xxviii, 592 p. : ill., music / This dissertation investigates the music and liturgy of the German Benedictine convent of Kloster Preetz as reflected in three fifteenth-century manuscripts: the Buch im Chor of prioress Anna von Buchwald, an antiphoner and a gradual. Chapter II describes the convent's music and liturgy and the cantrix's responsibilities, showing that the cloister practiced an unusually elaborate liturgy. It examines Anna's account of an episcopal visitation and explains resulting reforms. Chapter III examines the musical and liturgical roles of the cloister's children. I also present evidence of a group of female "professional" singers who contributed to the music on important occasions and examine Anna's descriptions of rules governing children's lives, the training of young cantrices, and cloister entrance rites. Chapter IV presents a physical description of the convent's gradual and antiphoner and an analysis of their scripts and notation, arguing for the presence of a convent scriptorium that fostered a unique notational lineage. Chapter V discusses music for the mass in the gradual, focusing on the genres of introit trope, alleluia, and sequence. A comparative analysis suggests an early and melodically conservative transmission of tropes. An analysis of alleluia assignments suggests a likeness to the manuscript I-Rvat 181 (Erfurt) and to the liturgical predecessor of a repertoire eventually promulgated by the Bursfeld reform. I furthermore describe six previously undocumented alleluias. A comparison of the sequence repertoires of Preetz and Lübeck shows that the cloister maintained a rich and unique selection. A case study of the melody OCCIDENTANA/REX OMNIPOTENS confirms a Rhenish origin for the earliest repertoire. Four unusual late sequences are analyzed for their textual and theological complexity. The cloister's unique version of the sequence Letabundus exultet reflects the convent's Marian devotion, hints at its imperial origins, and serves as self-depiction of the nuns' devotional practices. Chapter VI describes music for the office preserved in the antiphoner. An analysis of a previously unknown office for St. Blaise suggests that it may be a lost composition of tenth-century composer Reginold of Eichstätt. An added proper office for St. Matthias bespeaks a liturgical connection to Trier, likely transmitted through the Bursfeld movement. / Committee in charge: Dr. Lori Kruckenberg, Chairperson; Dr. Anne Dhu McLucas, Member; Dr. Marc Vanscheeuwijck, Member; Dr. Lisa Wolverton, Outside Member

My diploma thesis deals with classical dancing in our country, I have tried to map different influences and the development of classical dancing since the coming of Augustin Bergr. I focused on variol styles and of course on persons who brought all the changes. Textbooks and manuals of dancing have also been dealt with.

This dissertation examines the literature of royal consorts in Stuart England. Critics and historians have devoted considerable attention to the creation of the monarch’s image during this tumultuous period, which witnessed two revolutions and the explosion of print. We know that the Stuart monarchs embraced different forms of visual media – including pageantry, portraiture and print – to disseminate their image within the court and to a broader public. However, the extensive literature about the royal consorts remains under-examined. My thesis makes an original contribution to scholarship by exploring what texts were written about the royal consorts, by whom, and how these writers constructed images of the royal consorts that participated in broader debates over the status of the monarchy. The dissertation is divided into two main parts. Part 1 comprises six chapters that analyse succession writing, when a new monarch came to the throne and established their iconography for the new reign. I draw on hundreds of texts that were printed about the Stuart consorts at these moments. These writings span a variety of genres, from poems and plays to sermons and political pamphlets. I investigate the literature of each succession in turn, analysing the main themes and motifs that emerged. This approach enables me to uncover a swathe of anonymous and under-utilised literature, but also re-interpret works by more canonical writers such as Aphra Behn. I ask how the royal consorts themselves, their spouses and members of the public could influence the creation of the royal consorts’ images at these moments. Critically, I also compare the conventions that were used to describe the consorts across the century. Part 2 analyses how writers re-constructed ideals for the royal consorts in Restoration England, as debates about the structure of the monarchy came to be more explicit. Chapter 7 concentrates on images of Henrietta Maria when she returned to England as Queen Mother. Chapter 8 asks how writers adapted former models of representation to praise Catherine, the infertile queen, when it became clear that she would not bear an heir. Finally, Chapter 9 examines the numerous secret histories and romances that were authored about Mary Beatrice’s purported behaviour during her exile in the 1690s. These chapters highlight the continued importance of these women and examines how writers constructed their legacies. As a whole, the literature about the royal consorts reveals a dynamic project as part of which authors engaged with and adapted earlier models of writing. This enabled them to address broader questions about changes in the nature of the Stuart monarchy and political life.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This study aims to investigate the existence of a metafictional poetics developed along the literary production of Sérgio Sant'Anna, which would culminate in the book O voo da madrugada (2003). The main goal is to show how it is possible to think O voo da madrugada as the resumption and systematization of Sérgio Sant Anna s work in which the writer would seek to transform in fictional matter the three instances of the literary process creation, work, reception which are themed, respectively, in the three parts into which the book is divided. For this purpose, first of all we sought to study the phenomenon of textual metafictionality in its relationship with postmodernism in order to check what is the specificity of contemporary metafiction and what modes and forms it may assume; later, the literary production of Sérgio Sant'Anna was analyzed in parallel to contemporary Brazilian literature, in order to investigate what are the metafictional trends assumed by Sant Anna s fiction and what is its position in the Brazilian literary scene, and then study how these trends converge systematically in the book O voo da madrugada. / Este trabalho tem como meta investigar a existência de uma poética metaficcional desenvolvida ao longo da produção literária de Sérgio Sant Anna, que culminaria no livro O voo da madrugada (2003). O objetivo principal é mostrar como é possível pensarmos O voo da madrugada como a retomada e sistematização da obra sant anniana, em que o escritor buscaria transformar em matéria ficcional as três instâncias do processo literário, criação obra recepção, que são tematizadas, respectivamente, nas três partes em que o livro é dividido. Para tanto, buscou-se estudar, primeiramente, o fenômeno da metaficcionalidade textual em sua relação com o pós-modernismo, a fim de verificar qual é a especificidade da metaficção contemporânea e quais os modos e as formas que ela pode assumir; posteriormente, a produção literária de Sérgio Sant Anna foi analisada em paralelo à literatura brasileira contemporânea, no intuito de investigar quais são as tendências metaficcionais assumidas pela ficção sant anniana e qual é a sua posição no cenário literário brasileiro, para então estudarmos como essas tendências confluem sistematicamente no livro O voo da madrugada.

In the last few decades interest in the life and work of Elisabeth Vigée-Lebrun has increased significantly, with numerous publications and a retrospective exhibition dedicated to her oeuvre. Yet, while much new and valuable information has been introduced, very little of it deals specifically with the period from 1795-1800 when she lived as an émigré in Saint Petersburg, Russia. In this thesis I analyze two Russian portraits by Elisabeth Vigée-Lebrun, in relation to two earlier works she painted in Paris, the duchesse d’Orleans (1789) and Marie Antoinette, Queen of France (1783), elucidating the overt similarities to her earlier portraiture practice and exploring the cultural and political climate in which they were created. I argue that the Imperial family as well as the upper echelons of Russian society actively utilized imagery associated with the Ancien Régime to depict a perceived stability at a time when much of Europe was in flux. This political maneuver afforded Vigée-Lebrun the opportunity to live and work in a society similar to the one she left behind in Paris, Russia served thus as a surrogate for Ancien Régime France. In addition to examining the socio political climate of Russia, I consider portraiture practices in general, noting opposing trends that were developing contemporaneously elsewhere in Europe and review Vigée-Lebrun’s unusual status as an émigré. By contextualizing Princess Anna Alexandrovna Golitsyna and Empress Maria Fyodorovna I provide reasoning for her surprising level of success in Saint Petersburg while simultaneously highlighting the importance of this period in Vigée-Lebrun scholarship.

In die 1970’s (voor die ontwikkeling van gevorderde klanktegnologie) was Afrikaanssprekers gedwing om hulle self te vermaak. Volksliedjies en ander Afrikaanse liedjies is dikwels onbegeleid of met eenvoudige begeleiding gesing. In skole is kinders aan verpligte sangonderrig blootgestel en Afrikaanse kinderliedjies soos dié van Anna Rudolph is landwyd deur Afrikaanssprekers gesing. Vandag (2011) word hierdie liedjies baie selde gehoor, en sonder “backtracks”, mikrofone en klankversterkers vind feitlik geen kindersang meer plaas nie. Die doel van die studie is gemotiveer deur twee moontlike negatiewe gevolge van foutiewe aanvangsonderrig in ag te neem: die huidige (2011) positiewe resepsie van onaanvaarbaar geïntoneerde en swak gekomponeerde populêre liedere, en baie Afrikaanssprekers se skynbare onvermoë om te kan sing. Deur op die vertrekpunt van musiekonderrig en spesifiek die aanleer van Afrikaanse kinderliedjies soos dié van Anna Rudolph te fokus, is resepsie-aspekte van Afrikaanse kinderliedere uitgewys. Die literatuurstudie het die bestudering van Afrikaanssprekers se sangkultuur vanaf die 1970’s tot vandag (2011) en die resepsie van kinderliedere deur kinders behels. ’n Kwalitatiewe navorsingsontwerp is gebruik. Verskeie onderhoude is gevoer. 45 van Rudolph se kinderliedere is geëvalueer volgens erkende kriteria vir kinderliedere en ’n katalogus van die kultuurbydrae van Rudolph is saamgestel. Die uitvoer van ’n veldproef wat die samestelling van ’n nuwe Anna Rudolph-CD en -bladmusiek insluit, onderskei hierdie navorsing van enige vorige soortgelyke studie. Probleme ondervind tydens die studie sluit die finansiering van die produksie van die CD en die voortdurende bemarking en verkope daarvan in. Die saamstel van die katalogus van Anna Rudolph se kultuurbydrae het ’n uitgebreide soektog behels en is steeds onvolledig, aangesien Rudolph op versoek en soos wat geleenthede hulle voorgedoen het, onverpoos gekomponeer het en die komposisies dus nie almal gepubliseer is nie. Baie van die gepubliseerde komposisies se publikasiedatums kon ook nie opgespoor word nie. Die bevindinge waartoe geraak is, toon die vervanging van die Afrikaanse sangkultuur van die 1970’s met ’n elektroniese luisterkultuur (2011). Hierdie transformasie het oor ’n tydperk van 40 jaar plaasgevind. Daar bestaan reeds ’n hele geslag nuwe Afrikaanse ouers met klein kindertjies wat nie kan of wil sing nie. Dit bring mee dat die resepsie van baie Afrikaanse kinderliedere soos wat dit in musiekbundels verskyn kommerwekkend negatief is. Die evaluering van ’n seleksie van Anna Rudolph se kinderliedere het getoon dat die musiek van die 1970’s steeds vandag gebruik kan word, alhoewel sommige lirieke vernuwe moet word. Die verpakking van die liedjies in CD-formaat in plaas van musiekbundels is van deurslaggewende belang. Die navorsing met veral die suksesvolle uitvoering van die veldproef waartydens 1500 Anna Rudolph-musiekstelle (met opnames uit die 1970’s) verkoop is, bring die navorser by die volgende aanbeveling: Die hernude verwekking van ’n Afrikaanse sanglus moet nou dringend by klein kindertjies begin. Vir die strewe na hierdie doelwit moet daar deurlopend CD’s van Afrikaanse kinderliedjies vervaardig word wat gebaseer is op die volgende praktiese prosedure: <ul> <li> Die redigering van sekere Anna Rudolph-kinderliedjies asook dié van ander kinderliedkomponiste (van die 1970’s);</li> <li> Die krities-wetenskaplike evaluering (deur musiekkenners) van bestaande kinderliedere aan die hand van erkende kinderliedkriteria;</li> <li> Die implementering van ’n kinderpaneel om kinderliedere (wat voldoen aan die wetenskaplike kinderliedkriteria) te resepteer vir gebruik in skoolverband en by die ouerhuis;</li> <li> Die opneem van bogenoemde kinderliedjies op CD’s in ’n eietydse idioom en met gebruik van kindersangertjies en kinderkore as kunstenaars; en</li> <li> Die effektiewe verspreiding van sulke CD’s na Afrikaanse skole.</li></ul> ENGLISH : During the 1970s, before the development of advanced sound technology, Afrikaans speakers were compelled to entertain themselves. This included singing songs. Folk songs and other Afrikaans songs were often sung, either unaccompanied or with simple accompaniments. In schools children were exposed to compulsory tuition in singing, and children’s songs with Afrikaans texts, such as those by Anna Rudolph, were sung throughout the country. Currently (2011) these songs are seldom heard and almost no singing by children takes place without backtracks, microphones and sound amplifiers. The motivation for this study was the consideration of two results that could be regarded as negative due to incorrect initial instruction: the current (2011) positive reception of unacceptable intonation and badly-composed popular songs, and the apparent inability of many Afrikaans-speaking people to sing. By focussing on the starting point of music education, specifically the learning of Afrikaans children’s songs such as those written by Anna Rudolph, aspects of the reception of Afrikaans children’s songs were identified. The literature review covered studies of the singing habits of Afrikaans speakers from the 1970s until the present (2011) and the reception of children’s songs by children. A qualitative research design was used. Various interviews were conducted. 45 of Rudolph’s children’s songs were evaluated using recognised criteria for such songs and a catalogue of Rudolph’s cultural contribution was compiled. In the conducting of a field experiment a new CD of children’s songs by Anna Rudolph, plus sheet music, was produced, and this aspect sets the research apart from any previous, similar studies. Problems that were experienced during the study included the financing of the production of the CD as well as its ongoing marketing and sales. The compilation of the catalogue of Anna Rudolph’s cultural contribution required extensive research and it remains incomplete because Rudolph composed incessantly on request as well as for specific occasions. Consequently, not all the compositions were published. It was also not possible to ascertain the dates of publication of all the compositions. The conclusions reached indicate that the Afrikaans singing culture of the 1970s has been supplanted by an electronic listening culture (2011). This transformation has taken place over a period of 40 years. There is, therefore, a whole new generation of Afrikaans-speaking parents with young children who either cannot or will not sing. This results in a disturbingly negative reception of Afrikaans children’s songs that are published only as sheet music. The evaluation of a selection of Anna Rudolph’s children’s songs showed that this music from the 1970s can still be used today, although some lyrics would need to be updated. The packaging of the songs in a CD format instead of as sheet music would be of cardinal importance. The research gleaned from the successful conducting of the field experiment during which 1500 music sets of songs by Anna Rudolph (containing recordings made during the 1970s) were sold leads the researcher to the following recommendation: A new desire to sing in Afrikaans should be inculcated in young children as a matter of urgency. To attain this objective CDs of Afrikaans children’s songs should continually be produced, and these should be based on the following practical procedures: <ul> <li> The editing of selected Anna Rudolph children’s songs, and also those of other composers of children’s songs (from the 1970s);</li> <li> The critical and scientific evaluation of existing children’s songs (by music experts) according to recognised criteria for children’s songs;</li> <li> The formation of a reception panel of children to evaluate children’s songs (which satisfy the criteria for children’s songs) for use in schools and at home;</li> <li> The recording of such children’s songs on CDs in a contemporary idiom sung by children’s voices and children’s choirs; and</li> <li> The effective distribution of such CDs to Afrikaans schools.</li></ul> Additional information available on a CD, DVD stored at the Merensky Library on Level 3 Copyright / Dissertation (MMus)--University of Pretoria, 2012. / Music / unrestricted

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Für Privatpersonen waren Uhren lange Zeit ein Luxusgegenstand. Ein Umstand, der die Bedeutung öffentlicher Uhren auf Kirchtürmen oder an Rathäusern steigerte. Die Seigerturmuhr auf der Veste Stolpen war Jahrhunderte lang der einzige weithin sichtbare Zeitmesser mit Stundenschlag in Stolpen. Bis 1740 durch eine Spende der Gräfin Cosel eine erste städtische Uhr auf dem neuerrichteten Kirchturm installiert werden konnte.

Idag bor allt fler människor i tätorter och människor har tappat kopplingen med och förståelsen för naturen vilket har gett negativa effekter på klimatet. Människors koppling till naturen ses som en förutsättning för att kunna uppnå en hållbar utveckling och främja miljövänligt beteende hos människor. Planeringen av städer där naturen inkluderas är en viktig del i arbetet för en hållbar utveckling. Syftet med studien är att undersöka hur människor i Örebro tätort uppfattar naturen och deras interaktion med den. Syftet är även att undersöka hur Örebro kommun kan bemöta människors uppfattning för att främja ett miljövänligt beteende hos människorna. Studiens grundas i en kvalitativ metodansats med semistrukturerade intervjuer med åtta respondenter samt en innehållsanalys av Örebro kommunsgrönstrategi och naturplan. Studiens resultat visar att det inte finns en en tydig uppfattning av naturen samt interaktionen med den bland invånarna i Örebro tätort. Trots de skilda uppfattningarna baseras interaktionen med naturen till största del på av njutning av grön- och naturområden. Resultatet visar att Örebro kommun bemöter invånarnas interaktion med naturen då grön strategin och naturplanen presenteras åtgärder som bidrar med en ökad möjlighet för avnjutning av naturen. Dock presenterar inte kommunen några konkreta åtgärder som kan främja ett mer miljövänligt beteende hos invånarna.

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