Este estudo pretende analisar a obra romanesca de Laury Maciel, constituída por Noites no Sobrado(1986) e Rosas de Papel Crepom(1992), baseado em aspectos como melancolia, saudosismo, ironia e pessimismo, sob a ótica da Sociologia do Romance e da Teoria do Romance, de Georg Lukács, que apresenta o conceito de herói problemático e sua busca pela totalidade. Além disso, procura situar a obra do autor no conjunto da produção literária sul-rio-grandense dos anos 70 e 80, especialmente do gênero romance.

Este estudo pretende analisar a obra romanesca de Laury Maciel, constituída por Noites no Sobrado(1986) e Rosas de Papel Crepom(1992), baseado em aspectos como melancolia, saudosismo, ironia e pessimismo, sob a ótica da Sociologia do Romance e da Teoria do Romance, de Georg Lukács, que apresenta o conceito de herói problemático e sua busca pela totalidade. Além disso, procura situar a obra do autor no conjunto da produção literária sul-rio-grandense dos anos 70 e 80, especialmente do gênero romance.

Este estudo pretende analisar a obra romanesca de Laury Maciel, constituída por Noites no Sobrado(1986) e Rosas de Papel Crepom(1992), baseado em aspectos como melancolia, saudosismo, ironia e pessimismo, sob a ótica da Sociologia do Romance e da Teoria do Romance, de Georg Lukács, que apresenta o conceito de herói problemático e sua busca pela totalidade. Além disso, procura situar a obra do autor no conjunto da produção literária sul-rio-grandense dos anos 70 e 80, especialmente do gênero romance.

This thesis is an attempt to describe and analyze Lenin's theoretical and practical approaches to the Ukrainian question in particular and the nationality question in general. It seeks to ascertain the role and importance of the Ukraine, Ukrainian institutions and, to some extent, Ukrainian personalities, in Lenin's published work both before and after the revolution. Furthermore, this thesis attempts to discover the role of the national and Ukrainian questions in relation to Lenin's other concerns of expediting the proletarian revolution and of maintaining organizational and governmental unity. Several conclusions of a general and particular nature have been reached. The national question in Lenin's works is a part of the general question of the socialist revolution, however, it is definitely a subordinate one: socialist concerns inevitably predominate over nationalist ones. It is also evident that Lenin stressed unity and centralism above any other organizational attribute. The highest degree of unity was mandatory if the revolution was to be made and consumated. Nationalism, however, was particularistic and by its very nature contradictory to Lenin's centralist views. Lenin was aware of Ukrainian peculiarities but he preferred to ignore them in most instances until he felt that to continue so doing would retard the revolution. It is for this reason that his attitude on the Ukrainian question seemed ambivalent. Lenin was willing to make concessions of form rather than substance: he advocated the right to national self-determination while ensuring that this right could never be exercised, he established federal relations with the Ukrainian government while arrogating all real power in the center, and he promoted Ukrainization in all Ukrainian organizations and institutions with the exception of the party. The ultimate goal of all these concessions was invariably unity and centralization. This thesis argues that, in order to be fully understood, Lenin's nationality theory and his application of it to the Ukraine must be conceptualized at two levels. At one level Lenin was concerned with the reality of making a revolution and this required allies from the nationalities. For this reason he conducted a propaganda campaign calculated to appeal to the nationalities and especially the Ukrainians. At the same time, while he was ostensibly demonstrating the similarities between the aims of the Bolsheviks and the nationalities, Lenin never lost sight of the concrete historical conditions of that period. His attitude to the nationalities and Ukrainians was a function of the progress of the revolutionary movement. At this level Lenin's nationality-theory and practice was historically relative and in his work he allowed for the possibility that his views would change as the historical situation changed. Lenin saw nationalism as an ephemeral phenomenon and essentially negative concept. The national movement in general and the Ukrainian one in particular was viewed in instrumental terms. Lenin hoped that he could use this movement as a means to more quickly achieve the goals of unity and assimilation in the most expeditious manner. / Arts, Faculty of / Central Eastern Northern European Studies, Department of / Graduate

In the laissez-faire system of the late nineteenth century, Sir Edmund Walker, Canadian businessman, saw his life in terms not of his personal gain, but of his service to his country. His Victorian curiosity and ethic of service prompted him to work for Canada in many varied areas from banking, to the arts, to planning a new imperial structure in the Round Table. By World War I, however, this Victorian ethic could no longer survive in the modern world which had evolved. Government also ended laissez-faire by entering fields which business philanthropy had neglected. While most Canadians seemed to recognize Sir Edmund's achievements, after the war they scoffed at his outdated views of service. Byron Edmund Walker, born in 1848 in Haldimand County, Ontario, was the eldest son of a poor, but educated, middle class, English family. Their love of culture and science was transmitted to him at an early age. Although he started banking at twelve, becoming president of the Canadian Bank of Commerce in 1907, Edmund Walker did not neglect this cultural heritage. The Champlain Society, Royal Ontario Museum, University of Toronto, National Gallery, Art Gallery of Ontario, and Guild of Civic Art in Toronto are some of the institutions which he worked for, or helped to found. During this same period Sir Edmund also built up the Canadian Bank of Commerce, the nation's second largest bank, and as the foremost banker in Canada, he led discussions at the decennial revision of the Bank Act. A self-made millionaire, Walker died in Toronto in 1924. Because his career coincided with Canada's greatest boom, from about 1900 to 1914, it is difficult to establish how much Sir Edmund's efforts actually contributed to his many accomplishments. This is further complicated by the fact that in these ventures he was assisted ably by Zebulon Lash, his enigmatic, corporation lawyer friend. Yet with qualifications, Walker's 'service' to Canada is still outstanding. This thesis, then, is primarily an examination of Sir Edmund Walker's ideas, and how they functioned in his Canadian environment. / Arts, Faculty of / History, Department of / Graduate

Despite an ever-increasing number of specialized studies in music theory, only a limited number can be found which examine the music of Gabriel Faure. Most discussions of this music are in context of a historical overview, with emphasis on Faure's use of modality. This thesis presents detailed analyses of songs from the cycle Le Jardin Clos, Op. 106, and highlights several aspects of Faure's style. Various earlier songs are brought into the discussion in order to trace stylistic development and present evidence for views taken with regard to Le Jardin Clos. Although modality is periodically discussed (particularly in Chapters III and IV), the focus is not on this feature. Chapter I introduces the notion of ambiguity, a problem encountered commonly in the analysis of Faure's music. It then proceeds to point out one source of ambiguity--harmonic progressions derived from the implications inherent in the motions of outer voices. Particular attention is given to instances where the outer voices move "in contrary motion to create wedge-shaped structures. In this chapter, linear motion is emphasized. Chapter II turns to various structures of third-relation. The most extended portion of the chapter is devoted to a discussion of the "superchord", a tertian structure which, although heard in segments only, appears as a controlling element in larger areas of music. Distinction is made between this phenomenon and a normal progression in thirds (i-VI-iv). Other structures related to the superchord are also considered. The last example of Chapter II shows a structure based on a combination of a tertian design and a wedge shape. In Chapter III, various non-traditional ways of treating the leading tone are examined. In addition to leading tones which are lowered (in modal and tonal contexts) or avoided, the discussion concentrates on melodic lines which rise to the leading tone and retreat downward. Chapter IV reviews melodic characteristics encountered up to that point, and, with the addition of further features, presents a melody typical of Faure's later style. The major issue in this chapter concerns melodies that center around the fifth degree of the scale. The final chapter returns to the topic of ambiguity by discussing instances where two tonal centers are juxtaposed. This feature of Faure's music is distinguished from bitonality, as the latter is generally understood. / Arts, Faculty of / Music, School of / Graduate

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A translation research project submitted to the Faculty of Arts, University of the Witwatersrand, Johannesburg, in partial fulfillment of the requirements for the degree of Master of Arts in Translation. / This research project focuses on two English translations of Franz Kafka's short story "Die Verwandlung". (Abbreviation abstract) / AC 2018