- p.81 / Variation II --- p.85 / Variation III --- p.92 / Variation IV --- p.96 / Variation V --- p.101 / Variation VI --- p.105 / Variation VII --- p.107 / Coda --- p.110 / Summary --- p.112 / Chapter Chapter 4 --- Epilogue --- p.115 / Pre-Compositional Row Designs --- p.116 / Presentations of Rows in Their Music --- p.116 / Implications for Further Research --- p.119 / Select Bibliography --- p.121

Digitized by Kansas Correctional Industries

No description available.

This thesis embraces a cross-disciplinary approach to the examination of Jewish body culture, and integrates aspects of Jewish studies with new theories of gender and visual culture, thus contributing specifically to the field of Jewish body culture in relation to the visual arts. It demonstrates that at the fin de si??cle the Zionist artist, Ephraim Moses Lilien, integrated Nordau's concept of 'Muscular Jewry' and Buber's notion of a 'Jewish Cultural Renaissance' in order to figure the 'New Jew'. It establishes that Lilien's figuring of 'Muscular Jewry' as a visibly athletic, explicitly heterosexual, male body, bearing Jewish distinction, was developed as a crucial strategy to overcoming the twin dilemmas of Jewish alterity: antisemitism and assimilation. By proving that Lilien's art serves as a crucial model for both regenerating the Jewish male body and resisting antisemitic projections of decadence and degeneracy, this thesis expands upon current scholarship. It applies Margaret Olin's theory of ' visual redemption' to Lilien's figuring of the 'New Jew' and Daniel Boyarin's articulation of Homi Bhaba's Post-Colonial theory of mimicry as imitation, inversion and resistance to determine how Lilien's images functioned as an art of resistance against the dominant Christian European culture. By demonstrating how Lilien drew upon the modern and rebellious Jugendstil to figure the 'New Jew' and produce a new, defiant and authentic Jewish visual culture, this thesis proves he transformed the image of the diaspora Jew into the New Hebrew or Israeli tsabar, forty years before it became part of Israeli identity. Nevertheless, this thesis also uncovers the double-binded predicament inherent to Lilien's quest; despite his attempt to use mimicry of the athleticised, hyper-masculine, genetically pure, normative body as a strategy to resist antisemitic rhetoric and invert its projection, the closest parallel to Lilien's figure of 'Muscular Jewry' remained this same image which became instrumental to eugenic campaigns across Europe, particularly in Nazi Germany. Ultimately what is exposed by this thesis is the illusion underpinning Lilien's figuring of the 'New Jew'; that the Christianised Eurocentric body culture, designed to eradicate decadence, degeneration and Semitism, could resolve the problematic struggle for a Jewish national identity.

<p>Den svenska fysikern Eva von Bahr-Bergius (1874-1962) konverterade till katolska kyrkan 1930. Vid den tiden fanns en stark misstro mot det katolska i Sverige, och katolikerna var fortfarande kringskurna av begränsande lagar. Ändå valde hon – i likhet med flera andra – att skriva och publicera berättelsen om sin konversion i de två skrifterna <em>Min väg tillbaka till kristendomen</em> (1933), och <em>Efterskrift till Min väg tillbaka till kristendomen</em> (1934). Berättelsen fokuserar på att ge rationella förklaringar till konversionen, istället för att helt enkelt lägga ansvaret på Gud. Denna uppsats vill försöka förstå dels varför hon valde att offentliggöra sin katolicism, dels vad rationaliseringarna handlar om. Genom en jämförelse mellan de båda texterna konstateras att publiceringen fungerar som en befriande komma-ut-process. Genom att sätta berättelsen i en samtida religiös kontext, kan rationaliseringarna förstås som ett svar mot omgivningens förväntningar på rationalitet, och gör så den tillsynes obegripliga konversionen möjlig att genomföra. Detta då själva orsaken till konversionen – den icke-rationella längtan efter Gud – inte kan godtas som en acceptabel förklaring i samtiden.</p>

Den svenska fysikern Eva von Bahr-Bergius (1874-1962) konverterade till katolska kyrkan 1930. Vid den tiden fanns en stark misstro mot det katolska i Sverige, och katolikerna var fortfarande kringskurna av begränsande lagar. Ändå valde hon – i likhet med flera andra – att skriva och publicera berättelsen om sin konversion i de två skrifterna Min väg tillbaka till kristendomen (1933), och Efterskrift till Min väg tillbaka till kristendomen (1934). Berättelsen fokuserar på att ge rationella förklaringar till konversionen, istället för att helt enkelt lägga ansvaret på Gud. Denna uppsats vill försöka förstå dels varför hon valde att offentliggöra sin katolicism, dels vad rationaliseringarna handlar om. Genom en jämförelse mellan de båda texterna konstateras att publiceringen fungerar som en befriande komma-ut-process. Genom att sätta berättelsen i en samtida religiös kontext, kan rationaliseringarna förstås som ett svar mot omgivningens förväntningar på rationalitet, och gör så den tillsynes obegripliga konversionen möjlig att genomföra. Detta då själva orsaken till konversionen – den icke-rationella längtan efter Gud – inte kan godtas som en acceptabel förklaring i samtiden.