The outline of lessons in animal production, as made in the following pages, was planned with two aims in view: first, to suggest a skeleton for a lesson in each phase of livestock which should be taught in Virginia; and second, to suggest to the agricultural instructors some of the best textbooks and bulletins which can be used to advantage in working out the daily lessons. / Master of Science

This trans-disciplinary and [trans-modal] dissertation practices the work of inclusive design that students of music (do or do not) encounter as part of their music education. Using inclusive design practices focused on the domains of the written word, the auditory-aural artifact, and the artistic-visual artifact, this work reflects upon three schools of pedagogy and philosophy within the broader academy, primarily not found in the musical academy. The schools of humanism, liberation, and transformation are considered as objects-subjects of reflection utilizing four authors (James Cone, Paolo Freire, Jack Mezirow, and Bertrand Russell); this work is rooted in the practice of critical reflection as understood through the lens of the author Stephen Brookfield. The authors’ assets were collected through analog and digital booksellers and analog and digital library available databases; the author consumed accessibility and accommodative digital programs to aid the researcher. Three themes emerged as follows: one, humanity has largely been excluded from the study of music education, resulting in an intensely human invention often resulting in inhumane practices and theories; two, transformation is a fundamental component of musical education, in that it studies humans transforming both words and music, as well as subsequent performances being transformations of what was to what can be (again); and, three, liberation is the implicit goal at the center of musical education, in that being a music educator is an attempt to liberate the musicianship innate to the human existence from the oppression the body has consumed. Each of these themes written as separate chapters closes with a pedagogy-philosophy of the chapter’s theme. The dissertation concludes with a reflection on music education in light of the pedagogies and philosophies examined. Keywords: Music, ethnography, reflection, philosophy, pedagogy, Humanity, liberation, transformation

No events of international consequences likely to bring Japan to Australia’s attention occurred before the Sino-Japanese war (1894-5). Japan had as yet shown no sign of her military power. Probably as far as Australians felt any insecurity, their anxieties centred on the expansion of European powers into the Pacific, the might of Russia and the Chinese hordes. In such conditions they were free to think of Japan chiefly as a country of cherry blossom and quaint people. Only the question of Japanese immigration which began to assume large proportions after about 1890 gave any basis for feelings of hostility.

Ce mémoire se propose d'analyser la concordance entre l'illustration du désir humain et sa transformation en violence sociale dans les théories du désir mimétique et du mécanisme du Bouc émissaire, développées par René Girard dans ses oeuvres Mensonges Romantiques et Vérités Romanesques et Le Bouc Émissaire, et dans l'oeuvre de William Faulkner The Sound and the Fury. Ce mémoire soutient que la description du désir humain et son acheminement en crise sociale est très similaire chez les des deux auteurs. The Sound and the Fury, tout comme les oeuvres de René Girard, décrivent le désir humain comme un mécanisme triangulaire basé sur l'imitation du sujet à un model ou médiateur. Ils démontrent aussi que ces désirs peuvent créer des rivalités féroces qui peuvent induire à une violence irrépressible. Quand cette violence se multiplie par le nombre de rivaux acharnés, elle évolue en phénomène sociale : une crise que René Girard appelle Crise Mimétique et que William Faulkner reproduit dans la majorité de ces nouvelles et précisément dans The Sound and the Fury. Le mécanisme humain décrit pour l'évacuation spontanée de la violence est aussi remarquablement conforme dans l'effigie des deux auteurs. Les écrits des deux démontrent que pour évacuer leur agressivité, les sociétés la redirigent envers un ou des individus qu'ils considèrent comme inférieurs. Finalement, les deux auteurs analysent d'une manière très rapprochée les trois méthodes utilisées par l'homme pour contenir la violence. Ils présentent tout les deux les rituels comme une méthode qui a été longtemps efficace pour canaliser les tensions mais qui n'a plus sa place dans la société moderne et ce à cause du déclin religieux. Ils décrivent aussi tout les deux les méthodes compensatoires tels que les duels et les jugent inefficace et, en dernier lieu, ils considèrent tout les deux le système légal comme une méthode efficace pour l'interruption des cycles de vengeances mais pas pour l'évacuation de la violence.

Thesis (M. Phil. (Music Technology)) -- University of Stellenbosch, 2006. / ENGLISH ABSTRACT: Modern digital signal processing, allowing a much greater degree of flexibility in audio processing and therefore greater potential for noise removal, pitch correction, filtering and editing, has allowed transfer and audio restoration engineers a diversity of ways in which to “improve” or “reinterpret” (in some cases even drastically altering) the original sound of recordings. This has lead to contrasting views regarding the role of the remastering engineer, the nature and purpose of audio restoration and the ethical implications of the restoration process. The influence of audio restoration on the recorded legacy of a performing artist is clearly illustrated in the case of Maria Callas (1923 - 1977), widely regarded not only as one of the most influential and prolific of opera singers, but also one of the greatest classical musicians of all time. EMI, for whom Callas recorded almost exclusively from 1953 - 1969, has reissued her recordings repeatedly, continually adapting their sound “to the perceived preferences of the record-buying public” (Seletsky 2000: 240). Their attempts at improving the sound of Callas’s recordings to meet with the sonic quality expected of modern recordings, as reissued in the latest releases that form part of EMI’s Callas Edition, Great Recordings of the Century (GROTC) and Historical Series, have resulted in often staggeringly different reinterpretations of the same audio material that bear no resemblance to previous CD or LP incarnations or “evince no consolidated conviction about exactly how Callas’s voice should sound.” In essence, some commentators argue that the “Callas sound” we hear on recent CD releases is not necessarily exactly as the great diva might have sounded. The purpose of this study is to consider the influence of audio restoration and remastering techniques on the recorded legacy of Callas, by illustrating the sometimes startlingly different ways in which her voice has been made to sound, examining and comparing the way in which different remasterings of the same audio material can vary in quality, as well as demonstrating how vastly different sonic reinterpretations of a single recording can affect our perception of an artist’s “true” sound. To this end, various reissues of six different complete opera recordings, including four studio recordings: Tosca (1953), Lucia di Lammermoor (1953), Norma (1954), Madama Butterfly (1955), as well as two “live” performances of Macbeth (1953) and La Traviata (1958), have been evaluated and compared, using the “true” sound of Callas’s voice as reference in comparing the different remasterings. Pitch and frequency spectrum analysis was used to confirm or support any subjective claims and observations and further analysis performed with the aid of a specialised Matlab algorithm. / AFRIKAANSE OPSOMMING: Moderne digitale seinprossesering bied kragtige en veelsydige moontlikhede vir die verwerking van klankseine. Die groter potensiaal vir ruisverwydering, toonhoogte verstelling, filtrering en redigering van opnames bied klankingenieurs ‘n wye verskeidenheid van maniere om die oorspronklike klank van opnames te verbeter, te interpreteer en soms ingrypend te verander. Dit het aanleiding gegee tot teenstrydige en uiteenlopende menings oor die funksie van die klankrestourasie-ingenieur, die aard en doel van klankrestourasie en die etiese gevolge van die restourasieproses. Die invloed van klankrestourasie op die klanknalatenskap van ‘n uitvoerende kunstenaar kan duidelik bestudeer word in die geval van Maria Callas (1923 – 1977), algemeen aanvaar as een van die mees invloedryke en grootse klassieke musici van alle tye. Die platemaatskappy EMI, vir wie Callas feitlik uitsluitlik vanaf 1953 tot 1969 opgeneem het, het haar klankopnames reeds verskeie kere heruitgereik en die klank daarvan deurlopend aangepas om aanklank te vind by die “veronderstelde voorkeure van die publiek” (Seletsky 2000: 240). EMI se pogings om die klank van Callas se opnames te verbeter om aan die klankvereistes van moderne opnames te voldoen, het ontaard in dikwels aangrypend verskillende interpretasies van dieselfde audio materiaal wat geen ooreenkomste toon met vorige laserskyf of langspeelplaat uitgawes nie, asook “geen vasgestelde oortuigings openbaar oor hoe Callas se stem presies moet klink nie.” Sommige critici argumenteer dat die “Callas klank” wat ons op hedendaagse CD uitgawes hoor, nie noodwendig klink soos wat Callas werklik geklink het nie. Die doel van hierdie studie is om die invloed van klankrestourasie op die klanknalatenskap van Callas te bestudeer deur die verskillende wyses waarop die klank van haar stem aangepas is te illustreer, die verskille in klankkwaliteit tussen verskillende uitgawes van dieselfde materiaal te ondersoek en te vergelyk, asook te demonstreer hoe uiteenlopend verskillende interpretasies van ‘n enkele opname die persepsie van ‘n kunstenaar se “ware” klank kan affekteer. Vir hierdie doel is verkeie uitgawes van ses verskillende volledige opera opnames, insluitend vier studio opnames van onderskeidelik Tosca (1953), Lucia di Lammermoor (1953), Norma (1954) en Madama Butterfly (1955), asook twee “lewendige” opnames van Macbeth (1952) en La Traviata (1958) bestudeer deur Callas se “ware” klank as maatstaf te gebruik om die onderskeie opnames te vergelyk. Toonhoogte- en frekwensie spektrum analise, asook analise deur middel van ‘n gespesialiseerde Matlab algoritme, is deurlopend gebruik om enige subjektiewe gevolgtrekkings en waarnemings te staaf.

In this study I analyse the role of the heroine in the work of four New Zealand writers, Katherine Mansfield, Robin Hyde, Janet Frame and Keri Hulme, starting from the assumption that such a role is influenced by the notion of the fall and by the perception of the vertigo entailed in it. In order to prove this I turn to the texts of four New Zealand writers dedicating one chapter to each. In the first chapter a few of Katherine Mansfield's short stories are analysed from the vantage point of the fall, investigated both in the construction of the character's subjectivity and in the construction of the narration. In the second chapter a link is established between Katherine Mansfield and Robin Hyde. A particular emphasis is put on the notion of subjectivity in relationship developed by the two writers, highlighting the link between this kind of subjectivity and the notion of the fall. In the third chapter the focus is subsequently shifted to Robin Hyde's work, in particular one of her novels, Wednesday's Children, which is read in the context of Mikhail Bakhtin's theory of the carnivalistic. In the fourth chapter the notion of the fall is analysed in the fiction of Janet Frame, which is related to the treatment of the notion of the fall present in Keri Hulme's The Bone People. The fifth chapter is dedicated to the analysis of The Bone People as in the novel the notion of the fall and the vertigo perception find their fullest expression, whilst in the sixth chapter a significant parallel is drawn between Janet Frame's Scented Gardens for the Blind and Keri Hulme's The Bone People and links are established with their predecessors. Finally in the seventh chapter the critical perspective is broadened to comprise those common elements in the writing of Katherine Mansfield, Robin Hyde, Janet Frame and Keri Hulme that have been neglected by focusing uniquely on the notion of the fall, and thus to contribute to a more complete overall picture of the comparison presented in this study.

Made available in DSpace on 2016-04-28T19:59:07Z (GMT). No. of bitstreams: 1 Suzana Barbosa Costa.pdf: 1446426 bytes, checksum: ce74ba2f84d2619ce8a1ba3ba73d18af (MD5) Previous issue date: 2007-10-09 / Secretaria da Educação do Estado de São Paulo / The present dissertation has the main object to study the book O Encontro Marcado wrote by Fernando Sabino. This dissertation has pursuance to apprehend the concept of hybridization between chronicle and romance. To achieve this point of view it researches this question: How to developer the transition between i-storyteller, already this writer introduces two roles: he narrates and makes this an experience of his existence? Trying to responder this questionable, he selects hypothesis: the transient between I-subject and I-another one to determine and configure the cronicles s discourse and to manifest the experimental modern narrative contaminate by journalistic media. The I who describe and the I lively putted on proof to commit the role s character within the cronicle s discourse. The theory s grounding that to direct this works is the Bakhtin s theory, already this romance construe further on the studies about chronicle approached by Antonio Candido and Jorge de Sá. This works stand up for Fernando Sabino s critical fortune personated by Antonio Candido, Fábio Lucas and Antonio Houaiss. This dissertation was divided in three chapters. The first one focus on writer s trajectory and analyze the book. The second one approach the concept s hybrid and chronicle trying realize the question about fictional and autobiography s discourse. The last one approach the trajectory s Eduardo Marciano and his friends. The main conclusion is the analysis if the writer transferred to book the chronicle gender s characteristics, what experiences makes the writer object of experiences lively and writer s failure of his generation / A presente dissertação tem como objetivo estudar a obra O Encontro Marcado, do escritor Fernando Sabino. Busca apreender o conceito da hibridização entre crônica e romance. Para atingir tal objetivo, levanta a seguinte indagação: Como se desenvolve a transitividade do eu narrador, uma vez que esse narrador apresenta dois papéis: narra e faz do narrar uma experiência existencial? Na tentativa de responder a essa problemática, seleciona as hipóteses: a transitividade do eusujeito e eu-outro determina e configura o discurso cronístico e, ao mesmo tempo, revela uma narrativa experimental moderna contaminada pela mídia jornalística; o eu que narra e o eu vivido, ao se colocarem à prova, remetem as personagens ao papel comprobatório do discurso cronístico. A fundamentação teórica que norteia este trabalho é, primordialmente, a teoria de Bakhtin, no que diz respeito ao discurso, uma vez que este romance opera o discurso citado, assim como os estudos sobre crônica, abordados entre outros, por Antonio Candido e Jorge de Sá. Apoiou-se também na fortuna crítica de Fernando Sabino, representada por críticos como: Antonio Candido, Fábio Lucas, Antonio Houaiss. O estudo foi dividido em três capítulos. O primeiro foca a trajetória do escritor mineiro e levanta a crítica da obra. O segundo versa sobre o hibridismo e retoma o conceito de crônica. Tenta ainda elucidar a questão entre discurso ficcional e/ou autobiográfico. Na seqüência, o terceiro capítulo realiza a trajetória da personagem Eduardo Marciano e de seus amigos. Entre outras conclusões, apreende-se que o autor transferiu para o romance, características próprias do gênero cronístico; que a experiência narrada faz do narrador objeto de experiência vivida, que o fracasso do narrador representa o fracasso de uma geração

Submitted by Carmen Torres (carmensct@globo.com) on 2018-01-30T19:17:42Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_(Des)EnredosAmor.pdf: 767158 bytes, checksum: b18dc0f8739be003ab9a057ed710a7db (MD5) / Approved for entry into archive by Edisangela Bastos (edisangela@ufpa.br) on 2018-02-02T14:31:03Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_(Des)EnredosAmor.pdf: 767158 bytes, checksum: b18dc0f8739be003ab9a057ed710a7db (MD5) / Made available in DSpace on 2018-02-02T14:31:03Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_(Des)EnredosAmor.pdf: 767158 bytes, checksum: b18dc0f8739be003ab9a057ed710a7db (MD5) Previous issue date: 2010-11-29 / O presente estudo parte do pressuposto de que os contos de temática amorosa de Lygia Fagundes Telles podem ser lidos como narrativas do fracasso amoroso. De forma poética e vibrante, as narrativas curtas da escritora apresentam a busca amorosa e o seu malogro e delineam um painel das angústias, tensões e frustrações do homem, que provém da experiência de viver e relacionar-se afetivamente com o outro. Para desenvolver essa hipótese foram analisados oito contos, que foram divididos em quatro percursos: amor-incomunicabilidade-solidão, amor-estranhamento-fragmentação, amor-egoísmo-culpa, amor-degradação-morte. Em nossa leitura, estes percursos traçam e trançam os (des)caminhos ou (des)enredos dos relacionamentos amorosos nos contos lygianos e possibilitaram analisar os valores sociais, ideológicos, filosóficos e psíquicos investidos e/ou virtualizados na tessitura narrativa, a fim de examinar e interrogar as representações de amor (des)construídas no universo ficcional da escritora. / This study assumes that the love-themed tales from Lygia Fagundes Telles can be read as narratives of love failure. In a poetic and vibrant way, the writer‟s short stories present the search for love and its failure, as weel as delineate man‟s anxieties, tensions and frustrations, which come from the experience of living and relating their feelings to other people. To develop this hypothesis, eight tales were analyzed, being divided into four tracks: love-incommunicability-loneliness, love-estrangement-fragmentation, love-selfishness-blame, love-degradation-death. In our reading, these tracks delineate and interlace the (mis)direction or (un)plots of romantic relationships in Lygia‟s tales and make it possible to analyze the social, ideological, philosophical and psychological values invested and/or virtualized in the narrative fabric, in order to examine and question the representations of love (des)constructed in the fictional universe of the writer.

Au, Sau Woon Rebecca. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstract also in Chinese; includes Chinese. / Au, Sau Woon Rebecca.

Made available in DSpace on 2016-04-27T16:34:08Z (GMT). No. of bitstreams: 1 Fabio.pdf: 801279 bytes, checksum: 3ae3c2a197e4c7797d01292372bda60f (MD5) Previous issue date: 2005-07-27 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This research focuses on Rui Barbosa´s participation in the educational debates during the last years of the Second Brazilian Empire (1840-1889), according to his counsels presented in 1882 about the public instruction reform established by Leôncio de Carvalho through the decree 7.247, from April 19, 1879. Although these counsels are related to all levels of education, this research analyses only the proposal to the secondary and professioal (technical, as it was called) levels. Having in mind some aspects of the current literature about the counsels and the propositions that guide the project Internacionalização Nacionalização de padrões pedagógicos e escolares do ensino secundário e profissional (Internationalization / Nationalization of scholar and pedagogical standards of the secondary and professional levels), this study intends to retake Rui Barbosa´s contribution to the configuration debate of the professional and secondary education under some aspects that have not been considered in the academic production that they were referred to. The main hypothesis goes against the idea that the counsels are a species of a pedagogical treaty , a copy of foreign ideas, without connection to the national reality. On the other hand they were presented as an illustrative text of the author´s idea of belonging to a certain political group, that was on a power dispute ahead of others, to talk and legislate about the public education in Brazil. Finally, it was noticed that the reform proposed by Rui Barbosa aimed at turning Pedro II school into a space of utilitary education for a society in a growing process of modernization. / Na presente pesquisa estuda-se a participação de Rui Barbosa nos debates educacionais nos últimos anos do Segundo Império brasileiro (1840-1889), mediante a análise dos pareceres que ele apresentou em 1882 sobre a reforma da instrução pública implantada por Leôncio de Carvalho através do Decreto 7.247, de 19 de abril de 1879. Embora os pareceres tratem de todos os níveis de ensino, esta pesquisa teve por objetivo analisar tão só a proposta para os ensinos secundário e profissional ou técnico, como chamado à época. Tendo-se em vista os aspectos da literatura corrente acerca dos pareceres e as proposições que norteiam o projeto Internacionalização-Nacionalização de padrões pedagógicos e escolares do ensino secundário e profissional, este estudo pretende retomar a contribuição de Rui Barbosa ao debate da conformação do ensino secundário e do profissional sob aspectos que não têm sido considerados na produção acadêmica que a eles fazem referência. A hipótese central aqui trabalhada investe contra a idéia de que os pareceres configurem uma espécie de tratado pedagógico, cópia de idéias estrangeiras, sem nexos com a realidade nacional. Diferentemente, buscou-se apresentá-los como um texto ilustrativo do pertencimento do autor a um determinado agrupamento político, que disputava frente a outros o poder de falar e legislar sobre a instrução pública no país. Ao final, percebeu-se que a reforma proposta por Rui Barbosa visava tornar o Colégio de Pedro II um espaço de formação utilitária para uma sociedade em crescente processo de modernização.