Thesis (S.T.L.)--Catholic University of America, 2008. / Includes bibliographical references (leaves 143-147).

Thesis (M.A.)--West Virginia University, 2002. / Title from document title page. Document formatted into pages; contains v, 91, li p. Includes abstract. Includes bibliographical references (p. 89-90).

Thesis (S.T.L.)--Catholic University of America, 2008. / Description based on Microfiche version record. Includes bibliographical references (leaves 143-147).

B.W. Vilakazi is regarded by many literary critics as the best poet of his time, who had he lived longer, would have marked his living years the Vilakazi era. It is for this reason that I decided to embark on the study of his poetry, and that which influenced him, mainly the English Romantic Poets. In doing this research I also emphasised typical aspects of Romantic poets so as to clarify whether Vilakazi does fall under this category (Romantic category). In the introduction of Inkondlo kaZulu Gumede remarks thus on B.W. Vilakazi's poetry: "UVilakazi tstqungo sokwakha izosha lezi usithole esiblgisini. Usebenzisa isiZulu kanye nemizekeliso yaso namalutha, ekhombisa ithuba lokuqhuba isiZulu sibe nenkinga yaso yezincwadi noma izosha lezi zincikile esiNgisini. Ube nesibindi sokuzisukela aqambe lolu hlobo lwezibongo zesiZulu wangagudluka endleleni endala." (l935:vi) "Vilakazi gets his poetic inspiration from English. He uses Zulu images and superstitions to show that Zulu can have its own literature even though it is related to English. It is very brave of him to compose new genre in Zulu praises, without diverting from the original version by older poets." The scope of the study will be as follows: Chapter One is an introductory chapter which includes: the aim of the study; preamble, literature review, research methodology, biographical notes on Vilakazi, Vilakazi's literary works (novels, anthologies of poetry, articles in journals), Vilakazi's lexicographical work (the Dictionary), Vilakazi's influences (his own personal experiences, traditional poetry, traditional prose narrative, Biblical influences and mostly the English Romantic Poets). This chapter includes the definition of Poetry and the definition of a poet, definition of a Bard 'Imbongi', it also defines Romanticism (as a movement and as a concept); and it gives various critical views on RW. Vilakazi. Chapter Two deals with the influence of English Romantic Poets on Vilakazi, and looks at certain poems of Wordsworth, Keats and Shelley. Chapter Three deals with Vilakazi as a Romantic poet (certain Poems with Romantic aspects). Chapter Four is the Conclusion looking at the extent that the Romantic poets influenced Vilakazi's writing. / Thesis (M.A.)-University of Natal, Pietermaritzburg, 2001.

Thesis (J.C.L.)--Catholic University of America, 2007. / Includes bibliographical references (leaves 71-75).

Joseph Ratzinger, who led the Catholic Church as Pope Benedict XVI from 2005 to 2013, is a well-respected and published theologian. Much of his writing centers on the liturgy, and he has addressed the topic of music several times. His theological understanding of liturgical music and its application to the pipe organ together with its repertoire is the focus of this dissertation. The first two chapters deal with Ratzinger’s theological writings on the liturgy and sacred music as well as their significance for the pipe organ. Several themes emerge in his writings. These reveal Ratzinger’s understanding of the liturgy and are identified as characteristics of true liturgical music. Though he rarely speaks directly about the organ, these characteristics, namely, cosmos, logos, mystery, and history can be connected with both the instrument and its repertoire. In chapters three through five, select pieces from the masterworks of the Catholic organ tradition, Frescobaldi’s Fiori Musicali, Tournemire’s L’Orgue Mystique, and Langlais’ Livre Oecumenique, are analyzed and interpreted in light of Ratzinger’s theology. The organ has also been used as an accompanimental instrument and for improvisation in the liturgy. This is considered in chapters six and seven. In chapter eight, attention is given to the pipe organ itself, and the instrument is found to be a symbol of the same theological concepts Ratzinger associates with the liturgy. The last chapter provides a summary and indicates the implications of Ratzinger’s theology for the liturgical role of the pipe organ today. This comprehensive examination of Ratzinger’s theology of liturgical music and the pipe organ with its liturgical repertoire, which includes written compositions, accompaniment, and improvisation, reveals the relationship between them. The organ itself embodies Ratzinger’s themes of cosmos, logos, mystery, and history and is therefore the ideal liturgical instrument, indeed, the king of musical instruments. Through analysis, certain musical characteristics are discovered that can be said to exemplify elements of liturgical theology. Ultimately, Ratzinger’s liturgical theology assigns value to the historic role of the organ in the liturgy and illuminates the worth and relevance of the Church’s treasury of sacred organ music.

I den här uppsatsen genomförs en multimodal textanalys av sju stycken valkampanjsfilmer till riksdagsvalet 2018 från sju stycken svenska politiska partier. Syftet är att undersöka hur dessa partier väljer att representera Sverige i sina valkampanjsfilmer. Med utgångspunkt i socialkonstruktivismen, Benedict Andersons teori om den föreställda gemenskapen samt   socialsemiotiken analyseras valkampanjsfilmerna. Resultatet visar att det finns stora skillnader på hur partierna väljer att representeras Sverige. Det finns exempel på när samma semiotiska resurs används för att representera Sverige men som får olika betydelser beroende på kontexten resursen befinner sig i. Att man går olika långt i sin kritik till hur Sverige har skött och vart Sverige befinner sig i beror på att partierna antingen sitter i regeringsställning eller är opposition.

Vários estudos analisando a taxa de metabolismo de repouso (TMR) contribuíram com equações cuja proposta era estabelecer padrões que pudessem ser genericamente utilizadas para se estimar a TMR. A equação de Harris-Benedict (HB), permanece como o método mais comumente utilizado para estimar a TMR. Porém, em indivíduos obesos o uso de equações preditivas da TMR pode levar a resultados conflitantes. Indivíduos obesos submetidos a dietas hipocalóricas podem apresentar uma diminuição da TMR e do gasto energético total. Isto pode ser a causa da redução na velocidade da perda de peso durante o tratamento. Outros estudos mostram que a TMR, quando corrigida para a massa livre de gordura (MLG), apresenta pouca variabilidade e propõem uma correlação entre MLG e TMR. Porém ainda existem dificuldades em se afirmar ou não se a redução de massa corporal também reduz a TMR. O presente estudo teve como objetivos determinar a TMR de indivíduos com obesidade grau III (IMC > 40 kg/m2) do sexo feminino obtida por meio de calorimetria indireta (CI) e comparar com a TMR estimada por meio da equação de HB utilizando-se peso atual e peso ideal. Relacionar a TMR medida por CI com a composição corporal e validar a relação entre a TMR e a MLG nestes indivíduos antes e após a perda de peso. As pacientes foram internadas na Unidade Metabólica da Divisão de Nutrologia do Departamento de Clínica Médica do HCFMRP-USP, durante um período de 8 semanas. No início e no final do estudo foram realizadas: avaliação nutricional incluindo antropometria, bioimpedância e calorimetria indireta. As pacientes foram submetidas a uma dieta hipocalórica durante a internação. A TMR medida por calorimetria indireta (CI) no início e final do estudo foi de 2540 ± 417 e 1924 ± 275 kcal/dia, respectivamente (p<0,05). Quando calculado pela equação de HB utilizando-se peso atual, os valores encontrados foram 2074 ± 214 e 1941 ± 190 kcal/dia (p<0,05). Utilizando-se o peso ideal a TMR calculada foi de 1343 ± 59 kcal/dia. A TMR medida por CI foi, em média, 18 % maior que a calculada por HB pelo peso atual e 47 % maior que a calculada por HB utilizando-se o peso ideal no início do estudo. No final do estudo estes valores passaram para 1% e 30% respectivamente. Comparando-se a TMR medida por CI e calculada por HB usando peso atual tem-se, no início do estudo uma diferença significante (p<0,05) que não se repete no final do estudo (p>0,05). A TMR, quando corrigida para massa livre de gordura no início e no final do estudo foi de 46 ± 6 e 35 ± 5 kcal/d/MLG (p<0,05) respectivamente e quando corrigida para a gordura corporal (GC) foi de 33 ± 6 e 30 ± 5 kcal/d/GC (p<0,05) respectivamente. Os dados encontrados no presente estudo não permitem afirmar que o uso da equação de HB possa estimar a TMR de maneira confiável em indivíduos obesos grau III do sexo feminino. Porém os dados sugerem que logo após submeter esses indivíduos à dieta hipocalórica, com conseqüente perda de peso a equação de HB se torna confiável para estimar a TMR. Pacientes obesos ingerindo dieta livre deveriam ter a TMR obtida por meio da equação de HB corrigida por um fator de 20% a mais. / Studies analyzing resting energy expenditure (REE) have contributed with equations that were intended to establish a pattern that could be used generally to estimate the REE. Harris Benedict’s (HB) equation remains as the most used in estimating the REE. But in obese subjects, the use of predictive equations can lead to conflicting results. Obese individuals undergoing a hypo caloric diet may have a reduction in the REE and in the total energy expenditure. These are the most probably cause of the slowing on weight loss during the treatment. Some studies show that when the REE is relative to the fat free mass (FFM) there is less variability and their proposal is a correlation between FFM and REE. But it is difficult to confirm if a reduction in total body mass also can diminish the REE. The objective of this study was to define the REE of female subjects with grade III obesity (body mass index (BMI) > 40 kg/m2) using indirect calorimetry (IC) and to compare this REE with the one estimated with HB equation using real body weight and ideal body weight, and try to correlate the REE obtained by IC with the body composition, validating the relation between REE and FFM in these individual before and after weight loss. The patients were under hospital regimen in the Metabolic Unit of the Nutrology Division of the Internal Medicine Department of the HCFMRP-USP, for an 8 weeks period. At the beginning and at the end of the study, nutritional assessment was realized, including anthropometry, bioimpedance and indirect calorimetry. The patients were undergoing a hypo caloric diet during the 8 week period. The REE obtained by indirect calorimetry (IC) at the beginning and at the end of the study was 2540 ± 417 e 1924 ± 275 kcal/day, respectively (p<0,05). When estimated with the HB equation using real weight the values were 2074 ± 214 e 1941 ± 190 kcal/day (p<0,05). Using the ideal weight, the calculated REE was 1343 ± 59 kcal/day. At the beginning of the study, REE obtained by IC was 18 % greater than the REE calculated with HB equation using the real weight and 47 % greater than the one calculated using the ideal body weight. At the end of the study these values changed to 1% e 30% respectively. There is a significant difference (p<0,05) when comparing the REE obtained by IC with the one calculated using the HB equation with real weight at the beginning of the study, but this does not happen at the end of the study (p>0,05). The REE corrected by the FFM at the beginning and at the end of the study was 46 ± 6 e 35 ± 5 kcal/d/FFM (p<0,05) respectively and the REE corrected by the fat mass (FM) was 3 ± 6 e 30 ± 5 kcal/d/FM (p<0,05) respectively. The data found in this study does not allow affirming that the use of HB equation to predict REE in female grade III obese subjects is reliable. But the data suggest that immediately after using a hypo caloric diet, the REE calculated using HB equation and real weight is reliable. When calculating the REE of female grade III obese patients undergoing a free diet using HB equation, the obtained value should be increased in 20 %.

Esta pesquisa é um estudo etnomusicológico da Congada de São Benedito da cidade de Cunha-SP, grupo que representa um dos folguedos mais ricos e diversificados do Brasil, distribuídos em várias localidades do território nacional. Como é usual das manifestações culturais populares, cada qual possui seu próprio contexto histórico, sua fundamentação mítica, suas qualidades, dificuldades e as características próprias que as definem e distinguem de outras similares. Associando a pesquisa bibliográfica, que incluiu autores que pesquisaram os grupos da mesma região, à pesquisa de campo, observamos as diferenças entre a congada de décadas anteriores e a atual, as maneiras com as quais os mestres lidam com a renovação dos membros e do próprio repertório musical, as funções de cada membro da congada e como elas se alteraram com o tempo, a participação do grupo nas festas religiosas e nas visitas a casas de devotos, entre outros. Por fim, a transcrição musical dos diversos padrões rítmicos dos instrumentos musicais da congada permitiu apresentar um panorama geral da sonoridade que o grupo vem realizando a cada performance nos últimos anos. / This research is an ethnomusicological study of the Congada de São Benedito of the city of Cunha-SP, a group that represents one of the most rich and diversed folguedos in Brazil, distributed in many places around the country. As usual to the popular cultural events, each of which has its own historical context, its mythical foundation, its qualities, difficulties and the characteristics that define and distinguish it from similar others. Associating bibliographical research, that included authors who researched groups from the same region, and field research, we observed the differences between the congada of previous decades and the current congada, the ways in which masters deal with the renewal of members and own musical repertoire, the roles of each member of congada and how they have changed over time, the group participation in religious festivities and visits to homes of devotees, among others. Finally, the musical transcription of several rhythmic patterns of musical instruments of congada allowed to present an overview of the sound that the group has been executing in each performance in last years.

O trabalho aborda a Festa de São Benedito realizada no município de Ilhabela (litoral norte de São Paulo). A partir da atuação em roteiro e pesquisa no documentário Sobre a Congada de Ilhabela (Eduardo Kishimoto, TV-USP, 2004 2010) a presente etnografia busca dar conta dos vestígios históricos que se encontram no entrecho procurando iluminar as relações que se apresentam imbricadas na Festa. Esta abordagem move-se em frentes que procuram dar conta, de um lado, dos eventos supostamente ocorridos referenciados na Congada, e de outro lado, das reverberações em conflitos e tensões vividos em Ilhabela atualmente. Toma-se a Congada enquanto uma convenção, um resultado de diversas indexações produzidas pela prática seus agentes ao longo dos últimos trezentos anos. A Congada representa os conflitos entre mouros e cristãos. A encenação fala de guerra enquanto o contexto no qual se encena apresenta-se em forma de festa. Existe, portanto, uma complementaridade entre o contexto representado e o contexto no qual se representa. / This paper addresses the St. Benedicts Feast yearly held in the municipality of Ilhabela (north coast of São Paulo). From the screenplay and research activities in the documentary Sobre a Congada de Ilhabela (About Ilhabelas Congada) (Eduardo Kishimoto, TV-USP, 2004 2010) this ethnography investigates some historical remains found in the plot looking to illuminate the intertwined relationships that are present in the St. Benedicts Feast. This approach moves in fronts to try to make sense on the one hand, the events allegedly occurred and referenced in the Congada, and on the other hand, the reverberations of conflicts and tensions experienced in Ilhabela today. We take the Congada as a convention, a result of several indexing agents produced by the practice over the last three hundred years. The Congada represents the conflict between Moors and Christians. The staging speaks of war while the context in which it comes is presented as party. Therefore, there is a complementarity between the impersonated context and the context in which it represents.