Instead of putting the emphasis on color in his orchestration, Brahms felt that the music was more important; not the orchestration. However, it would be a mistake to feel that he was deaf to orchestral color. When discussing color in regard to Brahms' orchestration it is necessary to realize that his use of color is much different than that of his contemporaries. This thesis discusses the four symphonies of Brahms and his usage of brass instruments within these symphonies, specifically the french horn, trumpet, trombone and tuba. It is apparent that he used considerable care in writing for the brasses as well as the other instruments and had complete command of the use of their individual colors.

An unusual opportunity to hear and perform this work has been afforded at North Texas State Teachers College by the presentation of the German Requiem in the summer of 1941. Furthermore, a Brahms Festival, including another presentation of the Requiem along with outstanding compositions of Brahms in other media, is to be given during commencement week of June, 1942. Not only does this type of emphasis promote interest among students and faculty, but it also serves as a stimulus to detailed study of the German Requiem, thus intensifying the immediate importance and personal significance of the subject.

Informe de Seminario para optar al grado de Licenciado en Lengua y Literatura Hispánica / Facultad de Filosofía y Humanidades / Me gustaría compartir, a modo de introducción, el proceso por el cual llegué a mi propuesta de tesina. El punto de partida es el seminario de Recepción de tragedia contemporánea, en el cual se enmarca todo este trabajo. El seminario tenía como objetivo el análisis de la recepción de la tragedia griega y la tragedia isabelina en el teatro contemporáneo, considerando las dos posibilidades de actualización del género: la recepción creativa de argumentos de tragedias en obras dramática y la recepción creativa de las propiedades del género en la escritura de nuevas tragedias. Comencé con una intuición y un impulso basado únicamente en obsesiones personales: William Faulkner. El primer intento fue desde Luz de Agosto, la conocida novela que tanta locura y horror había causado a André Gide. Sin embargo estaba el problema del género. Como antes señalé el curso se abocaba al estudio de obras dramáticas. Luego apareció la adaptación para el teatro que Albert Camus había hecho de Réquiem para una mujer1 de Faulkner. Y cuando finalmente tuve las dos obras en mis manos, la original, la de Faulkner, exhibió toda su complejidad. Se trataba de un hibrido que conjugaba características discursivas y formales predominantemente narrativas con elementos asociados a lo dramático. Con Réquiem para una mujer podía amoldarme a las exigencias del curso sin dejar de lado los caprichos

Tesis para optar al grado de Licenciada en Lengua y Literatura Inglesa / Facultad de Filosofía y Humanidades / Faulkner’s fiction is pregnant with the uncontrollable forces phenomenon. These forces override human volition and prediction. In The Sound and the Fury the most important expression of these forces is Caddy as a symbol of female sexuality. In this thesis I explore how characters view this phenomenon. These phenomenon is investigated by using Ricoeur’s hermeneutical literary approach

Tesis para optar al grado de Magíster en Literatura mención Literatura Chilena e Hispanoamericana / Me asiste el convencimiento, otorgado por la experiencia estética, de que la prosa de González Vera representa, en su elegancia, contención y afirmación de la calidad del sujeto, un momento necesario –y diferente– en nuestra literatura, puestos frente a un Chile que persiste en evadir el espejo social, en inventarse mitos de origen que suplen una historia manipulada o traumática, y en confirmar los conceptos de la novela criolla chilena tradicional sobre el sujeto popular, aunque, salvo Martín Rivas, se la haya dejado de leer, y que perduran en la novela moderna, especialmente la de mediados y fines del siglo XX. Por cierto, esto no constituye de ningún modo una crítica al valor literario y estético de la obra de Blest Gana, Donoso y otros, sino que busca destacar la diferencia que propondría González Vera en la evolución de la literatura chilena a hispanoamericana, y en el intento por precisar la relación entre ética anarquista y estética narrativa que podrían subyacer en la prosa del autor. Esta certeza nos lleva a otra, ya mencionada: la prosa gonzalezveriana, en sus opciones éticas y estéticas, constituye uno de los hitos que señalan el paso hacia nuevos referentes de creación en la narrativa chilena moderna.

Typescript (photocopy). / Digitized by Kansas Correctional Industries

Memoria para optar al título de Psicóloga / Presentar un panorama global de la psicoterapia corporal reichiana y neoreichiana, con el fin de hacer una revisión de los aportes teóricos y clínicos de la obra de W. Reich, la Biosíntesis de David Boadella y el Análisis Bioenergético de Alexander Lowen.Contribuir a introducir los aportes teóricos y prácticos del área clínica de la psicoterapia reichiana y neoreichiana al ámbito universitario chileno.

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查尔斯·哈茨霍恩（1897-2000）是二十世纪美国哲学家、神学家，过程思想的重要代表人物。他在有神论领域贡献卓著，其新古典有神论不仅影响到神学、宗教哲学领域，还受到一些参与到儒耶对话的学者的关注和重视。 / 哈茨霍恩不认为上帝与宇宙是截然二分的，而是肯定二者存在千丝万缕的联系。他的思想中也包含了一套与其上帝论圆融的宇宙论。哈茨霍恩的有神论和宇宙论为我们理解人的道德行动提供了诸多暗示。这使我们可以以他的有神论和宇宙论为基础，系统阐发他思想中的伦理内涵。 / 当前过程思想与儒家的对话多集中于本体论和宇宙论领域，系统研究哈茨霍恩的伦理思想有助于我们在伦理学这一新领域中反思过程思想与儒家思想相互间的批判、建构意义。哈茨霍恩与儒家在伦理学上的对话可集中于两个主题：第一，生态伦理是过程神学家的一个重要关注，在这个领域哈茨霍恩也有自己的独到见解。在生态伦理领域，哈茨霍恩与儒家的对话研究是可能的；哈茨霍恩也可以为儒家的生态伦理建构提供具有启发意义的资源；二者的对话还可以为生态伦理学的发展提供新的视角。第二，近年汉语学界围绕儒家伦理展开的"亲亲互隐"之争一定程度上体现了儒家"差等之爱"在现代生活中的局限。若要避免"差等之爱"的不足，哈茨霍恩可为儒家伦理提供一条值得借鉴的思路。同时，基于哈茨霍恩的思想，展开家庭伦理的论说是可能的且是有意义的。 / Charles Hartshorne (1897-2000) is an American philosopher, theologian, and one of the most important representatives of process thought in the 20th century. He made enormous contributions to the discussion of theism, including particularly neoclassical theism, which not only has a great influence on the research upon the fields of theology and philosophy of religion, but also attracts the attention from some scholars who have participated in Christian-Confucian dialogue. / Hartshorne does not believe that God and nature are entirely separate. On the contrary, he claims that there are various relationships between them. Inevitably, his theism and cosmology have certain implications on how to rigorously understand the moral action. We can thus systematically elucidate the significance of his thoughts based on his theism and cosmology for ethics. / The dialogues between process thought and Confucianism by far mainly focus on ontology and cosmology. A systematic study of Hartshorne's ethics may further help us to review critically and explore constructively the ethical aspect of the dialogue between process thought and Confucianism. This dialogical study of the ethics of Hartshorne and Confucianism will primarily focus on two topics. First, Hartshorne has his own ideas on ecological ethics, which is an important branch of process theology as well as an area which a dialogical study of Hartshorne and Confucianism is feasible and called for. The present study will show that research on Hartshorne’s ethics may shed light on the construction of Confucian-ecological ethics, and the dialogue between the ethics of Hartshorne and of Confucianism may facilitate the development of ecological ethics. Second, the recent debate in Chinese academia about "father and son concealing each other" reflects to a certain extent the limitation within the "hierarchical love" of Confucian ethics in modern life. Hartshorne may provide a helpful and promising approach to avoid or overcome some of the drawbacks on the "hierarchical love" in Confucian ethics. Meanwhile, his thought may further contribute to the development of family ethics. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 王計然. / Parallel title from added title page. / Thesis (Ph.D.) Chinese University of Hong Kong, 2015. / Includes bibliographical references (leaves 122-132). / Abstracts also in English. / Wang Jiran.

En relació amb les novel•les de Llorenç Villalonga que integren l’anomenat Cicle de Flo la Vigne, aquesta tesi en caracteritza el context històric, analitza el concepte novel•lesc de l’autor, fa una anàlisi detallada de cadascuna de les novel•les i es detura en la recepció crítica coetània que tingueren. Els principals resultats i conclusions que s’han obtingut de l’anàlisi de les dades són els següents. Tot i que el sintagma és operatiu, no existeix realment un Cicle de Flo la Vigne, sinó la novel•la de Flo i el cicle de la decadència d’Occident. En la seva pràctica novel•lística, Villalonga no es va ajustar a les seves propostes teòriques. Temàticament, Villalonga és un compulsiu, la seva obra gira obsessivament a l’entorn de la mort individual i col•lectiva; totes les seves creacions són un pretext per incidir en aquest tema, al qual adequa materials de la més diversa procedència encara que els hagi de tergiversar. Així, conscient de la pròpia mort, l’amor a ell mateix l’empeny a aconseguir la immortalitat a través de la literatura. Al llarg d’aquesta cerca de la immortalitat, Villalonga esdevindrà un cronista i un vaticinador; a més, molt més racionalista que retrògrad, es convertirà en un pioner de l’ecologia i evolucionarà cap al pancatalanisme. Tant com s’ha negat aquesta darrera adscripció, s’ha suggerit l’homosexualitat de Villalonga; tanmateix, Villalonga no fou homosexual, sinó homòfil. Per acabar, s’han obtingut algunes conclusions que són les de més transcendència. Tradicionalment s’ha considerat l’obra de Villalonga dividida entre les obres que fan l’elegia del passat i les que fan la sàtira del present. Aquesta divisió és operativa, però té les seves limitacions. Hi ha elegia a Bearn, en efecte, però també n’hi ha a Lulú regina, tot i que sigui futura. Afirmem que hi ha una línia força més significativa que divideix en dos l’obra de Villalonga, la qual està sempre lligada a la voluntat de pervivència. D’una banda, la crònica escatològica, que connecta amb la pervivència literària. De l’altra, la literatura memorialista, que li permet la supervivència personal; privat de la biologia, li quedava la literatura: Les fures, El misantrop, L’àngel rebel, Falses memòries de Salvador Orlan. En aquest context, L’àngel rebel és una obra doblement singular. En primer lloc, perquè participa dels dos fronts productius esmentats: el memorialista i l’escatològic. En segon lloc, perquè recull la negativa de Porcel, la qual constitueix, de fet, l’empenta que impulsarà Villalonga a completar el seu gran cicle escatològic: Don Toni de Bearn, Obdúlia de Montcada, la Lilí, les Lulús, Andrea Víctrix. Així, usar el sintagma l’autor de Bearn com a perífrasi sinònima de Villalonga és correcte, però si es fa servir com a sinècdoque descriptiva de la seva obra s’està caient en un reduccionisme inacceptable: quan s’ha llegit Bearn, tot just si s’ha començat a llegir Villalonga. / In connection with the novels that make up the so-called Villalonga Cicle de Flo la Vigne, this thesis characterizes the historical context, analyzes the novelistic concept of the author, makes a detailed analysis of each novel and stops in the contemporary critique re-conception that they had. The main results and conclusions obtained from the analysis of the data are the following ones. Although the syntagma is operating, there isn’t actually a Cicle de Flo la Vigne, but the novel Flo and the West decline cycle. In his novelistic practice, Villalonga did not fit to his theoretical proposals. Thematically, Villalonga is compulsive, his work revolves around the individual and collective death; all his creations are a pretext to talk about this issue, which adapt materials of many different origins, even if he has to distort them. So, aware of his own death, love to himself pushes him to achieve the immortality through the literature. Along this immortality search, Villalonga will become a journalist and a predictor, much more rationalist than retrograde, will become an ecology pioneer and will evolve to pancatalanism. As much as this latest relevance has been refused, has been suggested Villalonga homosexuality, however Villalonga was not gay but homophile. To finish, some obtained conclusions are momentous. Traditionally, Villalonga work has been considered divided between the works that make an elegy of the past and the ones that make a satire of the present. This division is operational, but has its limitations. There is indeed an elegy in Bearn, but there are also in Lulú regina, even if it’s located in the future. We affirm that there is a much more significant line that divides the work of Villalonga, which is always linked to the will to survive. On the one hand, the eschatological chronic, which connects with the literature survival. On the other hand, the memorialist literature, which allows him the personal survival; as he had a lack of biology, he had the literature: Les fures, El misantrop, L’àngel rebel, Falses memories de Salvador Orlan. In this context, L’àngel rebel is a doubly unique work. First, because it participates in both of the two mentioned productive points: the memorialist and the scatological. Secondly, because it takes the negative of Porcel, which is, in fact, the push to boost Villalonga to complete his great eschatological cycle: Don Toni de Bearn, Obdúlia de Montcada, Lilí, Lulús, Andrea Víctrix. So, use the syntagma “the autor of Bearn” as a synonymous phrase for Villalonga is correct, but if it is used as a descriptive synecdoche of his work is to fall into an unacceptable reductionism: when you have read Bearn, you have just started reading Villalonga.