From Introduction: On 17 October 1876 a young man called James Butler embarked at Poplar Docks, London on the steamer Dunrobin Castle for distant Cape Town. His destination was Grahamstown in the Eastern Province of the Cape Colony, his purpose: to recover from a severe illness, probably tuberculosis, in a warm and sunny climate. He was twenty-two years and three months old. His sheltered Quaker background had not prepared him for life in a country strange in so many ways, much less for an experience which was to change the course of his life. His visit to South Africa lasted two and a half years: at the end of it his health was largely restored and he had decided that he might return to Cradock if the doctors in London thought it advisable. Cradock was the small Eastern Cape town where in fact he was to spend the rest of his life. The diary which he kept for that crucial two and a half years begins with the voyage to Cape Town and chronicles not only his travels around the Eastern Cape, but provides also a record of his own emotional growth from a somewhat insecure boy to an assured young man confident in his own future under God's guidance.

La présente étude consacrée au "Culte du Moi" de Barrès n'est ni un essai d'histoire littéraire, ni une étude des sources ¹, ni une thèse à proprement parler. Elle se limite à l'examen le plus scrupuleux possible du texte et ne fait appel à aucun élément d'explication extérieur à lui. Afin de respecter la chronologie essentielle à tout roman d'éducation ou de formation tel que celui-ci, l'auteur a choisi d'analyser les trois livres successivement. C'est l'analyse du vocabulaire qui s'imposait d'abord. A la manière d'un poète, Barrès invente en effet son propre langage et c'est d'abord à ce niveau qu'il se voit "differént" des autres, de ceux qu'il appelle les "barbares". Chacun des termes rencontrés: frisson, ardeur, sécheresse, désolation etc… ont été recensés selon leur fréquence et l'importance qui leur est accordée est relative à la place que chacun d'eux occupe dans "l'ideologie barrésienne". Ils expriment presque toujours des notions antithétiques ou compléntentaires et s'expliquent les uns par les autrese. Il arrive souvent aussi qu'un même mot-clé soit affacté de valeurs divergentes, voire opposes, d'un paragraphe a l'autre, sans que cela fasse contradiction. Ainsi le mot "solitude" a tantôt la valeur négative d 'isolement et d'agonie du Moi, tantôt au contraire la valeur positive d'exaltation et de surhumanité, ou même les deux à la fois. Le sens des mots est si peu figé que leur étude permet de suivre de façon sûre l'éducation du Moi par luimême dans ses rapports avec le monde de la vie active. Le vocabulaire joue un rôle si essentiel dans la conception génerale de l'oeuvre que les deux autres parties de cette étude analytique ne sont que le prolongement et l'élargissement de la première. Chaque notion importante est en effet au centre d'un thème dont on peut suivre les variations du début à la fin de la trilogie à travers les très nombreuses images qui l'expriment concurremment avec les "dialogues idéologiques". Quant à la structure de l'oeuvre, elle n'est pas une non plus et il a fallu en étudier les modalités livre par livre. Dans"Sous l'oeil des barbares", elle reflète le caractère dramatique du conflit et le désarroi du Moi qui ne voit d'autre issue que dans le repli sur soi. Elle se fait plus harmonieuse dans les deux autres volumes, au fur et à mesure oû le Moi se maîtrise et parvient à imposer un équilibre à ses deux parties, dont il ne veut justement sacrifier aucune. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

The following study is an analysis of New York reviews of performances of Maria Callas and Renata Tebaldi which attempts to discover what opera critics feel to be the most effective artistic balance between singing and acting in opera. Callas and Tebaldi have been chosen as the subjects of the reviews because of their renown as singers, the closely coinciding circumstances of their careers and the polarities which they represented in the issue of acting versus singing in operatic performance. The primary data of the study (largely opera, concert and recording reviews) has been taken from distinguished American journals, such as Saturday Review. The New Yorker. Musical America and The New York Times. Secondary information has been extracted from "news" journals, such as Time and Newsweeky and books, most of which were written by critics who figure prominently in the main body of the analysis. The information (consisting of news stories, personal interviews with the singers, and discussions of critical obligations) has been included in order to gain a broader perspective on the critics, the singers and the concept of acting in opera. The general conclusion reached in this study is that though most critics demand much musical and little dramatic finesse in operatic performance, they are capable of profound appreciation of a singer's histrionic talent and will overlook many vocal flaws when it is manifest. / Arts, Faculty of / Theatre and Film, Department of / Graduate

No description available.

Master of Science

Master of Science

1. The true measure of a sire's merit is the high average production of all his daughters and the excellent type of all his offspring, rather than the total number of Advanced Register daughters, or an exceptional individual. 2. The greatest foundation sire of the Guernsey breed is Presto 14 PS. 3. The two greatest foundation cows of the Guernsey breed are May Rose II 3251 PS and Itchen Daisy 3d. 15630. 4. The two greatest sires or the Guernsey breed, based on the production of their daughters, are Ne Plus Ultra 15265 and King of the May 9001. 5. The two greatest sires of the Guernsey breed, based on the showyard winnings of their offspring, are Hayes Cherub 2d 25147 and Ladysmith's Cherub 30760. 6. The four greatest sires or the Guernsey breed, based on both production and individual merit of offspring are King of the May 9001, Ne Plus Ultra 15265, Hayes Cherub II 25147, and Lord Mar 14359. 7. The two greatest dams of the Guernsey breed, based on the show yard winnings of their offspring, are Ladysmith or the Isle 28355, and Hayes Golden Cherry 3d. 44965. 8. The greatest sires of the Guernsey breed are the result of a cross between closely related families of linebred stock. 9. A study of the pedigrees of great sires, or the Guernsey breed, strengthens the conclusion reached in summary point 8. / Master of Science

This dissertation is a survey of the homiletical contributions of James W. Cox with particular emphasis upon his writings and methodology. Chapter 1 is an introductory chapter that explains the significance of this study. Heretofore no scholar has written on Cox as the sole subject of research. Chapter 2 is biographical, tracing Cox's background as far back as possible, then moving forward chronologically, leading up to the beginning of his teaching career at The Southern Baptist Theological Seminary. Attention is given to areas such as Cox's conversion experience, call to ministry, education, family, and occasions for pastorates. Chapter 3 is an overview of Cox's written homiletical contributions. The emphasis of this chapter is upon Cox's major homiletical books and articles. Interaction with other homileticians is provided where appropriate. Chapter 4 surveys Cox's hermeneutics for preaching. The focus of this section concerns Cox's convictions about Scripture and the location of meaning in a text. Chapter 5 examines Cox's homiletical method. The chapter surveys Cox's teaching and methodology concerning the preparation and delivery of sermons. Chapter 6 analyzes Cox's sermons. Eight sermons are critiqued according to guidelines Cox himself sets forth in his writings. Chapter 7 is an overview of how Cox is perceived by his colleagues. The author has excerpted critical comments from scholars who have reviewed Cox's published homiletical writings and has provided comments from five of Cox's colleagues who were interviewed for this chapter. Chapter 8 is a summary and conclusion. The significant homiletical contributions are summarized from each section of the dissertation. The dissertation includes six appendices: (1) Time-Line of Significant Events in Cox's Life; (2) Examples of Sermon Preliminaries; (3) Guiding Principles for the Interpretation of the Bible; (4) "A Meditation" (reproduction of weekly article written when Cox was a teenager); (5) Preaching Engagements; and (6) Miscellaneous Anecdotes and Information. / This item is only available to students and faculty of the Southern Baptist Theological Seminary. If you are not associated with SBTS, this dissertation may be purchased from <a href="http://disexpress.umi.com/dxweb">http://disexpress.umi.com/dxweb</a> or downloaded through ProQuest's Dissertation and Theses database if your institution subscribes to that service.

Les lettres de dom Marmion forment la partie la plus considérable de son œuvre écrite. Éclairées, ici, par une courte biographie, ces lettres révèlent chez un moine d'une activité apostolique débordante et sans frontière des problèmes fréquents de santé, dont seule une forte constitution pouvait triompher. Elles révèlent surtout un moine profondément humain, altruiste, soucieux de relation personnelle cœur à cœur, d'une simplicité ineffable, qui ne cachait pas ses sentiments; un moine sensible à toutes les beautés mais surtout à la bonté et à la souffrance des autres, très impressionnable, au point d'en souffrir lui-même, mais toujours accessible et attentif aux personnes; un moine cordial, impressionnant par sa douceur irrésistible, sa tendresse quasi maternelle, sa sagesse libératrice, souvent pétillante d'humour, et son courage inébranlable. En somme, un moine qui savait trouver le chemin des cœurs.

The Two Etudes: "Harmonies," and "Coulée" and the Volumina of Ligeti were performed following a lecture on avant-garde techniques in organ works of György Ligeti. The lecture included a brief discussion of earlier twentieth century antecedents of new sound materials and concepts, a biographical sketch of Ligeti and general style features of his works. The main body of the lecture included notational methods, specific style features, and performing scores of Ligeti's three organ works. In addition to the lecture recitals three other public recitals were performed which consisted of solo compositions for the organ.