The hieratic script has never been studied systematically regarding its peculiarities in abbreviations, orthography, functions or historical development, nor in comparison with cursive and monumental hieroglyphs as well as Demotic signs. After Möller’s Hieratic Palaeography volumes I to III, being based on merely 32 sources, Egyptologists compiled several more or less complete palaeographies on single texts, groups of texts or time spans. However, the comparability of signs is often hindered or impossible due to the heterogeneity of writing surfaces, the quality of facsimiles and photos or the choice of examples and the degree of detail. Furthermore, the word or sign context is often lacking. Since April 2015 a long-term project for a possible maximum of 23 years is located at the universities of Mainz and Darmstadt, being financed by the Union of German Academies of Sciences and Humanities. The lecture presents the aims and methods of this project and discusses the state of affairs with regard to the development and structuring 1) of a digital palaeography of the cursive scripts, including all stages of hieratic, abnormal hieratic and cursive hieroglyphic scripts from the Early Dynastic period through to Roman times, and 2) of a database with extensive metadata that allows the study of various topics among which the emergence, development, regional use, context and economy of scripts as well as the identification of individual scribes’ hands. The project shall be understood as being decisively open for any cooperation among international experts.

Facsimile No. 3 of the Book of Abraham contains parallels to other Egyptian throne scenes found elsewhere, which fact has led many to pass Facsimile No. 3 off as commonplace. However, the lack of a broad comparative study examining these types of scenes in their varying contexts has rendered most conclusions regarding Facsimile No. 3 superficial at best. Hugh Nibley was perhaps the first to notice this problem, arguing that "The great abundance of pictures of the Facsimile No. 3 variety calls for the widest possible comparative study. In a case like this the student's first obligation is to compare, as widely and as carefully as possible." This thesis takes a critical step in solving this problem by looking at both the textual and iconographic elements found in Facsimile No.3 and comparing them with the larger corpus of Egyptian texts, temples, tombs, and stelae. Significantly, this study compares Facsimile No. 3 with the throne scenes from every other publicly known copy of the Book of Breathings, the ancient Egyptian document on which Facsimile No. 3 was found.In this thesis, I argue that Facsimile No. 3 is not as commonplace as some scholars have argued in the past. I begin this thesis with an introduction which presents some of the main issues surrounding Facsimile No. 3, including some of the likely reasons as to why it has remained the least studied of the three Facsimiles of the Book of Abraham. The first chapter contains a literature review of the published writings and theories that deal with Facsimile No. 3. Chapter Two gives a closer look at the hieroglyphs of Facsimile No. 3 and discusses some of the challenges relating to the translations that have been offered for them. The iconography of Facsimile No. 3 is discussed in the third chapter, where it is compared with the larger corpus of Book of Breathings vignettes. This discussion is especially important, as it is the first study to date which compares Facsimile No. 3 with the vignettes from all other extant copies of the Book of Breathings. In Chapter Four, this comparative study broadens, and parallels to Facsimile No. 3 are looked for in Ptolemaic copies of the Book of the Dead, Temples, Tombs, and funerary stelae.

Text in Afrikaans / Die doel van die verhandeling is om vas te stel in hoe 'n mate vyftien geselekteerde studies van Fernando Sor uit die Yepes- en Segovia-uitgawes van mekaar verskil deur die studies te vergelyk. Albei uitgawes is ook met die faksimilee-uitgawe vergelyk om die korrektheid van die Yepes- en Segoviauitgawes te bepaal. Seide Yepes en Segovia het heelwat veranderings aangebring. Die kenmerkendste van hierdie verskille word nie net uitgewys nie, maar daar word ook na moontlike redes gekyk waarom sulke verskille in die twee uitgawes aangebring is. Die gevolgtrekking is dat Yepes en Segovia duidelike redes gehad het waarom hulle verskil het van die faksimilee-uitgawe. Yepes en Segovia het verskillende tegniese benaderings wat bydra tot die uniekheid van die twee uitgawes wat vir die kitaarspeler 'n rykdom van moontlikhede bied in die uitvoering van hierdie studies. / The aim of the dissertation is to determine the differences between the Yepes and Segovia editions by comparing selected studies. In order to determine the correctness of the Yepes and Segovia editions both are compared to the facsimile edition as well. Yepes and Segovia both introduced a number of changes. The most typical of these are indicated and possible reasons for their inclusion in the two editions are discussed. The conclusion is that Yepes as well as Segovia had very definite reasons for including alterations to the facsimile edition in their own editions. Both have in their own editions an individual and highly personal approach which leaves us with the unique gifts of the two editions, and the guitar student with a variety of possibilities in the performance of these studies. / Department of Musicology / M.Mus. (Department of Musicology)

This study investigated commensal feeding interactions between the European harvestman (P. opilio L.) and the predatory mites Balaustium spp. and Anystis baccarum L. It also investigated the feeding behaviour of P. opilio. Experiments were conducted in the laboratory using standardised temperature, humidity, photoperiod and experimental arenas, with eggs of the brown blowfly (Calliphora stygia F.) as prey facsimiles. Due to initial difficulties in obtaining enough predatory mites, mite feeding was manually simulated piercing blowfly eggs with a minuten pin. P. opilio consumed significantly more freeze-killed than live blowfly eggs, indicating that freezing induced chemical and/or physical changes to blowfly eggs that are detected by P. opilio. Significantly more manually pierced eggs were consumed by P. opilio compared with unpierced ones, demonstrating that piercing caused a chemical and/or physical to the egg and increased the feeding rates of P. opilio. Different densities of eggs had no effect on the numbers eaten by P. opilio and placing single pierced eggs next to groups of unpierced eggs also had no effect on the numbers of unpierced eggs eaten. These results suggest that P. opilio does not exhibit klinokinesis or orthokinesis to intensify its search for prey around the area where previous prey were located. P. opilio ate significantly more brown blowfly eggs that had previously been fed on by mites, demonstrating that a short term commensal interaction existed. However, further work is required to demonstrate if the relationship is commensal in the longer term. A comparison between hand-pierced and mite-pierced eggs showed that P. opilio ate significantly more of the former indicating that mite and hand piercing were quantitatively different. The potential for, and importance of, other commensal or mutual relationships between predators in agroecosystems is discussed. The lack of klinokinesis and orthokinesis in P. opilio is compared with other predators and parasitoids that do exhibit these behaviours. The means by which prey are detected by P. opilio are discussed in relation to interpreting behaviours such as prey inspection. Concerns about the effect of pre-treatment and handling of sentinel prey and the problems of using prey facsimiles are raised.

Each composition in the following document has resulted from my desire to explore problems and possibilities that are to be found in the various ensembles and/or techniques chosen. For each new composition a particular issue or set of issues was established at the outset and dealt with from different angles at all stages of the works' creation. [1] Chansons Precieux: In these three songs I was interested in reducing my material choices to a minimum and also in creating a small fragment for the text which could be exploded into syllabic utterances. These were, over the course of the three songs, utilized in small groups. Only in the final song is the entire text revealed. [2] Across The Gorge Is The Bridge: Synthesized and concrete sounds constitute the palette of this tape piece. In processing the sounds I selected evolutionary characteristics with the intention of exploiting these characteristics in a particular manner - the notes in the piece are of extremely long duration (c. 12') and so the evolution takes place at a very slow pace. In a sense time is slowed down in the work, almost to the point of absolute stasis. [3] Triangle: Here I examined the concept of an imagined triangular pathway in which each intersection of two lines consisted of the same object viewed in a different way. The lines themselves are manipulations of the object. The original inspiration for this piece came from reading about Stonehenge and other such prehistoric laboratories designed as viewing points for the sun and moon and their risings and settings at key times of the year. [4] Anya Manas: A small item, in this case a chord, is never presented literally, but begins its life in this piece by already having been bent, altered, linearized and otherwise mutilated. Eventually the chord has completely lost its own sense of its own reality. "Anya Manas" is a Sanskrit saying that refers to a state of mind in which confusion of identity prevails. [5] Wo Weilest Du?: This work involved the desire to eliminate such traditional concepts as motivic development, regular phrasing and clear form. Sound objects appear, vanish and may or may not return later. There is no formal goal or climax. The piece simply begins and ends where it does. The title is German and means where are you waiting? It comes from Wagner's Tristan und lsolde.

Scholarship of the anonymous Old English prose Life of St. Mary of Egypt ranges from source studies and linguistic analyses to explorations of Anglo-Saxon female sexuality and comparisons to saints' lives translated by the monk Ælfric, but all of these studies have been based on either the text extant in BL MS Cotton Julius E. vii or on W. W. Skeat's edition of the Julius manuscript, Ælfric's Lives of Saints (1881-1900). There is, however, an as yet unedited fragmentary copy of the Old English Mary of Egypt in BL MS Cotton Otho B. x, a manuscript severely damaged by fire in 1731. Digital imaging of damaged manuscripts in concert with ultraviolet fluorescence and other special lighting techniques has been shown to be effective for restoring the legibility of previously inaccessible texts. By means of such digital facsimiles I have transcribed the text of Mary of Egypt in Otho B. x, have collated this text with Skeat's edition, and have discovered that Otho B. x contains textual evidence not found in Julius E. vii. In this thesis, I present my findings and discuss the significance of this new textual evidence for the Old English Life of St. Mary of Egypt.

Text in Afrikaans / Die doel van die verhandeling is om vas te stel in hoe 'n mate vyftien geselekteerde studies van Fernando Sor uit die Yepes- en Segovia-uitgawes van mekaar verskil deur die studies te vergelyk. Albei uitgawes is ook met die faksimilee-uitgawe vergelyk om die korrektheid van die Yepes- en Segoviauitgawes te bepaal. Seide Yepes en Segovia het heelwat veranderings aangebring. Die kenmerkendste van hierdie verskille word nie net uitgewys nie, maar daar word ook na moontlike redes gekyk waarom sulke verskille in die twee uitgawes aangebring is. Die gevolgtrekking is dat Yepes en Segovia duidelike redes gehad het waarom hulle verskil het van die faksimilee-uitgawe. Yepes en Segovia het verskillende tegniese benaderings wat bydra tot die uniekheid van die twee uitgawes wat vir die kitaarspeler 'n rykdom van moontlikhede bied in die uitvoering van hierdie studies. / The aim of the dissertation is to determine the differences between the Yepes and Segovia editions by comparing selected studies. In order to determine the correctness of the Yepes and Segovia editions both are compared to the facsimile edition as well. Yepes and Segovia both introduced a number of changes. The most typical of these are indicated and possible reasons for their inclusion in the two editions are discussed. The conclusion is that Yepes as well as Segovia had very definite reasons for including alterations to the facsimile edition in their own editions. Both have in their own editions an individual and highly personal approach which leaves us with the unique gifts of the two editions, and the guitar student with a variety of possibilities in the performance of these studies. / Department of Musicology / M.Mus. (Department of Musicology)

Each composition in the following document has resulted from my desire to explore problems and possibilities that are to be found in the various ensembles and/or techniques chosen. For each new composition a particular issue or set of issues was established at the outset and dealt with from different angles at all stages of the works' creation. [1] Chansons Precieux: In these three songs I was interested in reducing my material choices to a minimum and also in creating a small fragment for the text which could be exploded into syllabic utterances. These were, over the course of the three songs, utilized in small groups. Only in the final song is the entire text revealed. [2] Across The Gorge Is The Bridge: Synthesized and concrete sounds constitute the palette of this tape piece. In processing the sounds I selected evolutionary characteristics with the intention of exploiting these characteristics in a particular manner - the notes in the piece are of extremely long duration (c. 12') and so the evolution takes place at a very slow pace. In a sense time is slowed down in the work, almost to the point of absolute stasis. [3] Triangle: Here I examined the concept of an imagined triangular pathway in which each intersection of two lines consisted of the same object viewed in a different way. The lines themselves are manipulations of the object. The original inspiration for this piece came from reading about Stonehenge and other such prehistoric laboratories designed as viewing points for the sun and moon and their risings and settings at key times of the year. [4] Anya Manas: A small item, in this case a chord, is never presented literally, but begins its life in this piece by already having been bent, altered, linearized and otherwise mutilated. Eventually the chord has completely lost its own sense of its own reality. "Anya Manas" is a Sanskrit saying that refers to a state of mind in which confusion of identity prevails. [5] Wo Weilest Du?: This work involved the desire to eliminate such traditional concepts as motivic development, regular phrasing and clear form. Sound objects appear, vanish and may or may not return later. There is no formal goal or climax. The piece simply begins and ends where it does. The title is German and means where are you waiting? It comes from Wagner's Tristan und lsolde. / Arts, Faculty of / Music, School of / Graduate

[no abstract included] / Arts, Faculty of / Music, School of / Graduate

La thèse exploite, pour la première fois, d’exceptionnels manuscrits de l’office cistercien. Comprenant la liturgie cistercienne d’origine messine copiée vers 1136/1140, ces documents ont servi, quelques années plus tard, de brouillons à la réforme liturgique et musicale de Bernard de Clairvaux. Ils ont été partiellement biffés et grattés de façon à correspondre aux nouvelles normes cisterciennes.<p>La principale liasse d’épreuves bernardines, constituée des quelque 185 folios de l’antiphonaire 12A-B de Westmalle, constitue le socle de la thèse et la matière du tableau liturgique général présenté dans l’annexe 3. Cette table distingue les pièces de première main de celles écrites par les correcteurs bernardins. Les autres épreuves, l’antiphonaire 6 de Tamié (Savoie) et les fragments de la Fille-Dieu (Suisse), ont été reproduites dans l’annexe 2. Avec les folios de Westmalle 12A-B, elles sont les seules à conserver une part importante des mélodies originelles, à révéler les corrections et les procédures bernardines. Les analyses codicologique et paléographique des documents, mises en relation avec les données historiques, ont permis de dégager deux phases de corrections et de situer l’achèvement de la réforme bernardine, vraisemblablement à Hautcrêt vers 1143.<p>Le répertoire de l’hymnaire a été revu (chapitre IV) et celui de la messe, réexaminé à la lumière des reliquats du premier graduel cistercien, jusqu’ici inexploités. Ces bribes intactes ont été confrontées aux équivalents de la deuxième réforme et ouvrent (chapitre III) l’étude comparative des chants de l’office du premier et du deuxième Cîteaux (chapitres VII à X). <p>Au fil de l’analyse, des échantillons tirés du graduel ou de l’antiphonaire sont présentés dans les tableaux synoptiques rassemblés dans l’annexe 1. Chacun d’entre eux comprend, quand c’est possible, la première version cistercienne originelle reconstituée, la version bernardine et, selon les besoins, un panel plus ou moins important de référents grégoriens (décrits au chapitre VI), destinés à replacer chaque liturgie cistercienne dans son contexte culturel et à en établir les sources. <p>Ce travail tend à modifier l’image de la réforme bernardine, censée avoir appauvri la tradition grégorienne par l’application stricte des règles musicales. Elle montre que de nombreuses pièces introduites par les correcteurs sont issues de la tradition clunisienne et parfois spécifiquement de la tradition de l’abbaye de Molesme d’où sont issus les pères fondateurs de Cîteaux. Les reliquats de la liturgie molesmienne notée, reproduits en fac-similé (annexes 2) et inconnus jusqu’ici, ont permis d’établir l’existence d’une chaîne de tradition musicale reliant Molesme aux monastères de sa tradition (Montier-la-Celle et Marmoutier) ;et de faire ressortir les liens qui unissent la tradition des premiers moines blancs à de nombreuses corrections bernardines. L’examen du bréviaire Paris 3241, sorti de l’anonymat en 2007 et exploité ici pour la première fois, a en particulier permis de conclure au transfert de pièces et formulaires entiers de la tradition molesmienne vers le deuxième Cîteaux. <p>Bien plus que la théorie musicale, réputée si importante, mais en réalité modérément appliquée, ce sont la raison pratique, le souci de l’authenticité et de la bonne articulation du texte latin, l’esthétique et la culture mélodique du terroir bourguignon qui ont guidé les choix des réformateurs bernardins. La liturgie messine, adoptée à Cîteaux entre 1108 et 1143, était porteuse de variantes dialectales que les Bernardins ont abandonnées pour se réapproprier leur patrimoine ancestral, marqué par des segments musicaux expressifs et des idiomes caractéristiques du domaine latin. <p>L’interprétation musicale de spécimens du premier et du deuxième Cîteaux, mis en regard, illustre ce basculement culturel de l’ensemble liturgique « est » vers celui de l’« ouest ». La pochette musicale comprend aussi quelques unica et emprunts traditionnels ciblés qui illustrent la richesse de l’esthétique du deuxième Cîteaux.<p> / Doctorat en Langues et lettres / info:eu-repo/semantics/nonPublished