Syntax, word usage, and paragraph development form the substance of the analysis of the Apologia. The use of subordination, repetition, and antithesis in sentence construction; the choice of words to produce rhythm and prove mood, as well as the implied metaphor; and careful blending of these elements into an organic unity which reflect not only the personality of the man, but his very thought process; these are the common elements identified by critics of the Apologia. To what extent these elements exist in the prose of the university sermons, and what other elements of style are identifiable in these sermons are the subject of this paper.

A group of Utah citizens, supported by the Salt Lake Tribune, campaigned in May and June of 1968 to change Utah's liquor distribution system from a state-owned package method to one which would allow mixed drinks. Opponents of the change were supported by the Deseret News.The two newspapers became the spokesmen for the two opposing groups. A careful analysis of them shows that of the 2,844.6 column inches of space in the Tribune, and of the 1,856.2 column inches in the News, exclusive of advertising, more than eight per cent in each newspaper supported the editorial stand of that newspaper, while only slightly more than six per cent opposed it.Neither the Salt Lake Tribune nor the Deseret News lived up to the standards of the journalism profession in the handling of the liquor issue in Utah. A complete view of the issues could not have been seen by reading either newspaper. Both were guilty of serving special interest groups; both used their news columns for opinion; both suppressed news and facts which did not conform with their own views; and both failed to be fair and impartial in reporting the two sides of the issue.

Mitt projekt bemöter ett småstadstorg där flera av förutsättningarna byggts bort eller med tiden inte underhållits, och där platsen och de gamla butikerna samtidigt har svårt att hitta en ny roll i ett allt mer urbaniserat land. Torgets kvaliteter finns i olika skalor och dimensioner, därför har jag valt att hantera projektet på tre nivåer: stad, torg och byggnad. Platsen är det sk. Skvallertorget i Kisa, Östergötland, med omgivande befintliga hus och butiker från tiden 1890-1910, varav många idag är delvis stängda eller med eftersatt underhåll. Utgångspunkten är att återuppväcka den gamla torg-platsen och byggnaderna som ramar in det. Projektet handlar om att genom hänsynsfulla förändringar och tillägg kunna väcka de kvaliteter som glömts bort, och skapa nya i samma spår genom restaurering och referenser i den egna staden. Jag vill också med detta projekt väcka frågor kring omsorg, kvalitet och identitet och hur detta finns med i vår hantering av befintliga och nya byggnader. / My project deals with a small town square where many of the qualities and requirements have been deconstructed or not maintained over time, and where the square and the old stores have trouble finding its place in an increasingly urbanized country. The qualities of a town square are found in different scales and dimensions, and I have therefore decided to approach the project on three levels: town, square and building. The site is the so called Skvallertorget in Kisa, Östergötland, with its surrounding existing houses and stores from the time 1890-1910, out of which many are now partly closed and neglected. To revitalize the old town square and the buildings surrounding it was my starting point, and the project is about awakening the forgotten qualities with careful alterations and additions, and to create new in the same style through restoration and references in the town. With this project I also want to ask questions about care, quality and identity and how this is part of our way of dealing with existing and new environments and buildings.

La pintura como expresión de lo interior se ha manifestado a lo largo de la historia humana. Si bien en el siglo XX la motivación por el tema de la expresión interior se ha vuelto un criterio central en el arte esto no quiere decir que no se haya llevado a cabo en épocas anteriores. Por ejemplo, las culturas prehispánicas o los pintores de la Edad Media reflejaron la interioridad del hombre de su época en la realización de las formas, los colores, los símbolos, etc., quizá no de la manera que vemos en el siglo XX sino de manera más sutil. La expresión de lo interior se basa en fundamentos innatos a la naturaleza humana como son la individualidad, el sentimiento, las emociones, el deseo de libertad, la angustia vital y la soledad creadora. Esto se da con el contexto histórico y filosófico de cada época. A partir de esta naturaleza es que el hombre ha sentido la necesidad de expresarse: materializando su esencia; es decir permitiendo ver todo lo que lo mueve internamente. Plasma así en sus obras la percepción de la vida mediante el filtro de su interioridad. Bajo esta visión general como expresión interna del ser humano se sustenta esta investigación y el trabajo plástico que se presenta a consideración. La investigación busca definir la expresión de lo interior mediante reflexiones múltiples. Pasa revista a los fundamentos que la sostienen como búsqueda indispensable para materializar la esencia humana.

Naturstoffe sind eine der wichtigsten Quellen für die Entwicklung neuer Pharmazeutika. Eine Vielzahl von bioaktiven Substanzen mit potentieller Anti-Krebs, Anti-HIV oder antimikrobieller Wirkung wurde aus der Gruppe der Cyanobakterien isoliert. Die meisten dieser Metabolite sind Peptide oder besitzen peptid-ähnliche Strukturen und werden nicht-ribosomal von großen, modular aufgebauten Enzymkomplexen gebildet. Vor kurzem konnte anhand der Patellamide gezeigt werden, dass zyklische Peptide auch ribosomal hergestellt werden können. Microcystis aeruginosa NIES298 produziert eine Reihe von Sekundärmetaboliten, unter anderem die nicht-ribosomalen Peptide Microcystin und Aeruginosin. Zwei weiteren von diesem Stamm produzierten Peptiden, Microcyclamid und Microviridin B, konnten bislang noch keine Gene zugeordnet werden. In dieser Studie wurden ribosomale Biosynthesewege für beide Peptidfamilien identifiziert. Die zur Biosynthese des cytotoxischen Hexapeptids Microcyclamid notwendigen Enzyme zeigen eine hohe Ähnlichkeit zu den Patellamid-Enzymen und weisen auf ähnliche Biosynthesemechanismen hin. Ein völlig neuer Syntheseweg, in dem bis dahin unbekannte ATP-grasp-Ligasen eine Rolle spielen, konnte für den trizyklischen Proteaseinhibitor Microviridin gefunden werden. Die erfolgreiche heterologe Expression dieses Peptids in E. coli bietet die Möglichkeit Bibliotheken von Microviridin-Varianten mit neuen oder verbesserten Bioaktivitäten zu konstruieren. Die systematische Suche nach ähnlichen Biosynthesegenen in Microcystis Laborstämmen und Gewässerproben zeigte eine weite Verbreitung und eine große Diversität der untersuchten Peptidklassen in Cyanobakterien, und stellt die Frage nach der natürlichen Funktion dieser Metabolite. Um erste Hinweise zu erhalten, wurden Trankriptions- und Expressionsstudien der Biosynthesegene durchgeführt. Schließlich konnten, mit Hilfe des so genannten „genome-mining“, neue Varianten der untersuchten Peptidklassen gefunden und aufgeklärt werden. / Microbial natural products represent a major source for the development of new therapeutic agents. A diverse array of compounds is produced by cyanobacteria, a heterogenous group of aerobic photoautotrophs. A variety of bioactive metabolites with potential anti-cancer, anti-microbial and anti-HIV activities have been isolated. Most of the compounds are peptides or possess peptidic structures and are usually made by large nonribosomal assembly lines. However, a ribosomal origin has recently been demonstrated for the biosynthesis of patellamides, cytotoxic cyclic peptides produced by cyanobacterial symbionts of ascidians. Microcystis aeruginosa NIES298 produces various peptides including microcystin, aeruginosin, microviridin and microcyclamide. For the latter two classes of peptides ribosomal biosynthesis pathways could be identified in the course of this study. The cytotoxic hexapeptide microcyclamide is formed through the activity of a set of enzymes closely related to those involved in patellamide biosynthesis. The multicyclic microviridin family of protease inhibitors are synthesised from a precursor peptide by a unique pathway involving uncharted ATP-grasp type ligases as well as an N-acetyltransferase and a specialised transporter peptidase. The successful expression of microviridin B in E. coli provides a promising base for engineering novel variants. Screening of Microcystis laboratory strains and field samples revealed a wide-spread occurrence and a great natural variety for both peptide classes, raising the question of the ecological role of such small cyclic peptides. Attempting to obtain some first hints to answer that question, transcription and expression studies of biosynthetic genes were performed. Finally, this work showed that such scanning approaches could lead to the discovery of novel peptide variants and demonstrated new examples of succesful genome mining.

Les études relatives aux élections provinciales de 1886 n'ont jamais expliqué de façon satisfaisante la contribution de conservateurs ultramontains à la victoire de Honoré Mercier. Il est difficile, bien sûr, d'ignorer l'habileté avec laquelle le chef libéral sut exploiter à l'avantage de son parti le mécontentement suscité par l'affaire Riel. De même, comment ne pas tenir compte de l'incapacité des conservateurs à surmonter leurs divisions internes et de la faiblesse de leurs dirigeants. Aussi nous est-il apparu utile de tenter de discerner les motifs qui, au risque de favoriser l'arrivée au pouvoir des libéraux, incitèrent ces conservateurs ultramontains à abandonner leur parti. François-Xavier-Anselme Trudel était, sans conteste, le plus remarquable d'entre eux. Avocat, homme politique et journaliste, il avait résolument épousé la cause ultramontaine depuis le commencement des années 1860. Fidèle disciple de Nosseigneurs Ignace Bourget, évoque de Montréal, et Louis-François Lafleche, évêque des Trois-Rivières, les deux principaux hérauts de l'ultramontanisme en terre canadienne, ii n'avait cessé, tant sur les "hustings" que dans les revues et les journaux auxquels il collaborait, de combattre les libéraux et leurs idées. A plusieurs reprises déjà, il avait violemment dénoncé les tentatives de rapprochement entre ces derniers et des chefs du parti conservateur provincial. Depuis 1883, Trudel disposait de l'outil essentiel à quiconque voulait à l'époque engager la lutte sur le terrain politique ou idéologique, c'est-à-dire un journal. Tous les jours de la semaine, l'Etendard proclamait l'Evangile ultramontain dans la région de Montréal et même au-delà, soutenu par de nombreux membres du clergé qui garantissaient sa subsistance et son rayonnement. Comment Trudel a-t-il pu se résoudre à abandonner le parti conservateur après avoir fait campagne en sa faveur pendant plus de vingt-cinq ans? Pour quels motifs a-t-il risqué la désapprobation de Mgr Lafleche qui craignait le libéralisme bien plus que l'orangisme et a-t-il accepté, selon toute apparence, de se renier lui-même? Pourquoi encore Trudel a-t-il cru nécessaire de conclure une entente avec Mercier alors que la majorité des ultramontains préférèrent demeurer dans le giron conservateur? Pour répondre à ces questions, nous avons voulu analyser la personnalité de François-Xavier-Anselme Trudel et étudier les principaux ressorts de sa pensée et de son action. Nous avons en outre cru bon, avant d'entreprendre la tâche de discerner les motifs de sa conduite, d'examiner l'évolution de son comportement à l'égard des partis conservateurs provincial et fédéral pendant les années qui précédèrent les élections provinciales de 1886, accordant, comme il se devait, une attention particulière à l'attitude qu'il adopta lors de l'affaire Riel. / Québec Université Laval, Bibliothèque 2012

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Thesis (MA (Modern Foreign Languages))--University of Stellenbosch, 2010. / ENGLISH ABSTRACT: This dissertation investigates the different forms of otherness and alterity (“Fremde”) in Bulgarian born German author, Ilija Trojanow’s novel, Der Weltensammler (2006). In this novel, alterity, as portrayed by Trojanow, is read as threatening and uncanny (“unheimlich”), on the one hand, and fascinating on the other. The novel, Der Weltensammler, translated by William Hobson and published under the title The Collector of Worlds (2008), narrates the life of the historical figure Sir Richard Francis Burton. Burton, a colonist, traveller and explorer, undertakes a journey across continents: British-India, Arabia and East Africa. As one of the first Europeans to do so, Burton - disguised and converted to Islam - undertakes a pilgrimage to Mecca. Like the title of the novel suggests, Burton is a contradictory man who not only collects worlds, but also obsessively adopts the cultures of the colonised. However, this British officer’s bizarre lifestyle and unusual ability to adapt to and adopt the foreign world raises certain questions regarding the relationship between coloniser and colonised. More importantly, he grapples with the portrayal of otherness. Throughout the novel both the narrator and a writer (the Lahiya) try to put together the pieces of Burton’s life. As the narrator warns in the preface of his novel, Burton remains an enigma. His antipodes are another historical figure, the former slave Sidi Mubarak Bombay and his servant Naukaram. Unlike in Burton’s and Stanley’s travel diaries where Bombay takes a marginalised position, he comes to the fore in Der Weltensammler. Though Burton appears to become part of the foreign world, it is the change of narrative perspectives between coloniser and colonised that puts their relation into question, thereby dissolving binary opposites. This thesis begins with a general discussion of the novel and its significance within German post-colonial literature. The study moves on to a discussion of the discourses surrounding the concept of alterity, identifying one key form of alterity, namely mimicry, a term borrowed from the theorist Homi K. Bhabha. The greater part of the thesis is devoted to the analysis of the novel. The first part deals with the analysis of alterity and otherness by focussing attention on the portrayal of otherness as threatening and fascinating, the concept of mimicry, and finally, Burton’s transformation. The second part investigates the process of re-writing that takes place and the manner in which alterity is portrayed in the novel paying particular attention to the relation between author, writer and narrator. Following this analysis of alterity and its rewriting, this thesis moves to the more general question of how Ilija Trojanow’s novel, Der Weltensammler, functions as a refutation (Gegenschrift/Kampfabsage) of Samuel Huntington’s Clash of Civilizations and the Remaking of World Order. Relying on the words of Stephen Slemon, this study finally questions whether this novel can be read as another “scramble for post-colonialism”. Based on the theoretical framework developed on the concept of culture by Homi K. Bhabha on the one hand and the insights on cultures by Polish journalist Ryszard Kapuscinski on the other, this study demonstrates how it is through the processes of revision and re-writing of literary borrowings, e.g. Joseph Conrad’s Heart of Darkness (1899), that the concept of alterity is redefined and the novel in itself gains a post-colonial voice. Furthermore, this thesis shows how otherness is deconstructed to such an extent that it is not difference that is highlighted, but instead a literary model for the co-existence of cultures. / AFRIKAANSE OPSOMMING: Hierdie tesis is ‘n studie van die verskillende fasette van vreemde, die onbekende en alteriteit (“Fremde”) in die Duits-Bulgaarse skrywer, Ilija Trojanow se roman Der Weltensammler (2006). In hierdie roman word alteriteit, soos deur Trojanow uitgebeeld, gelees as bedreigend en unheimlich, en gelyktydig as fassinerend. Die Roman, Der Weltensammler, deur William Hobson vertaal as The Collector of Worlds (2008), beskryf die lewe van die historiese figuur Sir Richard Francis Burton. Hy onderneem as kolonis en ontdekkingsreisiger ‘n reis regoor verskeie kontinente: Brits-Indië, Arabië en Oos-Afrika. Vermom en bekeer tot Islam, onderneem hy as een van die eerste Europeërs ‘n pelgrimstog na Mekka. Soos deur die titel van die roman gesuggereer word, is Burton op sigself ’n ambivalente karakter wat nie net wêrelde nie, maar ook die kulture van die gekoloniseerdes approprieer. Dit is juis hierdie Britse offisier se vreemde leefstyl en buitengewone vermoë om die vreemde toe te eien, wat sekere vrae ten opsigte van die verhouding tussen die kolonisator en die gekoloniseerde laat ontstaan. Van grootste belang vir hierdie analise is veral die uitbeelding van die vreemde. Deurgaans poog die verteller en ‘n skribent (die Lahiya) om uitsluitsel oor Burton se lewe te kry. Soos die verteller alreeds in die voorwoord van sy roman waarsku, bly Burton egter ‘n enigma. Sy teenpole is die ander minder bekende historiese figuur, die gemarginaliseerde en voormalige slaaf Sidi Mubarak Bombay en sy bediende Naukaram. Anders as in onder andere Burton en Stanley se reisbeskrywings waar Bombay slegs ‘n randverskynsel is, kry hy nuwe betekenis in Trojanow se roman. Ofskoon Burton deel van die vreemde blyk te word, word die verhouding tussen die kolonisator en die gekoloniseerde veral bevraagteken deur die verandering van narratiewe perspektiewe. Terselfdertyd word binêre opposisies gedekonstrueer. Die tesis word ingelei deur ‘n algemene oorsig van die roman en sy betekenis binne die konteks van Duitse postkoloniale literatuur. Na afloop van die oorsig, volg ‘n bespreking van die diskoerse rondom die konsep alteriteit. Die klem val hier veral op een spesifieke vorm van alteriteit, naamlik mimiek, ‘n term ontleen aan die teoretikus Homi K. Bhabha. Die grootste deel van die tesis word gewy aan die analise van die roman. In die eerste deel van die analise word die konsep alteriteit onder die loep geneem. Die klem val hier veral op die uitbeelding van die vreemde as bedreigend en fassinerend, mimiek and laastens Burton se gedaanteverwisseling. Die tweede deel van die analise fokus deurentyd op die verhouding tussen die skrywer, skribent en verteller en bestudeer veral die herskrywingsproses (re-writing) wat plaasvind en die wyse waarop alteriteit beskryf word. Deur die loop van die studie volg die meer algemene vraagstuk van hoe Ilija Trojanow se roman Der Weltensammler beskou kan word as ‘n weerlegging (Gegenschrift/Kampfabsage) van Samuel Huntington’s Clash of Civilizations and the Remaking of World Order. Laastens word op Stephen Slemon se algemene vraagstuk gesteun of die roman beskou kan word as ‘n “scramble for postcolonialism”. Hierdie analise word volgens die teoretiese raamwerke van twee outeurs nl. Homi K. Bhabha en die Poolse verslaggewer Ryszard Kapuscinski ondersoek. Dit is veral deur die proses revisie en die herskrywing van literêre ontlenings, bv. Joseph Conrad se Heart of Darkness (1899), dat die begrip alteriteit geherdefinieer word en die roman op sigself ‘n postkoloniale perspektief inneem.Vervolgens word die begrippe vreemde en alteriteit tot so ‘n mate gedekonstrueer deurdat die aandag nie op ongelykheid val nie, maar ‘n literêre model vir die naasbestaan van kulture ontskep word.

This study examines the development of German pipe organ culture and French classical pipe organ culture from a single common origin in the Duchy of Brabant, during 1450-1850, with respect to select major attributes of organ construction, organ music and organ technique. The respective music of Dieterich Buxtehude (1637-1707), Praeludium in G Minor, BuxWV 149, for the North German contrapuntalists, and of Câesar Franck (1822- 1890), Choral No. 3 in A Minor, for the classical French symphonic tradition, is highlighted and appended with suggested technique for each work. / by Margaret R. Miller. / Thesis (M.A.)--Florida Atlantic University, 2010. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2010. Mode of access: World Wide Web.

Made available in DSpace on 2016-04-28T19:58:37Z (GMT). No. of bitstreams: 1 Livia Mendonca de Oliveira.pdf: 555405 bytes, checksum: c389b43ce23c02d36ac5f82020a7f299 (MD5) Previous issue date: 2010-10-13 / Mário de Sá-Carneiro, portuguese author of the early twentieth century, published his main work, A confissão de Lúcio in 1914. Short poetic novel that is an allegory of the double in the myth of the androgynous as was conceptualized by Plato in The Symposium. Evoking the theme of the original androgyny, Mário de Sá-Carneiro intends to offer us an allegorical vision of Platonic myth of the androgynous, to say that each of us is originally double, although not split as Plato has proposed, but unaware of the other and the other part that also integrates us. Mário de Sá-Carneiro takes that thought to his narrative when he shows in Ricardo/Martha, the representation of the original androgynous of Plato, in Marta/Lúcio, as a metaphor of division; and, in Ricardo/Lúcio, the symbol of the meeting of the parts that reintegrates themselves only through erotic union. The love (Eros) appears here then, as an intermediate way of the allegorical replenishment. On these observations, in this work we have analyzed how Mário de Sá-Carneiro, in A confissão de Lúcio, deals with the concepts of love and eroticism, as allegorization of original union of love, the platonic love (Eros), through the three metaphors of primordial androgyny: Ricardo/Martha, Lúcio/Marta and, consequently, Ricardo/Lúcio / Mário de Sá-Carneiro, autor português do início do século XX, publicou sua obra principal, A confissão de Lúcio em 1914. Novela poética que é uma alegoria do duplo no mito do andrógino tal como foi conceituado por Platão em O Banquete. Ao evocar o tema da androginia original, Mário de Sá-Carneiro busca oferecer-nos uma visão alegórica do mito platônico do Andrógino, para dizer que cada um de nós é originalmente duplo, embora não cindidos como Platão propõe, mas inconscientes do outro e da outra parte que também nos integra. Mário de Sá-Carneiro leva tal pensamento a sua narrativa ao figurar, em Ricardo/Marta, a representação do andrógino original de Platão, em Marta/Lúcio, como metáfora da cisão; e, em Ricardo/Lúcio, o símbolo do encontro das partes que só se reintegram por meio do união erótica. O amor (Eros) aparece aqui então como meio, intermediário dessa recomposição alegórica. Diante dessas observações, analisamos neste trabalho o modo como Mário de Sá-Carneiro, em A confissão de Lúcio, trata os conceitos de amor e erotismo, como alegorização da união amorosa original, do amor (Eros) platônico, por meio das três metáforas da androginia primordial: Ricardo/Marta, Lúcio/Marta e, consequentemente, Ricardo/Lúcio