Please read the abstract in the section 00front of this document / Thesis (DMus (Musicology))--University of Pretoria, 2007. / Music / unrestricted

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This study is an examination of the several themes and conventions of science fiction that seem to appear in the texts of Samuel Beckett. Expectedly, many of the texts produced by both science fiction and Beckett just before, during, and immediately after World War II share similar concerns; though perhaps less expectedly, these two relatively unlike bodies of work can be used to help better understand and illuminate one another. In Waiting for Godot, nuclear anxieties shed light on the play's apparent post-apocalyptic landscape and the profound emptiness that permeates the stage. In Molloy, Hugh Kenner uses Centaur imagery to explain the title character's Cartesian relationship with his bicycle; however, contemporary sensibilities at the time of the novel's publication suggests a cyborg reading of the Molloy/bicycle hybrid can also be productive. And in Krapp's Last Tape, the tape recorder serves as a figurative time machine, which allows readers to consider the ways technology continues to allow for the capture of time and subsequent reflection. / by Aaron Pancho. / Thesis (M.A.)--Florida Atlantic University, 2011. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2011. Mode of access: World Wide Web.

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Manuel Garcia 11 (1805-1906) is perhaps the greatest teacher of voice in history, and his approach, stated in A Complete Treatise on the Art of Singing, Parts One (1841) and Two (1847), became one of the principal methods of vocal instruction during his time. By tracing Garcia 11's methodology, based on the Italian Schools of Singing and be1 canto opera, it will become clear that his type of voice building holds many of the keys needed to unlock the voices of singers today. Analysis of Garcia II's vocal treatises, combined with first hand research conducted with faculty throughout three prominent Canadian university voice programs, will further substantiate the claim that Garcia 11 is a pivotal figure within the landscape of vocal pedagogy, also putting to rest several misconceptions (i.e. vocal onset and the coup de la glotte, and vocal registers) concerning his teachings. Respected internationally for his contributions to the worlds of classical voice and opera, performance practice, voice science, and pedagogy during his lifetime, Garcia II's theories on vocal production remain intact in current vocal pedagogy, despite shifts in the paradigms of musical, cultural, social and vocal aesthetics.

La investigación que sigue aborda el problema del modelo y su lugar en la producción artística moderna. Se localiza, particularmente, en el momento en que la pintura se hace partícipe de la crítica de la representación y su relación con el mundo visible se vuelve marcadamente problemática. Esto es, fines del siglo XIX y principios del XX. Esta tesis toma por motivo un momento crucial en ese contexto histórico como es la obra de Cézanne y la lectura interpretativa de la misma a la luz del problema del modelo. En este sentido lo que pone a operar es la noción de modelo y su rol, tanto en la producción pictórica de Cézanne, como en las interpretaciones que la toman como referente para producir a su vez un modelo de comprensión de la pintura moderna, que se habría desarrollado a partir de las fórmulas cezanneanas.

A Dissertation Submitted to the Faculty of Arts, University of the Witwatersrand, Johannesburg, for the Degree of Master of Arts. / This dissertation examines Paul Cezanne's still-lifes and proposes that the interpretation of meaning in these works depends upon the analysis of their stylistic elements. In Chapter 1 it is argued that the relationship between meaning and interpretation in the discipline of Art History is a complex one. An examination of the recent theoretical literature offers valuable insights into the ways in which art historians have assessed this relationship and the ramifications not only for the discipline, but for the Interpretation of Cezanne's still-lifes. The different ways in which scholars have interpreted Cezanne's oeuvre (particularly in relation to formalist approaches) are examined in the overview of the Cezanne literature in Chapter II. It is suggested that the existing body of interpretations in the literature forms an important part of a work's meaning and that therefore, the meaning of Cezanne's still-lifes should not be considered in an historical vacuum. furthermore, it is argued that the formalist interpretation of Cezanne's still-lifes warrants reevaluation, In Chapter III selected still-lifes are analyzed. The traditional art: historical dichotomy, reflected in the Cezanne literature, between 'form' and 'content', is challenged, The genre of still-life is contextualized in relation to Cezanne's other genres to substantiate the notion of a 'drama of style' evident in the still-lifes. It is argued that a stylistic approach to the still-lifes reveals both the importance of style in the interpretation of meaning in the still-lifes and the notion of artistic process evident in these works. / Andrew Chakane 2018

O gênero Odontesthes é composto por 19 espécies válidas que se encontram em ambientes marinhos, estuarinos e de água doce. A primeira hipótese filogenética sugerindo o monofiletismo de Odontesthes foi realizada em 1985. Desde então, outros trabalhos, principalmente envolvendo caracteres morfológicos, corroboraram essa hipótese, porém não abrangeram a totalidade de táxons descritos para o gênero como as espécies descritas recentemente ocorrentes nas drenagens do sul do Brasil. Desse modo, o monofiletismo de Odontesthes e as relações filogenéticas entre suas espécies são aqui investigadas com base em dados morfológicos e moleculares. Além disso, com base na intensa revisão realizada, Odontesthes perugiae (espécie-tipo, conhecida por uma descrição antiga e proveniente de uma localidade incerta) é redescrita e sua distribuição é definida para as porções baixas das bacias do rio Uruguai e rio Paraná. Ainda é proposta e descrita uma nova espécie do gênero, endêmica da bacia do alto rio Uruguai, e reconhecida através de uma comparação detalhada com seus congêneres, principalmente, aqueles incluídos no “grupo perugiae”. / Odontesthes is currently composed of 19 valid species inhabiting freshwater, oceans and estuaries. The first phylogenetic hypothesis suggesting the monofiletism of Odontesthes was done in 1985. Posteriorly, other studies (mainly based on morphological characters) corroborated this hypothesis, although the southern Brazil species, recently described, one not included. In view of these facts, the phylogenetic relationships of the genus Odontesthes and its species are presented based on morphological and molecular data. In addition, Odontesthes perugiae, type species on genus, known by an old description and uncertain type-locality, is described and inhabits the lower portions of the rio Paraná and Uruguay. Also, a new species on genus endemic to the upper rio Uruguay is recognized based on a detailed comparison with its congeners, mainly, those included in the “O. perugiae species group”