Alexander Scriabin (1872-1915) is well known as a composer for his inventive tonal language and as a performer for his approach to rubato. As is evident through his piano roll recordings, Scriabin's pianism epitomizes the performance practice of the early twentieth century and raises significant issues for the modern interpreter of Scriabin’s scores. The diversity in Scriabin's compositional style has prompted a variety of analytic approaches. Chapter one surveys Scriabin’s stylistic development in terms of his piano music and explores relevant analytic and interpretive approaches. Chapter two explores Scriabin's pianism as described by his close friends, pupils, and critics of the time. These reports characterize Scriabin's playing as rhythmically flexible, sensitive to different layers of voicing, and subtle in its dynamic nuances. In Chapter three, the two central topics of the dissertation—rubato and climax—are explored in general and in relation to Scriabin’s music. In Scriabin’s early piano music the indication for rubato correlates with a specific melodic contour, and the broader connection between rubato and melodic contour is explored. The study of climax draws on Austin T. Patty’s theory of pacing, in which climaxes of different types arise through different handling of various musical parameters. The musical components of Scriabin’s climaxes evolve during his output. Chapters four and five examine the Piano Sonata No. 4, Op. 30, and Piano Sonata No. 10, Op. 70, respectively. These case studies provide a formal-thematic overview of each work, consider the use of rubato and the handling of climaxes with respect to the theoretical frameworks established in Chapter three, and assess performance choices with reference to several recorded performances. This dissertation provides an alternative outlook to the performance of Scriabin's music. Tempo graphs reveal the pacing between phrases and sections and permit comparisons among artists from different generations. The recordings surveyed for both sonatas indicate that the flexibility in timing within individual phrases or thematic sections is much greater in the earlier recordings compared to more recent ones, as is the degree of tempo contrast between slow and fast sections.

Alexander Scriabin (1872-1915) is well known as a composer for his inventive tonal language and as a performer for his approach to rubato. As is evident through his piano roll recordings, Scriabin's pianism epitomizes the performance practice of the early twentieth century and raises significant issues for the modern interpreter of Scriabin’s scores. The diversity in Scriabin's compositional style has prompted a variety of analytic approaches. Chapter one surveys Scriabin’s stylistic development in terms of his piano music and explores relevant analytic and interpretive approaches. Chapter two explores Scriabin's pianism as described by his close friends, pupils, and critics of the time. These reports characterize Scriabin's playing as rhythmically flexible, sensitive to different layers of voicing, and subtle in its dynamic nuances. In Chapter three, the two central topics of the dissertation—rubato and climax—are explored in general and in relation to Scriabin’s music. In Scriabin’s early piano music the indication for rubato correlates with a specific melodic contour, and the broader connection between rubato and melodic contour is explored. The study of climax draws on Austin T. Patty’s theory of pacing, in which climaxes of different types arise through different handling of various musical parameters. The musical components of Scriabin’s climaxes evolve during his output. Chapters four and five examine the Piano Sonata No. 4, Op. 30, and Piano Sonata No. 10, Op. 70, respectively. These case studies provide a formal-thematic overview of each work, consider the use of rubato and the handling of climaxes with respect to the theoretical frameworks established in Chapter three, and assess performance choices with reference to several recorded performances. This dissertation provides an alternative outlook to the performance of Scriabin's music. Tempo graphs reveal the pacing between phrases and sections and permit comparisons among artists from different generations. The recordings surveyed for both sonatas indicate that the flexibility in timing within individual phrases or thematic sections is much greater in the earlier recordings compared to more recent ones, as is the degree of tempo contrast between slow and fast sections.

In this dissertation, Noto-ya Masogana is described as a moral story. The moral story can be distinguished from the didactic story and from the picaresque. The picaresque deals with a picaro who is the only main character. He is not presented as being trustworthy and responsible. As a result of this, this type of narrative is known as a 'Schelmroman' in German. The development of the story is simple and deals with the escapades of the picaro who goes on a journey. The didactic story presents the reader with a lesson, while the moral story indicates that a life well led will be rewarded. A life not well led will, in turn, be punished. In this narrative, Lesibana pays for his unfaithfulness to Mamahlo. He repents and the narrative has a happy ending. The method used in this investigation is based on an adjusted narratological model. Only the content and structure levels feature. The topic is identified as an important concept with regard to level one, the reason for this being that it influences the four different elements of the narrative, namely: characters, events time and place. Two main characters are distinguished, and the mutual relationship between them and less important characters receives attention. Events are divided into three categories according to importance. Events are thus called either essential, appropriate or coincidental. Two issues are relevant with regard to time; namely the moment at which an event takes place and the time which is occupied by an event. Place has a bearing on the natural as well as the sociocultural place. The concepts theme and narrating strategies play an important role on a structural level. In the discussion of the structure of Noto-ya-Masogana attention is paid to the exposition, the development, the climax and the resolution. The following techniques are relevant in this regard: motif, foreshadowing, retardation and acceleration of time, contrast, complication, focus and cycle. The study is conducted by comparing this novelette to the story of the Prodical Son and to the picaresque. Attention is also drawn to the author's use of the 'Makgoweng' motif. / Dissertation (MA)--University of Pretoria, 2012. / Philosophy / unrestricted

Four populations of Deschampsia caespitosa (L.) Beauv (a Poaceae species), growing on disturbed and undisturbed sites at Climax, Colorado, were examined for metal tolerances (Zn, Cu, Pb, Al). Root growth assessments on parent plant and offspring material for each population were conducted using nutrient solutions containing elevated levels of Zn, Cu, Pb, or Al. Seed germination and seedling survival tests for each population were conducted on both alpine topsoil and mine spoil material. Evidence is presented that supports the hypothesis that ecotypic variation exists within Deschampsia caespitosa and that this variation has allowed certain Deschampsia populations to become successfully established on alpine mine spoils. Acid mine spoil populations showed significantly less root growth retardation in the presence of zinc, copper or aluminum.

Syftet med uppsatsen är att analysera meningen bakom den franska filmen Climax (2018) regisserad av Gaspar Noé. Filmen är vag i sin struktur, berättelse och natur vilket gör det svårt för en tittare att förstå vad filmen försöker kommunicera för mening. Analysen strukturerar uppsatsen i fem kapitel, skapat från filmens sex olika titelkort som kommer upp under dess duration samt ett sjätte kapitel för att analysera titelkortens mening. I varje kapitel analyserar uppsatsen filmens karaktärer och gruppdynamik genom användningen av flera filosofiska begrepp som stärkande teori. Begreppen är existentialism, nihilism, ego och gemenskap. Först undersöker uppsatsen hur filmen gestaltar dessa teman, sedan sammanfattas vad dessa gestaltningar försöker kommunicera. Uppsatsen kommer fram till att filmen är en representation samt kritik om att forma ens livssyn efter filosofiska begrepp. Det är en representation av karaktärernas ageranden samt en kritik från hur berättelsen negativt behandlar dessa karaktärer.

In this exegesis I have attempted to formulate a primary toolset for dramatic writing that I can apply to create dramatic structure in plays, the chief example being my play Albatross (included herein). This toolset is contingent upon Aristotle's basic tenet of drama, that "tragedy is an imitation of an action" (2002: 10). This exegesis theorises that the work of modern writers on drama such as Spencer, Packard, Catron, Lamott, See, Hicks and many others, fundamentally accords with Aristotle on this point, such that the tools they espouse can collectively be considered a standard set for dramatic writing. Beyond this, my research has led me to believe that there is a primary subset of tools specific to creating dramatic structure. These tools, formulated from dramatic theory, best capture my own way of thinking about my writing practice. I divide them into two types: the first, tools of creation, comprise Theme and Values; Character and their Values; Characters and Action; Character Orchestration and Obstacles; and Event and Significant Change. The second, tools of evaluation, are Passivity; Stakes; and Premise. Together these eight tools have been responsible for creating dramatic structure in the play, Albatross.

La littérature est une source d’où jaillissent les flots intarissables du paradoxe ; c’est dans cet entrelacement de dichotomies que nous nous sommes immergées pour percevoir l’unité sous-jacente derrière l’oxymore que constitue le titre de notre thèse : « une poétique de l’abjection dans la littérature gothique américaine postmoderne. » Si nous nous sommes tournées vers Stephen King, Peter Straub et Chuck Palahniuk et avons mis l’accent sur trois de leurs œuvres précises, notre démonstration se veut être transposable à l’ensemble de leurs écrits. Nous nous sommes interrogées sur la nature de l’abjection et sur sa prééminence dans une société américaine portant le sceau du puritanisme. Marqués par le Romantisme et le Gothique anglais, nos auteurs ont su donner aux thématiques caractérisant ces mouvements une voie nouvelle. Situer nos œuvres dans la lignée du gothique postmoderne nous permet d’osciller sur le paradigme de l’excès et de l’incomplétude, de la déconstruction et de l’unité. Le thème de la fragmentation apparaît comme l’un des fils d’Ariane permettant aux auteurs de tisser autour des lecteurs leur toile arachnéenne. Ce démantèlement qui affecte à la fois la dimension narrative et thématique des récits contribue à leur effet patchwork et subversif, nous liant à notre problématique postmoderne. Les paradoxes engendrés par nos récits leur donnent leur force et expliquent leur fascination sur le public. Nos pérégrinations menant à l’ouverture des différentes portes de l’interprétation révèlent que l’abjection devient source d’une nouvelle esthétique. Le laid peut véhiculer de la beauté et du sublime. L’harmonie qui existe dans le monde de la déchéance qui nous est dépeint explique l’emprise hypnotique de la littérature de l’abjection sur le lecteur. Source de poétique, celle-ci procure un plaisir de la lecture quasi jouissif pour ceux qui se laissent transporter par la magie créatrice de nos auteurs. / Literature is a stream from which gush forth the inexhausting flows of paradoxes; we have immersed ourselves in this entertwining of dichotomies to perceive the underlying unity behind the oxymoron constituting the title of our thesis: “a poetics of the abjection in American postmodern gothic literature.” If we have chosen Stephen King, Peter Straub and Chuck Palahniuk and have focused on three specific novels, our demonstration intends to be transposed to the whole range of their works. We wondered about the nature of abjection and its pre-eminence in an American society bearing the seal of Puritanism. Marked by Romanticism and the English gothic, our authors have been able to convey to the themes characterizing those movements a new direction. Setting our novels in the wake of postmodern gothic is a way for us to oscillate on the paradigm of excess and incompleteness, deconstruction and unity. The theme of fragmentation appears as one of Ariadne’s clues allowing the authors to weave their gossamery web around the readers. This dismantling which both affects the narrative and thematic dimension of the novels contributes to the patchwork and subversive effect engendered, linking us to our postmodern problematic. The paradoxes engendered by our novels give them their strength and account for their fascination on the audience. Our peregrinations leading to the opening of the various interpretative doors reveal that abjection becomes the source of a new aesthetics. Ugliness can convey beauty and sublime. The harmony which exists in the world of discrepancy depicted to us explains the hypnotic ascendancy of the literature of abjection on the reader. Source of poetry, it brings about a pleasure of reading verging on climax for those who let themselves be carried away by the creative magic of our authors.

Made available in DSpace on 2017-07-25T19:31:00Z (GMT). No. of bitstreams: 1 Kamila Santana.pdf: 1363071 bytes, checksum: 4f5da813f22ced41d3b26851a927779f (MD5) Previous issue date: 2016-06-24 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The blueberry is an agricultural crops recently introduced in Brazil and lots of researches are turning to develop and adapt it to the country. Due to its low amount of root hair, it forms associations with microorganisms to expand its zone of nutrient uptake, being the nitrogen the most required element. At this work it was observed the interaction of this cultivation with the inoculum Azospirilum brasilense and Trichodema asperellum into different substrates or doses of nitrogen fertilization. The experiment was performed with cv. Climax and the plants conditioned in pots in greenhouse, under trial design of randomized blocks, factorial 3x3. The considered factors were inoculation (A. brasilense, T. asperellum or without inoculation) and formulation of the substrates (5; 20 e 35% of organic matter – hardened cattle manure) or, at the second experiment, inoculation (A. brasilense, T. asperellum or without inoculation) and doses of nitrogen (0, 10 and 15 g f N plant-1 – provided as urea). The larger quantity of organic matter provided the highest averages relating to physiological (transpiration, water use efficiency and carboxylation efficiency) and growth variables (foliar limb area, total foliar area and rate of relative growth), although, for some of them, it has not differed from plants grown with 20% of organic matter. With 30% of O.M., the inoculation with T. asperellum showed superior averages in CO2 assimilation (A), carboxylation efficiency (A/Ci) and rate of relative growth (RRG). The nitrogen doses positively affected A/Ci, clorophyll amounts, foliar area (limb and total) and foliar nitrogen concentration, although it not differing between 10 or 15g of N plant-1. For the accumulation of the nutrients Ca, Mg, S, Fe and Zn, the nitrogen fertilization did not represent higher foliar levels, even though this might be related to a dilution effect. / O mirtileiro é uma cultura recentemente introduzida no Brasil, sendo que várias pesquisas tem-se voltado para seu melhor desenvolvimento e adaptação no país. Por possuir poucos pelos radiculares, forma associações com microrganismos afim de aumentar sua zona de absorção de nutrientes, sendo o nitrogênio o elemento absorvido em maior quantidade. Neste trabalho, observou-se a interação dessa cultura com os inóculos Azospirillum brasilense e Trichoderma asperellum em diferentes substratos ou doses de adubação nitrogenada. O experimento foi realizado com a cv. Clímax e as plantas acondicionadas em vasos, em casa de vegetação, sob delineamento experimental de blocos casualizados em esquema fatorial 3x3. Os fatores analisados foram inoculação (A. brasilense, T. asperellum ou sem inoculação) e formulação dos substratos (5; 20 e 35% de matéria orgânica – esterco bovino curtido) ou, no segundo experimento, inoculação (A. brasilense, T. asperellum ou sem inoculação) e doses de nitrogênio (0, 10 e 15 g de N planta-1 – fornecido como ureia). A maior proporção de matéria orgânica propiciou as maiores médias em relação a variáveis fisiológicas (transpiração, eficiência no uso da água e eficiência de carboxilação) e de crescimento (área de limbo foliar, área foliar total e taxa de crescimento relativo), embora, para outras, não tenha diferido das plantas cultivadas com 20% de matéria orgânica. Com 35% de M.O., a inoculação com T. asperellum apresentou médias superiores em assimilação de CO2 (A), eficiência de carboxilação (A/Ci) e taxa de crescimento relativo (TCR). As doses de nitrogênio influenciaram positivamente A/Ci, teores de clorofila, área foliar (de limbo e total) e concentração foliar de nitrogênio, embora não diferindo entre 10 ou 15g de N planta-1. Para o acúmulo dos nutrientes Ca, Mg, S, Fe e Zn, a adubação nitrogenada não representou maiores teores foliares, embora isto possa estar relacionado a um efeito de diluição.

Магистерская диссертация посвящена зачинам новелл Э. А. По как малоизученной области поэтики писателя. Цель работы – типологизация зачинов новелл Э. А. По на основании их лингвостилистических маркеров, характера предоставляемой в рамках зачина информации и мотивной наполненности. Актуальность исследования определяется отсутствием в науке общепринятой дефиниции зачина, критериев его делимитации, четкого понимания смыслового наполнения зачинов. Проанализировав существующие концепции теоретических описаний зачинов художественного текста, автор приходит к выводу об их недостаточности и конструирует собственное определение и собственную типологию зачинов для новелл Э. А. По, опираясь на эмпирические материалы исследования. Под зачином понимается первый абзац как содержательно-тематический блок, выделенный в соответствии с экспрессивно-образной авторской установкой. Проводится анализ нарративной субъектной организации зачинов, выделяются экспозиционные (интродукция персонажей, места и времени действия), композиционно-стилистические мотивы (апелляция к читателю, рассуждения), вариации приема «вырезанное начало». В результате исследования зачины были дифференцированы, на основании 1) способа сюжетно-композиционной организации рассказа (3 класса); 2) функции мотивов, преобладающих в зачине (11 подтипов). Отдельно рассматриваются особенности новаторской модели зачинов Э. А. По, где связь зачина с сюжетом условна, и сюжетная история служит иллюстративным материалом к изложенным в зачине тезисам. Материалом для исследования служат 66 новелл Э. А. По на английском языке из двухтомной антологии ‘The Complete Poems and Stories of Edgar Allan Poe’. / The master's thesis is devoted to the opening fragments of E. A. Poe's short stories as an understudied area of the writer's poetics. The aim of the study is to classify opening fragments (the beginnings) of E. A. Poe's short stories based on their linguistic and stylistic markers, the information provided within and the motif content. The relevance of the study is determined by the lack of a generally accepted definition of the opening fragment, criteria of its delimitation, a clear understanding of the concept and semantic content of the opening fragment in the literary and linguistics approaches. Having analyzed the available concepts of opening fragment’s theoretical descriptions in fiction texts, the author concludes their insufficiency and constructs his own definition and typology of opening fragments for the E. A. Poe’s short stories, based on the empirical research materials. The opening fragment is understood as the first paragraph of the work as a conceptual and thematic segment, allocated in accordance with the expressive and imaginative author's attitude. The analysis of narrative subjective organization of beginnings is carried out, and expositional (introduction of characters, place and time of action), compositional and stylistic motives (appeal to the reader, reasoning), variations of the ‘cut-off beginning’ technique are distinguished. As a result of the study, the opening fragments were differentiated: 1) according to the method of plot-compositional organization of the story (3 classes); 2) according to the functions of the motives prevailing in the opening fragment (11 subtypes). Separately, the features of the innovative model of E. A. Poe's opening fragments are considered, where the connection of the beginning with the plot is conditional, and the plot serves as illustrative material for the theses set out in the opening fragment. The material for the study is 66 original short stories by Edgar Allan Poe from the two-volume anthology ‘The Complete Poems and Stories of Edgar Allan Poe’.

Cette thèse privilégie dans l'analyse de l'espace géographique la pluie et la rivière, le relief et la roche, la végétation, la surface du sol et le sol... mais l'on ne s'étonnera pas d'y rencontrer des champs et des jachères, des villages et des vergers. Elle a l'ambition de participer au développement d'une géographie centrée sur l'organisation d'un espace matériel produit conjointement par la nature et l'homme. C'est dans l'étude des changements de dimensions, dans « l'analyse scalaire », que se trouve l'essentiel de son explication scientifique et c'est à cette recherche que l'auteur s'est attaché... <br />La méthode d'analyse des milieux et des paysages est celle de l'« École d'Abidjan » dont Jean-Charles Filleron a été l'un des fondateurs. Trente mois ont été consacrés à la description de 826 relevés de la végétation, de la surface du sol et du sol sur le terrain et plus de 2500 photos aériennes ont été analysées du double point de vue de la forme et du milieu. Les traitements statistiques multivariés, ACP, AFC et classifications ont permis la réalisation d'une systématique des milieux et paysages aux différentes échelles scalaires.<br />Le champ d'application est le Nord-Ouest de la Côte d'Ivoire, vaste territoire de 49000 km2 dont l'essentiel est dévolu aux savanes plus ou moins boisées couvrant plateaux cuirassés et inselbergs. Sur ce territoire faiblement peuplé, l'auteur met en évidence le rôle des sociétés rurales... et de la nature du substrat rocheux... dans la diversité des milieux et des paysages et renouvelle le discours écologique sur les milieux tropicaux.