Thesis (PhD)--Stellenbosch University, 2013. / ENGLISH ABSTRACT: In this project, contextual readings of four works by Arnold van Wyk are developed. They are the Symphony No. 1 in A Minor, the First String Quartet, the Duo Concertante and the Missa in illo tempore. These readings are grounded in richly detailed descriptions of the compositional processes, drawing on material such as sketches, autographs, diaries, correspondence and reception documents, as well as in structural analyses of Van Wyk’s music and of certain peer compositions. Each reading is set in a separate theoretical frame, resulting in a multi-perspectival consideration of Arnold van Wyk’s music that partakes in a range of current disciplinary discourses. The First Symphony is discussed in the discursive context of English Sibelianism, and Arnold van Wyk’s dialogue with Sibelius’s symphonic works is investigated through comparisons of Van Wyk’s and Sibelius’s applications of two-dimensional sonata form and tragic reversed sonata form. The reading so developed sheds new musical light on the difficulties of Van Wyk’s position as a colonial composer residing in the centre of a crumbling Empire. The compositional process of Van Wyk’s First String Quartet is described in juxtaposition with the compositional process of Bartók’s Sixth String Quartet, and the similarities and differences of the two narratives and the two compositions highlight a second aspect of Van Wyk’s colonial identity, namely the ambiguity of his return to South Africa from England, neither of which place could signify “home”. The reading of the Duo Concertante focuses on the Elegia from that work, interpreting the piece as part of a network of intertextual connections, including Van Wyk’s model for this piece, Martin Peerson’s (1580-1650) The Fall of the Leafe, Gerald Finzi’s Elegy for Orchestra Op. 20, entitled The Fall of the Leaf, as well as Van Wyk’s own theme for the Rondo of the Duo, to which he made various musical references in the Elegia which are associated with the concept of “prophecy”. This intertextual reading considers Van Wyk’s continuing problematic identification with the English musical culture and tradition, compounded by his uncomfortable place in the stifling cultural establishment of apartheid South Africa. Van Wyk’s Missa in illo tempore is interpreted in a post-apartheid context. The work purports to react to the conditions in London in 1945 at the end of the Second World War (when Van Wyk first started to work on it) as well as the conditions in apartheid South Africa in 1977-1979 (when he completed the work as a commission for the Stellenbosch Tercentenary Festival). The reading considers the ethics of art that intends to respond to situations of suffering, drawing on post-Holocaust art scholarship as a theoretical frame. In developing interpretations of compositions that have never been studied in such detail or with such theoretical rigour before, the thesis makes a significant contribution to Arnold van Wyk studies, and in its application of a range of methodological tools in order to construct poetic hermeneutic readings that are grounded in musical and contextual materials, it also represents a meaningful methodological innovation. / AFRIKAANSE OPSOMMING: In hierdie projek word kontekstuele lesings van vier werke deur Arnold van Wyk ontwikkel. Hulle is die Simfonie Nr. 1 in A Mineur, die Eerste Strykkwartet, die Duo Concertante en die Missa in illo tempore. Hierdie lesings is gegrond in ryk-gedetailleerde beskrywings van die komposisieproses, waarby materiaal soos sketse, outograwe, dagboeke, korrespondensie en resepsiedokumente gebruik word, asook in strukturele analises van Van Wyk se musiek en van sekere eweknie-komposisies. Elke lesing word in ʼn afsonderlike teoretiese raamwerk gestel, sodat ʼn veelperspektiewelike oorweging van Arnold van Wyk se musiek resulteer wat deelneem aan ʼn verskeidenheid hedendaagse dissiplinêre diskoerse. Die Eerste Simfonie word bespreek in die diskursiewe konteks van Sibelianisme in Engeland, en Arnold van Wyk se dialoog met Sibelius se simfoniese werke word ondersoek deur vergelykings van Van Wyk en Sibelius se toepassings van twee-dimensionele sonatevorm en tragies-omgekeerde sonatevorm. Die lesing wat sodoende ontwikkel word, werp nuwe musikale lig op die moeilikhede van Van Wyk se posisie as koloniale komponis woonagtig in die sentrum van ʼn verkrummelende Ryk. Die komposisieproses van Van Wyk se Eerste Strykkwartet word beskryf in jukstaposisie met die komposisieproses van Bartók se Sesde Strykkwartet, en die ooreenkomste en verskille van die twee narratiewe en die twee komposisies belig ʼn tweede aspek van Van Wyk se koloniale identiteit, naamlik die dubbelsinnigheid van sy terugkeer na Suid-Afrika uit Engeland, twee plekke waarvan geeneen die betekenis van sy “tuiste” kon dra nie. Die lesing van die Duo Concertante fokus op die Elegia uit daardie werk, en dit interpreteer die stuk as deel van ʼn netwerk van intertekstuele verbindings, insluitende Van Wyk se model vir hierdie stuk, Martin Peerson (1580-1650) se The Fall of the Leafe, Gerald Finzi se Elegie vir Orkes Op. 20, getiteld The Fall of the Leaf, asook Van Wyk se eie tema vir die Rondo van die Duo, waarna hy verskeie musikale verwysings in die Elegia gemaak het wat geassosieer word met die konsep van “profesie”. Hierdie intertekstuele lesing beskou Van Wyk se aangaande problematiese identifisering met Engelse musiekkultuur en –tradisie, vererger deur sy ongemaklike plek in die verstikkende kulturele establishment van apartheid Suid-Afrika. Van Wyk se Missa in illo tempore word in ʼn post-apartheid konteks geïnterpreteer. Die werk stel sigself voor as reaksie op die toestande in Londen in 1945 teen die einde van die Tweede Wêreldoorlog (toe Van Wyk die eerste keer daaraan begin werk het) asook die toestande in apartheid Suid-Afrika in 1977-1979 (toe hy die werk voltooi het as ʼn opdrag vir die Stellenbosch Drie-Eeue Fees). Die lesing oorweeg die etiek van kuns wat ten doel het om te reageer op situasies van lyding en gebruik post-Holocaust kunsstudies as teoretiese raam. In sy ontwikkeling van interpretasies van komposisies wat nog nooit in soveel besonderhede of só teoreties nougeset bestudeer is nie, maak die tesis ʼn beduidende bydrae tot Arnold van Wyk studies, en in sy toepassing van ʼn verskeidenheid metodologiese hulpmiddels om poëtiese hermeneutiese lesings te konstrueer wat gegrond is in musikale en kontekstuele materiale, verteenwoordig dit ook ʼn betekenisvolle metodologiese vernuwing.

This thesis examines the meanings and uses of the impression in the essays and late novels of Henry James. While James found fault with impressionism in French painting and literature, he repeatedly called the novel an ‘impression of life’, and used the term to figure important moments of perception and action for his protagonists. This thesis offers the first full-length study of the impression on its own terms, rather than through the lens of a wider artistic or philosophical movement, the most obvious example being impressionism. It locates James’s impression within an intertextual history comprising British empiricist philosophy (Locke and Hume), empiricist psychology (William James), British aestheticism (Pater and Wilde), and, looking forwards, twentieth-century theories of the performative (Austin, Derrida, de Man, Butler). It offers a series of close readings of James’s non-fictional and fictional treatments of the impression in his early criticism and travel writing (1872-88), his prefaces to the New York edition (1907-09), and the three novels of his major phase, The Ambassadors (1903), The Wings of the Dove (1902), and The Golden Bowl (1904). This exploration does not produce any unified definition of the impression in the work of James. It finds, rather, that the impression crystallizes one of James’s main themes, the struggle between art and life, a consequence of the competing empiricist and aesthetic tendencies that the thesis distinguishes within accounts of the impression available to James. The thesis goes on to show that impressions in James may be made as well as received, and so introduces a further distinction, between ‘performative’ and ‘cognitive’ impressions. It argues that what James does with these competing impressions – empiricist and aesthetic, cognitive and performative – is to make them the narrative focus of his late novels and their drama of consciousness.

Thesis (MMus (Music))--University of Stellenbosch, 2009. / Arnold van Wyk was a composer and a pianist. He recorded his largest work for piano, Night Music (1958), on LP in 1963. Steven de Groote performed Night Music on 21 July 1984 at the Cheltenham International Festival of Music. This live performance was broadcast on BBC Radio 3 on 24 September 1984 and a copy of this broadcast exists in the Arnold van Wyk collection in the J.S. Gericke Library at Stellenbosch University. Night Music is a perfect example of Van Wyk’s compositional techniques for the keyboard. It demands a considerable musical imagination and piano technique from the performer. The score of Night Music contains many detailed instructions regarding the different musical parameters and it also encloses unusual terms such as glacial or lugubre. It shows that the composer is extremely concerned to control all aspects of the performance and expects great depth of interpretation of the performer. Analysing the score of Night Music together with a performance by the composer enables one to consider two versions of “authenticated text”. The comparison between Arnold van Wyk’s recording, score and Steven de Groote’s performance allows the researcher to draw conclusions about score fidelity as a condition for “authenticity” in performance. Therefore, the primary aim of this research project is to yield interesting perspectives on notions of authenticity in performance with regard to these two particular performances of Night Music. The main body of this thesis consists of four chapters. In Chapter One a philosophical discussion about authenticity in performance is presented. Chapter Two focuses on the contextualisation of the work under discussion, including the reception and a short analysis of Night Music. It is followed by Chapter Three which compares the pianism of Arnold van Wyk and Steven de Groote. These latter two chapters form the background of the comparative performance analysis of the renditions of Night Music by these two performers which are presented in Chapter Four. Through the careful comparative analysis of Arnold van Wyk’s and Steven de Groote’s performances of Night Music it was possible to observe that a composer can present a version of his work that departs quite radically from the score. As “authenticity in performance” strives to honour the composer’s intentions as notated in the score, this discrepancy illustrates the controversial nature of the discourse on the “authentic” in music.

This dissertation deals with the symbolic uses of the prominent old houses in selected fiction of Nathaniel Hawthorne, Charles Dickens, and Henry James. The major texts include Hawthorn's "Peter Goldthwaite's Treasure," The House of Seven Gables, and Doctor Grimshawe's Secret; Dicken's Bleak House, Great Expectations, and Little Dorrit; and James's The Portrait of a Lady, "The Jolly Corner," and The Sense of the Past. The introductory chapter of the dissertation points out the importance of the house in nineteenth-century fiction. To a century which was obsessed with time and particularly fascinated by the past, the house could serve as a literary symbol of the past and aid in the investigation of the relation of a character to the past he has experienced and the past he remembers with various degrees of accuracy. For Hawthorne, Dickens, and James the house is always more than inanimate space. It is linked by imagination and memory to the past. Chapter II identifies and defines the house of the imagined past. The house has a name and a long history which illuminates the present situation of the inhabitants. All three authors draw freely from the gothic tradition to fill the houses with old relics, curses, secrets, sins, and treasures from the past. Seeking the treasure--hidden gold in some cases, self-knowledge in others--the characters keep the past alive in their old houses. The character in the house of the imagined past is often fragmented because he does not understand or accept his relation with his own past. Time inside the house of the past is arbitrary. The past, or certain imagined or remembered portions of it dominate the space. Chapter III concerns the functions of the house. First, the actual fact of the house's existence generates action in the works. Second, the physical relation to his house suggests aspects of the character's spiritual state. The characters search and probe, even assault their houses, seeking themselves. Third, all three authors continually emphasize parallels between houses and people. Characters voluntarily imprison themselves in their houses just as they willingly imprison themselves in their interpretations of the past. The house also suggests that the past lives into and influences the present by means of heredity and environment. In addition, the physical state of the house mirrors the spiritual state of the characters: morally sick people inhabit decaying houses. Even further, houses become animated, metonymic representations of their inhabitants. The house of the past, then, projects or represents the character's mind. In Chapter IV I deal with the final return to and departure from the house of the imagined past. Finally the characters recognize the imprisoning nature of their obsessions and can then leave the house of the past or as happens in many cases, can be rescued by a woman who lives in the present. Hawthorne's characters turn their backs on the past with relief and turn to the present. Dickens's characters must know the past, accept it, and build on it, not simply turn away as Hawthorne's characters do. James allows his characters to close the door of the house of the past behind them if they can find love in the present. If domestic happiness is impossible, however, the broad human past can offer imagined solace and relief. The final chapter points out that Hawthorne, Dickens, and James, like many other authors, recognize archetypal and psychological relationships between a human and the space he inhabits. They use the house to understand the self, especially in relation to the past.

辛亥革命為一未竟全功、不澈底的革命，致有民二─民五先生發生的二次與三次革命 運動。本文旨在從民初革命背景的探究，呈現二次與三次革命運動的不可避免，並試 圖以比較之法，明悉革命成敗之由，以為日後反共復國革命之鑑。 本論文共壹冊，十一萬餘字，計分六章、十五節。 第一章：緒論。述明研究旨趣、研究方法與研究範圍。 第二章：革命背景。先對辛亥革命為一評估，再論政黨政治試行的失敗，接著分析民 初國內外的社會思潮與背景，最後對民初革命的對象─袁世凱為一瞭解。 第三章：二次革命。先論革命起因，後論革命事略。 第四章：三次革命。先論中華革命黨的成立，再論由仿帝制的醞釀而引起三次革命（ 反帝制運動），以護國軍的起義，最後終使帝制覆亡。 第五章：二次革命與三次革命之比較。本章從革命對象、革路命輿情、革命領袖與革 命策略四方面比較二次與三次革命的成敗。 第六章：結論。

One of the outstanding aspects of nineteenth-century romanticism was its preoccupation with the past. This interest in the music or the old masters has lasted well into the twentieth century, and one whose lifetime bridged the two centuries was the composer Max Reger (1873-1916). Reger's admiration for the music of the past pervaded his own works. His preference for contrapuntal textures and devices, his use of baroque forms, his distaste for program music--all bespeak Reger's especial interest in the old masters, particularly in 5. S. Bach. These qualities led some to regard him as the successor of Johannes Brahms, who held similar tenets. Because of his particular interest in composing for the organ, Reger was viewed as a "nineteenth-century Bach."

The work of physician-turned-writer Walker Percy marks an important development in the history of Southern literature. The author's first novel, The Moviegoer, moves beyond previous consideration of what it meant to be a native of the region by capturing the mindset of modernity rooted in the philosophical movement of existentialism. Embracing the work of S²ren Kierkegaard allows Percy to articulate how his protagonist, Binx Bolling, moves towards a sense of purpose in life. Previously adrift due to the contending forces present in the modern mind, the author indicates how an existentially active individual can achieve a sense of direction through the work of not only Kierkegaard, but also Gabriel Marcel. There are certain phenomena present in the text that allow one to temporarily achieve some sense of solace within an inscrutably secularized existence. However, Percy indicates that the modern individual must ultimately find significance through an intersubjective engagement with another. / by Bryan Salgado. / Thesis (M.A.)--Florida Atlantic University, 2011. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2011.

Made available in DSpace on 2015-04-14T13:46:39Z (GMT). No. of bitstreams: 1 409594.pdf: 13325678 bytes, checksum: eacf052ae249af52a2e28113ed6bb01f (MD5) Previous issue date: 2009-01-12 / Este estudo foi elaborado a partir de uma pesquisa documental fundamentada nos arquivos p?blicos e particulares, nas bibliografias sobre o tema e, tamb?m, atrav?s da hist?ria oral, a partir de entrevistas realizadas com antigos trabalhadores da Southern Brazil Lumber & Colonization Company e seus descendentes

Made available in DSpace on 2016-04-26T20:29:20Z (GMT). No. of bitstreams: 1 Rodrigo de Oliveira Caldas.pdf: 1093662 bytes, checksum: 81a5a17793794657ad68cebc475dc88b (MD5) Previous issue date: 2009-06-10 / This paper performs a detailed study of a precise rule that presides the passage from the 1916 Civil Code regime, that was valid for almost ninety years, to the 2002 Civil Code regime, valid from january 2003 on. The changing of a Civil Code brings significant consequences for the Law. In fact, the Civil Code was called once Everymen s Constitution (a clearly inadequate expression), since his norms regulate several affairs set every single day. It is not irrelevant so this event, which implies that all facts that take place after the advent of the new order will be placed under its rules. Nevertheless, according to the 5th Article, XXXVI, of Brazilian Constitution, ex post facto laws are prohibited in subject of acquired rights, perfect juridicly acts and res judicata. On the other hand, the 2.035th Article of 2002 Civil Code (10.406/2002 Act) determines that the effects of the contracts celebrated when the 1916 Civil Code was still valid will be ruled by the new order. It is necessary, then, to carefully examine the compatibility between the 2.035th Article of 2002 Civil Code (on which it concerns specifically the effects of the contracts signed before his existence) and the 5th Article, XXXVI of Brazilian Constitution. In conclusion, it can be said that, considered the acquired rights theory, which brasilian Law embraces, as well as the opinions of the brasilian Supreme Court about this particular issue, the 2.035th Article of 2002 Civil Code (10.406/2002 Act) is partialy unconstittucional / O trabalho consistirá em análise detida de uma específica regra de transição entre o Código Civil de 1916, que vigorou por quase noventa anos, e o Código Civil de 2002, que teve sua vigência a partir de janeiro de 2003. A alteração da ordem positiva civil tem reflexos significativos no tráfego jurídico. Com efeito, já houve quem se referisse ao Código Civil (valendo-se de expressão que já se reconhece inadequada) como Constituição do homem comum , tendo em vista que os dispositivos dessa lei regulam um sem número de relações jurídicas estabelecidas cotidianamente. Não é insignificante, portanto, o evento que marca a substituição de seu texto. Ocorre que, pela Constituição vigente, é vedada à lei nova a produção de efeitos que prejudiquem o ato jurídico perfeito, o direito adquirido e a coisa julgada. De outro lado, o artigo 2.035 do Código Civil de 2002 (Lei n. 10.406/2002) determina que a ele se subordinem os efeitos dos atos praticados na vigência do Código Civil de 1916. A tarefa que se propõe o trabalho, portanto, é estudar a compatibilidade entre o artigo 2.035 do Código Civil de 2002 (no que tange especificamente aos efeitos dos contratos celebrados antes de sua vigência) e o artigo 5º, XXXVI, da CF de 1988. Ao final, constata-se que, dada a filiação do direito brasileiro à teoria do direito adquirido, bem como o estágio atual da jurisprudência, sobretudo do Supremo Tribunal Federal, o artigo 2.035 do Código Civil de 2002 é parcialmente inconstitucional

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