This project is an analytical and comprehensive study of the music of Venezuelan composer Paul Desenne, concentrating on his sonata, 'Jaguar Songs' for cello solo, written in the year 2002. The sonata, 'Jaguar Songs,' was written for French cellist Iseut Chuat and received the premiere performance by the composer Paul Desenne the following year in London. This sonata is a perfect tool for understanding Desenne's work and what I call his musical hybridization, which I consider to be a groundbreaking compositional style that will shape not only Venezuela's, but also Latin America's musical identity. After several personal interviews with the composer, I was able to deepen my understanding of his work. In the following pages I have analyzed 'Jaguar Songs' for cello solo and explained the influences and characteristics of Desenne's music.

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Texte remanié de: Doct. diss.--Law--Yale law school. / Notes bibliogr. Index.

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One of the key expressions in 20th century literature and philosophy is "the absurd", a term much employed by modern man to communicate his sense of a universe where human life appears to lack transcendant significance. The French existentialists, in particular Jean-Paul Sartre, deal extensively with this problem and how to confront it without falling victim to the despair, nausea, emptiness and anguish that inevitably follow. Unlike Sartre and Camus whose treatment of the absurd is essentially grave in tone, Boris Vian injects humour and fantasy into a work that remains nonetheless profoundly significant and moving. The laughter he provokes is tinged with echoes of despair; his very humour intensifies our sense of the absurdity implicit in the human condition. Vian's five principal novels, Vercoquin et le Plancton, L'Ecume des Jours, L'Automne à Pékin, L 'Herbe Rouge, and L'Arrache-Coeur reflect a marked preoccupation with man's quest for happiness, in his opinion the only valid raison d'être. The question remains nevertheless, how to attain this happiness in a universe fraught with obstacles which seem expressly destined to deny it. This thesis examens Boris Vian's enquiry into the nature of these obstacles to happiness, into the sources of man's sense of the absurd: firstly with regard to modern society and its judicial, educational, political, and religious institutions; secondly as regards the private life of the individual, in particular his experience with love in its diverse forms; thirdly in view of man's metaphysical situation, his place in the universe, his relationship to objects, to others and to himself. The study of the absurd in each of these three categories occupies the first three chapters of this thesis. The fourth and final chapter deals with the author's reactions to his overwhelming impression of life's absurdity. The impossibility of reconciling his own fundamental individualism with the total political commitment advocated by Sartre leads Vian to adopt an attitude resembling a type of contemporary epicurism. Fleeting moments of sheer joie de vivre in the work of Vian in some measure lighten the shadow of pessimism planing over his vision of life. His best defense against the absurd however, is his ability to translate it, to communicate it, and to attack it through parody, caricature, burlesque, and satire, in a literature not completely unlike that of Ionesco and Beckett, where one is at last permitted to laugh. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

The poems and novels of Edwin Muir are closely linked by their themes and images, and the insights reached in the mature poems resolve the problems implicit in the earlier, less successful work. Despite its thematic unity, however, Muir’s poetry is not the expression of a conscious, systematic view of the world, but a sustained attempt to create a sense of the depths inherent in human experience. His poems aspire not towards a statement of truth, but towards a sense of total presence, in which being is infused with consciousness. The experience of presence is reached through the imaginative experience of absence, when the barriers between the mind and the world seem insurmountable. The thesis examines the growth and resolution of this dualistic vision of life, with its roots in Muir’s early experience. His years of poverty in Glasgow forced him to see man's misery and degradation, yet in his dreams he experienced states of limitless union and freedom, which seemed to show that the human being is not bound by time and circumstance. Muir's creative phase began in Germany, when his reading of German poets and novelists helped him to set his experience of suffering and deprivation within an imaginative vision of life. / Arts, Faculty of / English, Department of / Graduate

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no abstract provided by author / M.S.

The Kent Window is located along U.S. Highway 11 between Wytheville, Fort Chiswell, and Max Meadows. It is surrounded by the Elbrook formation to the northwest and the Rome formation to the southeast and southwest, which make up part of the Pulaski thrust block. The rocks exposed within the window are the Conococheague formation, limestones and dolomites of Beekmantown age, the Mosheim limestone, the Lenoir and Fetzer limestones and the Liberty Hall black shaly limestone. The window is bounded by a prominent zone of tectonic breccia and brecciated limestones and dolomites nearly a mile wide on the northwest side but only a few hundred feet wide on the southeast side. The rocks within the window have been folded into a recumbent overturned anticline whose roots lie to the southeast. In the southwest corner of the window, a small asymmetric anticline is thrust northward obliquely over the nose of the recumbent anticline. The evolution of this structure involves a single episode of compression. The Cambro-Ordovician rocks were folded into a recumbent overturned anticline. Subsequently, the top part of the anticline and the overlying rocks were thrust to the northwest. The final stages of compression resulted in the warping of the Pulaski fault surface. / Master of Science

The upper Roanoke River Valley area lies in the Valley of Virginia in Montgomery and Roanoke counties, and is about 100 square miles in area. All but the oldest of the mapped units shown on Plate l are of Paleozoic age and of sedimentary origin. The Precambrian rocks that crop out on Poor Mountain were not subdivided or studied in detail in the field. The aggregate thickness of the Paleozoic rocks in the area is approximately 5,600 feet. However, parts of these formations are either cut off by faults or are covered by overthrust sheets. The structure of the area consists of two overthrust sheets and several small anticlinal folds in formations of the overridden block. The lower overthrust sheet (Salem thrust block) has considerable stratigraphic displacement; a formation of Middle Cambrian age has been brought into contact with formations which range in age from Cambrian to Devonian. The upper overthrust sheet (Max Meadows thrust block) has only slight stratigraphic displacement, as the formations on either side of the fault are of Cambrian age. An extensive zone of breccia is associated with the fault beneath the upper overthrust sheet. Minor faults and folds are present in the formations of both overthrust sheets as the result of deformation both prior to and during movement along the faults. The only operations at the present time which utilize the mineral deposits of the area are quarries in shales to supply a brick plant. Limestone and dolomite for crushed stone have been quarried in the past. Traces of lead and zinc sulphides and iron are also present. Ground water in quantities of economic importance may be present within solution channels in dolomites of the Rome and Elbrook formations. In general, the alluvial deposits in the area are too thin and contain too much interstitial clay to be of importance as large sources of ground water. / Master of Science