Ese trabajo se divide en dos partes y propone hacer una lectura de La mansión de Araucaíma, de Álvaro Mutis, en dos niveles. La primer parte se centra en el primer nivel, que corresponde a la historia relatada por el narrador y refiere cómo es la vida en la mansión de Araucaíma, que se constituye como la de un claustro que recibe su orden de la relación constante que mantiene con lo sagrado. En esta sección se ve cómo el lenguaje construye una atmósfera ritual, grave y trascendente. El segundo nivel observa no solo la historia, sino al narrador contándola. Este, mediante una operación paródica del lenguaje, cuestionará lo afirmado en el primer nivel: no hay un universo divino que ratifique el orden de vida en la mansión, por lo que toda ritualidad se demuestra vana y condenada al fracaso. Esta investigación concluye que el relato se presenta como un juego, en el que el lenguaje construye a la vez que destruye. De esta manera, se niega toda presencia trascendental y tranquilizadora que le confiera orden y estructura al universo.

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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

Lorsque l'on parle d umouvement automatiste, on pense surtout aux moyens d'expression artistique reliés à la peinture et à la littérature. La danse trop longtemps oubliée par les historiens, tint pourtant une place importante dans l'univers automatiste. Françoise Sullivan, Françoise Riopelle et Jeanne Renaud, toutes trois signataires du Refus global, sont les noms que l'on associe à la danse dite automatiste. Ce mémoire traite de l'activité d'une de ces trois danseuses, Françoise Sullivan, qui fut l'une des pionnières de la danse moderne du Québec. Nous avons tenté de brosser un tableau de l'activité artistique, dans le domaine de la danse, de Françoise Sullivan entre 1940 et 1950. Cette reconstitution est fondée sur les témoignages recueillis auprès de Françoise Sullivan elle-même ainsi que sur ceux de Jeanne Renaud et de jeunes danseurs qui ont interprété les oeuvres présentes et passées de l'artiste. Notre travail se divise en deux parties. La première traite du mouvement automatiste, et la deuxième de l'activité chorégraphique de Françoise Sullivan pendant la période qui fait l'objet de notre étude. / Montréal Trigonix inc. 2018

Le présent mémoire explore l'utilisation des oeuvres d'art par la publicité afin de mettre en relief la contradiction entre la gratuité de l'oeuvre d'art et l'intérêt marchand. Ce mémoire tente d'expliquer, à partir de la théorie de la médiation du désir de René Girard, l'instrumentalisation, et par là, la "dé-définition" des oeuvres d'art intégrées à la publicité dans un contexte capitaliste. / Québec Université Laval, Bibliothèque 2013

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.