Diss.--Marburg--Philipps-Universität, 1993. / Bibliogr. p. 180-191.

Thought of as the hero of the opera at the premiere but described later as being somewhat monochromatic and uninteresting, the role of Posa in Verdi's Don Carlos has recently attracted more attention. On the one hand he is portrayed as a naive ideologue, on the other a ruthless manipulator of persons. It is my intent to show that in crafting the character of Posa, Verdi shaped the music to portray him as a righteous diplomat: diplomatic in that he speaks the musical language of the person to whom he is making his political entreaties, and righteous in that his music stands in stark contrast to that of Le Grand Inquisiteur and is more aligned with that of Une Voix d'en Haut. I put forth and defend the personal interpretation that Posa could, in fact, be a Calvinist. How this theory affects the performance of this role is demonstrated through an investigation of the dramatic impulses of the Trio of Acte III, 3me Tableau.

Cette recherche se propose de montrer, à partir de travaux ethnographiques menés en Lorraine (France) durant six années, le rôle social et thérapeutique des guérisseurs lorrains contemporains. L'enquête de terrain sur le long terme a permis de recueillir des données qualitatives par le biais de dizaines d'entretiens réalisés auprès de guérisseurs-désenvoûteurs et de clients. Des observations in situ ont mis en valeur la diversité et la complexité des rituels de guérison ou de désenvoûtement. Des recherches muséographiques et documentaires ont été couplées au travail ethnographique. La thèse cherche à définir les compétences, le don inné ou hérité, la formation et les qualités des guérisseurs qui revendiquent des savoirs sur le corps, le mal et la maladie et les appliquent dans des rituels dits traditionnels. Les rituels très variés exécutés par les guérisseurs font largement appel à des savoir-faire et des techniques empruntées au christianisme ; ils utilisent des prières, des substances, des objets, des symboles religieux et des gestes sacrés comme les signes de croix ou l'imposition des mains. Les rituels magico-thérapeutiques et mécaniques peuvent intégrer des plantes, des pierres, des talismans... mais ils dépendent plus largement du bon usage de la force qui est au centre des rituels. Nous verrons enfin la sorcellerie et ses acteurs : le guérisseur-désenvoûteur, l'exorciste et la victime d'une part, et d'autre part, leurs adversaires (le sorcier(ère), les esprits-démons ou le Diable). Ce système d'explication du malheur et de la maladie performant est abordé à partir des itinéraires thérapeutiques des clients. / This research deals with the social and therapeutic role of the healers in Lorraine (France). A six-year investigation for six years has allowed the collection of qualitative facts through several interviews with healers, sorcerers, witch doctor and their patients. A number of observations in the field have shown the diversity and complexity of therapeutic and magic rituals. Research conduced in museum and libraries along with fieldwork have been combined. This thesis tries to define skills, talents and the training and qualities of healers who claim to have knowledge of bodily troubles and sicknesses; and how they apply them in "traditional" rituals. Healers have neither degree nor recognition in official medicine; they have acquired their gift from their birth or during a transmission process. Healer's rituals are highly varied but know-how and techniques are often borrowed from Christianity. They use prayers, substances, objects, religious symbols, holy gestures such as signs of the cross or laying on of hands. The therapeutic and mechanic magical rituals may integrate healing or magic plants, minerals, talismans, etc. Generally, they depend on the good use of the "force" which is at the heart of rituals. The last part of the thesis is about witchcraft, sorcery and their agents: the healer, the exorcist-priest and the victim on one hand, and their opponents on the other: the witches, wizards, spirits, demons and the Devil. Sorcery and witchcraft is still a method used to understand tragedy, misfortune and sickness if it's studied from therapeutic routes of the patients.

Made available in DSpace on 2014-06-12T18:31:03Z (GMT). No. of bitstreams: 2 arquivo3555_1.pdf: 563758 bytes, checksum: bcdf29b4ce2190de63ee57b05ab2093a (MD5) license.txt: 1748 bytes, checksum: 8a4605be74aa9ea9d79846c1fba20a33 (MD5) Previous issue date: 2008 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / Don Juan é o personagem central da peça El Burlador de Sevilla y El Convidado de Piedra, criada pelo religioso espanhol Frei Gabriel Téllez (ou Tirso de Molina), em princípios do século XVII, na Espanha. No entanto, seguindo seu destino de múltiplas conquistas, Don Juan não se satisfez em ocupar a mente de um único autor e, ao longo dos séculos, tem sido reinventado a tal ponto que os estudiosos atribuíram-lhe a classificação de mito literário . Desta forma, através do instrumental teórico fornecido pela metodologia da Literatura Comparada (que ocupa-se, entre outros conceitos, das definições de tema , motivo e mito ), o objetivo do presente trabalho é proporcionar um encontro entre o mito de Don Juan e A Emparedada da Rua Nova, obra criada pelo escritor Joaquim Maria Carneiro Vilela, no final do século XIX, uma vez que tal romance adequa-se, perfeitamente, ao que Jean Rousset (apud DE GRÈVE 1995 : 66) estabeleceu como a estrutura triangular do mito de Don Juan , composta pelo grupo de mulheres , pelo morto e pelo herói . A partir de tal circunstância confirma-se mais uma conquista do Burlador de Sevilla ou do Don Juan da Rua Nova

Made available in DSpace on 2014-06-12T18:31:44Z (GMT). No. of bitstreams: 2 arquivo3767_1.pdf: 563758 bytes, checksum: bcdf29b4ce2190de63ee57b05ab2093a (MD5) license.txt: 1748 bytes, checksum: 8a4605be74aa9ea9d79846c1fba20a33 (MD5) Previous issue date: 2008 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / Don Juan é o personagem central da peça El Burlador de Sevilla y El Convidado de Piedra, criada pelo religioso espanhol Frei Gabriel Téllez (ou Tirso de Molina), em princípios do século XVII, na Espanha. No entanto, seguindo seu destino de múltiplas conquistas, Don Juan não se satisfez em ocupar a mente de um único autor e, ao longo dos séculos, tem sido reinventado a tal ponto que os estudiosos atribuíram-lhe a classificação de mito literário . Desta forma, através do instrumental teórico fornecido pela metodologia da Literatura Comparada (que ocupa-se, entre outros conceitos, das definições de tema , motivo e mito ), o objetivo do presente trabalho é proporcionar um encontro entre o mito de Don Juan e A Emparedada da Rua Nova, obra criada pelo escritor Joaquim Maria Carneiro Vilela, no final do século XIX, uma vez que tal romance adequa-se, perfeitamente, ao que Jean Rousset (apud DE GRÈVE 1995 : 66) estabeleceu como a estrutura triangular do mito de Don Juan , composta pelo grupo de mulheres , pelo morto e pelo herói . A partir de tal circunstância confirma-se mais uma conquista do Burlador de Sevilla ou do Don Juan da Rua Nova

The purpose of this thesis is not to divide and subdivide the various aspects of the personality of Lord Byron, but to record and comment upon what the poet had to say about himself. The work which most easily lends itself to this type of study is the masterpiece Don Juan.

Au centre de cette thèse se trouvent trois écrivains renommés qui appartiennent à un groupe littéraire espagnol, plus connu sous le nom de « génération de 1898 » : Azorín, Miguel de Unamuno et Ramiro de Maeztu. Bien que ce groupe ne soit pas homogène, ces auteurs engagés, à l'origine des journalistes, aspiraient à un seul et même objectif : procéder à la régénération de l'Espagne ravagée par la perte des colonies en raison de l'apathie et de la léthargie de ses dirigeants. Ce désir « régénérateur » s'est concrétisé à travers des expériences littéraires différentes qui ont mené chacun des trois auteurs à procéder à sa propre quête. Chacun d'entre eux s'est vu confronté à des interrogations existentielles telles que la question de l'éternel retour, celle de l'immortalité, ou encore celle de l'inanité de la vie. C'est par le biais des trois figures mythiques de la littérature espagnole : Don Quichotte, Don Juan et la Célestine, qu'ils sont parvenus à dépasser leurs préoccupations existentielles. En leur donnant une nouvelle vie, ces auteurs offrent aux figures mythiques une autre dimension : ils vont même jusqu'à les sanctifier. En réalité, les écrivains voient dans cette réinterprétation le salut même de l‟Espagne, mais les figures mythiques qu’ils ne cessent tantôt de valoriser, tantôt de démystifier, jouent d'autres rôles plus pragmatiques et plus prépondérants. Elles ont également une fonction plus immédiate. En fait, tout dans leurs œuvres tend à éveiller le peuple espagnol et à lui inculquer un sentiment patriotique imprégné d'une philosophie quichottesque, celle qui consiste à garder ses idéaux, tout en ayant une conscience lucide et aigüe. / In the centre of this thesis, there are three writers who belong to a Spanish literary group, better known to the word as “Generation of 1898” : Miguel de Unamuno, Azorín and Ramiro de Maeztu. Although this group is not homogeneous, these engaged writers, who are originally journalists, had a common and unique objective: regenerating Spain, that was devastated by the loss of its colonies due to its leader's apathy and lethargy. The desire was archives through various literary experiences that led each of the three writers to carry on his own quest. Each of them dealt with different existential questions such as the one of “eternal return”, “immortality” or the “futility of life”: it was in the three mythic figures of Spanish literature: don Quixote, don Juan and Celestina that their concerns were reflected. By reviving them, the three writers were giving these figures new dimensions. In truth, the writers considered this reinterpretation as a sanctification. Yet, the mythical figures that they valued sometimes and criticized some other times, played other, more prominent and pragmatic roles. They had equally a move immediate function. In fact, everything in their writings tended to awaken in Spanish people a sense of patriotism, impregnated with the “quixotic” philosophy. A philosophy that preserved an accurate and clear awareness.

From samples of stained yellow cedar wood, Chamaecyparis nootkatens is (D. Don) Spach, collected at three different localities on the British Columbia coast, isolation studies consistently yielded two members of the group Fungi Imperfecti. Reinoculation of these fungi into sound wood produced black stain similar to that found in nature. In addition to these Deuteromycetes, three basidiomycetous fungi, Poria weirii Murr, Poria asiatica (Pilát) Overholts and Xeromphalina campanella (Batsch. ex Fr.) Kühner and Maire, were isolated. Of these the Poria species are believed to be first records for the host. Studies on Petri plates revealed no marked antagonism between the two Deuteromycetes and P. weirii. The two deuteromycetous fungi gave positive reactions on gallic and tannic acid agars, demonstrating the production of the enzyme extracellular oxidase. Two series of yellow cedar beams were respectively inoculated with macerated cultures of the Deuteromycetes by means of a special technique described. This technique produced exceptionally rapid and uniform fungal growth in comparison to that obtained under standard cultural conditions. Inoculated beams were subjected to weight and strength loss tests, in comparison to control beams. Weight losses of 0.17 percent and 8.40 percent respectively were noted for the two fungi. No significant difference in impact modulus of rupture values was detected between test and control for either fungus. Significance of experimental results is briefly discussed and recommendations for further study suggested. / Science, Faculty of / Botany, Department of / Zoology, Department of / Graduate

Don Juan was Byron's effort to come to terms with the reality of his own environment, and he demanded the liberty to try to understand life and to present his conclusions without editorial or social oppression. It is an examination of the problem of appearance and reality; as a satire, the poem attacks appearances maintained by hypocrisy by placing them against the background of reality which is apparent to Byron.

No description available.