The five last vocal works of Claude Vivier: Lonely Child, Bouchara, Prologue pour un Marco Polo, Wo bist Du Licht! and Trois airs pour un opera imaginaire have in common different stylistic characteristics. The detailed analysis of these characteristics reveals the influence of tonal music in the melodic, harmonic and formal construction of these works. The tonal character of the music is masked by total chromaticism and the presence of harmonic spectra built through frequency addition, a technique borrowed from spectral music. These five works are also related by the use of an imaginary language, characteristic of Vivier's late music, serving a dual semantic and musical function. The conclusion of this thesis will discuss the evolution of these various characteristics in the context of Claude Vivier's life and aesthetics.

This thesis studies the works of Gabrielle Roy in an attempt to bring to light both the continuity and the evolution that characterize the novelist's writing. To do so, her works have been divided into four groupings. The first, composed of Bonheur d'occasion, La Petite Poule d'Eau and Alexandre Chenevert, identifies the poles of a paradox around which all of Roy's subsequent novels are articulated: disenchanted realism and idyllic chronicle are bridged, in an ironic mode, through the story of the Montreal bank teller. / The second grouping, also governed by this principle of alternation whereby each book seems to be the contrary of the one that precedes it, examines works of autobiographical inspiration (Rue Deschambault and La Route d'Altamont) and allegorical, almost didactic narratives (La Montagne secrete, La Riviere sans repos). / The novels that form the third grouping no longer oppose each other but rather bear the signs of a reconciliation that will only be realised fully in Roy's autobiography, La Detresse et l'Enchantement. Cet ete qui chantait, Un jardin au bout du monde, Ces enfants de ma vie and De quoi t'ennuies-tu, Eveline? combine work of autobiographical inspiration and third-person narratives, eliminating the barriers between the realistic, ironic and idyllic universes. / To each distinct form chosen by the author correpond a particular voice and a specific style of writing, which, although differing from book to book, nonetheless share common elements: doubt and hesitation, oppositions, questionings and interrogations. These are indicative of a new paradox, lodged in the writing itself, and which reveals itself through the co-presence of opposing perspectives. The different voices and the points of views they express reappear in La Detresse et l'Enchantement and Le temps qui m'a manque, which make up the fourth and final grouping. In her autobiography, Roy integrates these voices in order not to merge them into one, but to allow them to express themselves in a first-person plural narrative.

There is no abstract available for this thesis.

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Bibliography: leaves 338-360. / 360 leaves ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Thesis (Ph.D.)--University of Adelaide, Dept. of English, 1997?

OLIVEIRA, Ana Amélia Rodrigues de. Em busca do Ceará: a conveniência da cultura popular na figuração da cultura cearense (1948-1983). 2015. 297f. – Tese (Doutorado) – Universidade Federal do Ceará, Programa de Pós-graduação em História Social, Fortaleza (CE), 2015. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2015-07-30T11:45:18Z No. of bitstreams: 1 2015_tese_aaroliveira.pdf: 5906687 bytes, checksum: bd5582a4dbd0456dc85ef643c2585e12 (MD5) / Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2015-07-30T13:15:03Z (GMT) No. of bitstreams: 1 2015_tese_aaroliveira.pdf: 5906687 bytes, checksum: bd5582a4dbd0456dc85ef643c2585e12 (MD5) / Made available in DSpace on 2015-07-30T13:15:03Z (GMT). No. of bitstreams: 1 2015_tese_aaroliveira.pdf: 5906687 bytes, checksum: bd5582a4dbd0456dc85ef643c2585e12 (MD5) Previous issue date: 2015 / A partir do século XIX os intelectuais que se dedicaram aos estudos sobre o folclore idealizaram a produção popular imobilizando-a numa temporalidade e espacialidade que a deixaram deslocada do mundo no qual estava inserida, sempre associada ao aspecto da tradição. No entanto, algumas transformações ocorridas em meados do século XX modificaram os sentidos atribuídos à cultura popular, que passou a ser significada não apenas a partir da perspectiva simbólica, mas também política e material, associando a ela novas temporalidades. O objetivo desse trabalho é analisar como a definição de “cultura cearense” se inseriu nessa nova estrutura de entendimento sobre a cultura popular, que deslocou e absorveu outros conceitos a ela conferidos, incluindo o de conveniência. É investigar como Estado, intelectuais, instituições culturais e outros grupos ajudaram a mobilizar certas práticas simbólicas como recurso para diversos setores, demarcando novos lugares e funções do popular no período analisado (1948-1983).

see document / Master of Engineering

no abstract provided by author / Master of Engineering

no abstract provided by author / Master of Engineering