The lecture recital was given October 15, 1971. The subject of the discussion was Brahms and the Character Piece: Emotion Guided by Intellect, and it included historical and biographical information, an analysis of Brahms' romantic-classic style, a general analysis of the six character pieces in Opus 118, and performance of Opus 118 by memory. In addition to the lecture recital, three other public recitals were performed. These three programs were comprised of solo literature for the piano. The first solo recital was on April 15, 1971, and included works of Brahms, Chopin, Mozart, and Ravel. The second program, presented on April 28, 1972, featured several works of Beethoven. Performed on Septemhber 25, 1972, the third recital programmed compositions by Chopin, Debussy, and Prokofieff. Magnetic tape recordings of all four programs and the written lecture material are filed together as the dissertation.

The Myth of the Old South, like all myths, contains some elements of truth, but like all myths, it contains some things that are not true. Faulkner has used those parts of the Myth that are true, but he has repudiated and in many cases destroyed those parts of the Myth which he has found to be the product of imagination rather than history.

In 1873, Brahms completed the two op. 51 quartets. These were not the first string quartets Brahms composed, hut they were the first that Brahms allowed to be published. He found the string quartet difficult; as he confided to his friend Alwin Cranz, he sketched out twenty string quartets before producing a pair he thought worthy of publishing. Questions arise: what aspect of the string quartet gave Brahms so much trouble, and what in the op. 51 quartets gave him the inclination to publish them for the first time in his career? The op. 51 quartets are essential to understanding the evolution of Brahms's compositional technique. Brahms had difficulty limiting his massive harmony and polyphony to four solo strings. This difficulty was compounded by his insistence on deriving even the accompaniment from the opening main motivic material. This study investigates the manner in which Brahms distributes the main motivic material to all four voices in these quartets, while at the same time highlighting each voice effectively in the dialogue.

The purpose of this study was to analyze the content of selected television commercials according to Kenneth Burke's theory of the rhetoric of rebirth. A supplementary Burkeian method called cluster analysis was also used. The analysis revealed, that the rhetoric of rebirth was incorporated in the commercials to stimulate guilt in the television audience. The products offered in the commercials supposedly purged this guilt, transforming the person to a new way of life. The analysis revealed meanings inherent in the word choices for various commercials as well as the potential impact of those words. The study isolated several underlying motifs in the substance of the commercials. The effect of the visual message may cause the audience to overlook the message of the words. Experimental research cited in this study confirms this hypothesis.

With the advent of the Ballades, Intermezzi, Cappriccios and Rhapsodies of Johannes Brahms the musical world was to witness the apex of a development of a particular style of pianoforte composition which began in the nineteenth century with the publication in 1803 of a group of seven pieces called Bagatelles, opus 33 by Ludwig van Beethoven. This style thus originated was the Caracterstücke.

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.