Olivier Messiaen's compositions for voice, though less widely known than his instrumental works, span some forty years and comprise a fifth of his total output. They have hitherto not been subject to much attention. A study of the elements comprising the vocal lines and accompanying instrumentation from the piano-voice song set, Trois melodies (1930), to the vast orchestral-choral La Transfiguration de Notre Seigneur Jesus-Chlist (1969) reveals, amongst other characteristic and evolving features, the emergence of a unique, simulated, plainchant style and its subsequent transformation into incantation with suitably modified accompaniment. While wide-ranging, chromatic and rhythmically free vocal lines are typical of many twentieth century compositions, Messiaen's use of such features is found to be novel, by virtue of the peculiar modal and temporal ambits within which he operated. Vocal delivery is progressively expanded from conventional bel canto production to humming, howling,and eventually speech and percussive sounds and reaches an apotheosis in the virtuoso effects of Cinq Rechants (1949). This recedes somewhat in La Transfiguration, which displays instead a wealth of hybrid plainsong-type writing. Choral works are interesting in that the emphasis shifts from standard part-writing to monody or accompanied unison singing, with an attendant absence of characterised solo parts. By constantly varying the colour of the single melodic line with different permutations of voice types, timbre assumes a new importance, particularly in La Transfiguration. The study of the texts, most of which were conceived by the composer simultaneously with the music, contributes much to the understanding of each work. Biblical symbolism in the early lyrics is progressively enriched by references to numerological, mythological and nature symbolism, mixed in an increasingly Surrealistic manner. The gradual incorporation of emotive phonemes in the texts, culminates in the invented language of Cinq Rechants. The thesis thus reveals an evolving yet persistently idiosyncratic vocal style, which establishes Messiaen as one of the most original composers of his time. It further demonstrates that his vocal works are an important component of his total oeuvre and also a significant contribution to twentieth century vocal literature.

This diploma thesis deals with mapping of history of the ballet ensemble of F. X. Šalda Theatre since the end of the Second World War till present. Considerable attention is paid to the most significant artistic directors, choreographers, and ballet performances, most importantly to the life and works of Jarmila Jarošová, a principal dancer with that ensemble. Firstly, the origin of Czech theater in Liberec is put into its broader historical and political context. Also, the Czech-German coexistence issue is mentioned as well as the brief development of German theatre in that region. A list of both artistic directors and ballet performances since the first Czech theatrical season in Liberec till present is an inseparateble part of the thesis.

xiv, 141 p. : ill. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / Twentieth-century British figurative painter Francis Bacon (1909-1992) is perhaps best known for his near-obsessive series of papal paintings inspired by Diego Velazquez' renowned portrait Pope Innocent X (1650) and created over the course of Bacon's entire artistic career. The artist's working process plays a crucial role in understanding this celebrated and varied series. Bacon deliberately avoided Velazquez' "original" portrait, preferring instead to work with photographic reproductions of the piece alongside a large collection of seemingly disparate visual material in his chaotic studio at 7 Reece Mews (South Kensington, London, England). This thesis proposes that Bacon explored issues of mechanization, fragmentation, and repetition through these visual juxtapositions in order to offer a critique of artistic and religious institutions. / Committee in Charge: Dr. Kate Mondloch, Chair; Dr. Lauren G. Kilroy; Dr. Ellen Rees

What do Plato, Jean-Jacques Rousseau, Thomas Hobbes, Rene Descartes, John Locke, David Hume, Ludwig Wittgenstein, Gilbert Ryle, Immanuel Kant, and the Marquis de Sade have in common? Spanning centuries and - when it comes to Plato - millennia, they are key figures of Western philosophy who have discussed ideas of reality, knowledge, existence, the state of nature, and morality, ideas which are central to Angela Carter's novels. In this thesis, I position Carter as a (de)philosophiser, and argue that she deconstructs the pivotal theories of Western philosophy, while also philosophising on the same concepts, contributing a female voice to this overwhelmingly androcentric discipline. In doing so, I contribute the first in- depth discussion of Carter's philosophical intertextuality to Carter criticism, going beyond Carter's explicit references that, to date, have been acknowledged by Carter scholars; although this is an original topic, the originality of my argument is boosted by my references t) the archival material that comprises the Angela Carter Papers Collection. The thesis is structured according to Carter's engagement with the range of Western thinkers aforementioned, focusing on Plato's impact on Heroes and Villains (1969), The infernal Desire Machines of Doctor Hoffman (1972) and The Passion of New Eve (1977) in Chapter One, while Chapter Two is dedicated to Carter's analysis of Hobbes and Rousseau's arguments in Heroes and Villains. In Chapter Three I discuss Descartes (in relation to Doctor Hoffman), Locke (vis-a-vis Shadow Dance, 1966, New Eve, and Nights at the Circus, 1984), and Hume, with reference to Several Perceptions (1968) and Love (written 1969, published 1971). Wittgenstein and Ryle's impact on Doctor Hoffman and Carter's time in Japan are examined in Chapter Four. The fifth and final chapter concentrates on Carter and moral philosophy, paying particular attention to Kant and Sade and discussing Shadow Dance, Several Perceptions, and Love, as well as Doctor Hoffman and The Sadeian Woman (1979).

Memoria (licenciado en ciencias jurídicas y sociales) / No autorizada por el autor para ser publicada a texto completo / Esta tesis tiene como propósito efectuar un análisis crítico de las sentencias de primera instancia de los tribunales electorales regionales y de segunda instancia del Tribunal Calificador de Elecciones, pronunciadas en elecciones municipales y de asociaciones intermedias en general, entre los años 1992 y 2000.

No abstract available. / Dissertation (LLM)--University of Pretoria, 2013. / Centre for Human Rights / unrestricted

Master of Science

Master of Science

Master of Science

<p>This report focused on the suboptimization of a logistics support system that is assumed to be in existence. A minimum steady-state level of spares was sought to meet a demand due to the discarding of failed items.</p> / Master of Science