This dissertation aims to discuss the incorporation of the &ldquo / nationalist&rdquo / Kazak intellectuals of Alash Orda to the Soviet Socialist Republics and their role in the establishment of the Kazak ASSR. In the course of events they acted first together with Russian liberal democrats, then they sought to establish a national government and fought against the Bolsheviks, but after 1920 they chose to stay in the USSR and join the modernization process of their homeland alongside the Bolsheviks. In the mainstream academic discourse the local leaders in the republics of the USSR are generally considered as passive victims of the Soviet policies. The members of the Kazak national movement of Alash Orda are also neglected as weak political figures after they had accepted the Soviet rule. But they continued their struggle for enlightening the Kazak people in 1920s. Their collaboration with the Bolsheviks was concomitant to their motives of modernizing the Kazaks. Their role in the Soviet Kazakstan did not come to an end after their acceptance of the Soviet sovereignty but it continued. My argument is that the struggle of the members of Alash Orda was in continuity with their program before the revolution, and their cooperation with the Bolsheviks was a way to realize their objectives, and it opened a sphere for them to have a role in the formation of the Kazak ASSR.

Thèse de doctorat : Litt. : Paris E.H.E.S.S. : 1994. / Index.

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Over the last twenty-five years, women's historians have striven with the problem of how to uncover women's lives in the past. The early concern with merely "retrieving" women's life stories has recently been augmented by a more theoretically- informed approach which takes into consideration issues of experience, voice, and representation, and which challenges the notion of absolute objectivity. This study was designed as a contribution to the latter type of historical research informed by the sociological debates on these issues, and was influenced by feminist materialist approaches that insist on accounting for both the content of experiences and the various discursive positions occupied by subjects. Specifically, it examines the bases of identity construction in the lives of two women teachers (Susan Abercrombie Holmes and Susan Suckley Flood) in nineteenth-century British Columbia, a context in which relatively little work on the history of women has been done. Identity is not perceived as given or static, but rather as constructed, changing, and sometimes contradictory. Even those markers of identity commonly called upon to describe a person- such as gender, race, class, religion, and nationality-are seen as problematic, and their ambiguities are discussed in relation to the life stories of the two women. Subsequently, the effects of these "markers" are further adumbrated through an examination of some of the less obvious ways in which the women's identities were constructed. These are all seen as interrelated, and include the influences of their families of origin on the women's earlier lives, especially regarding their education and marriage decisions, their functions as economic agents, their social relationships, and their self-images or self-representations. To the extent that these were fashioned by their gender identity, many similarities can be seen in their lives, but their experiences also diverged (widely or narrowly) as a result of their differences in other aspects, notably racial identity. These differences had a profound effect on the type and degree of material and ideological constraints placed upon them, and thus on the degree to which they were able to shape the construction of their own identities.

The dissertation presented a performance analysis and comparison of two major timpani concertos. The Concerto for Five Kettledrums and Orchestra by Robert Parris and the Concerto for Timpani and Orchestra by Werner Thaerichen were chosen for the study because they have been performed by major symphony orchestras, they have been performed at the advanced collegiate level, and because both concertos were written for five timpani and a similar orchestra instrumentation.Initially, each composition was thoroughly analyzed in regard to the specific techniques necessary for a consistent, musical performance. The performance analysis attempted a measure by measure explanation of the solo parts with musical examples; the measures were grouped according to musical phrasing or common technical problems. Some of the more complex phrases were then more minutely examined to focus on a specific performance problem. The mastery of a particular technique or movement was often facilitated by an exercise developed from the performance problem. A number of such exercises were presented and explained in the performance analysis.The comparative performance analysis was presented to best illustrate and illuminate the following similarities and dissimilarities:1. The basic difficulty, in both the composition and performance of a timpani solo, is that of a conjunct, lyrical, multiple-pitched line as opposed to the more idiomatic disjunct, fragmented exchange of solo material with the accompaniment. This was the basis of the comparative analysis. The Parris Concerto is lore linear and lyrical, whereas the Thaerichen Concerto is more fragmented. The Thaerichen solo has for one, two, or three drums and rhythmic work is definitely linear and depends less upon single and two drum figures to create and maintain interest. In this sense, the to the extent that the Thaerichen Concerto does.2. Because of the melodic nature of the material, the Parris Concerto was more demanding in interpretation than was the Thaerichen Concerto. The solo timpani pant in the Parris Concerto is foreground material and is more expressive than the ostinato, background material of the solo part of much of the Thaerichen Concerto.3. There are similar and dissimilar sticking situations which demanded study and experimentation to produce the most musical results. Similarities in stickings include right-hand and lefthand-lead, stick doublings and a combination of alternate stickings and stick doublings. The Thaerichen solo has two passages utilizing repeated eighth-notes in one hand and a melody around the drums with the other; similar stickings are not required in the Parris. However, the Parris solo has complex arms-crossed stickings and almost acrobatic arm and foot movements.4. Tuning schemes vary more frequently aid more dramatically in the Parris Concerto.The performance analysis and comparison substantiated these similarities and dissimilarities and further revealed that the length and many repetitions of the Thaerichen solo demanded the utmost concentration and consistency due to the static nature of many passages. The Parris is more compact, with many varied performance problems facing the soloist every few measures. The variety of melodic material, articulations, and mallet movements result in the Parris Concerto being the more difficult. The Thaerichen Concerto makes fewer technical demands, and spaces them farther apart. In many passages of the Thaerichen, the tuning scheme remains the same. Also, tempo does not vary as often as it does in the Parris. The Parris solo features more foreground material, with its melodic phrases supported by the orchestra; whereas, the timpani in the Thaerichen is a part of the overall orchestral texture, only occasionally being allowed to assume a principal melodic role.This study was undertaken as a guide for the timpanist desiring to study and perform these works. Specific solutions to performance problems have been offered as a means of achieving technical mastery and as a motivation to further explore and exploit one's personal performance skills and talents.

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Based on author's thesis (doctoral)-- West Virginia University, 2001. / Includes bibliographical references (p. 267-288) and index.

El presente trabajo analiza la aproximación al haiku de Javier Sologuren y Alfonso Cisneros Cox en el marco del creciente interés por este género a nivel latinoamericano. El análisis se centra en la comparación de los haikus con el modelo clásico japonés, tal como lo practicó Matsuo Bashō, siguiendo las teorías de los estudiosos Keene, Rodríguez Izquierdo, Rubio, Blyth y Haya Segovia. El haiku es valorado y ponderado como una expresión poética orientada a evocar un instante de experiencia en la naturaleza, logrando despertar el asombro ante la maravilla de la existencia. Los resultados del trabajo revelan la íntima afinidad de ambos poetas con el género, las modalidades de apropiación que practicaron, la priorización de ciertos aspectos estilísticos y espirituales en su comprensión del haiku, la innovación en los recursos para lograrlo y la singularidad de sus creaciones, basada en la mezcla auténtica del género con sus propias poéticas. La principal conclusión que puede desprenderse de este trabajo es que los autores asimilaron este género poético para dar forma y expresión a su particular sensibilidad e integrarlo a la tradición poética peruana. / Tesis