Purpose – Examine if there is any difference in performance between the C++ framework JUCE and the domain-specific programming language FAUST to create a decision basis to facilitate choices between them when developing plugins. Method – An experimental study where two delay-plugins with identical functionality were developed and compared in latency, CPU load and memory usage. The experiment consisted of three test cases and were performed on three different computers. Findings – FAUST performed better than JUCE regarding latency and CPU load during the experiment. JUCE on the other hand performed better than FAUST regarding memory usage. Implications – This study has made it easier to make a decision based on performance when choosing between JUCE and FAUST regarding development of plugins. Limitations – Time restrictions has led to only comparing JUCE and FAUST, leaving other relevant alternatives aside. It has also led to only developing one type of plugin. The results of the study cannot be generalized or applied to other frameworks and programming languages whose purpose is to ease processing of digital signals. / Syfte – Undersöka om det är någon skillnad i prestanda mellan C++-ramverket JUCE och det domänspecifika programmeringsspråket FAUST för att skapa ett beslutsunderlag för att underlätta val mellan dem vid utveckling av plugins. Metod – En experimentell studie där två delay-plugins med identisk funktionalitet utvecklades och jämfördes i latency, CPU-belastning och minnesanvändning. Experimentet bestod av tre testfall och utfördes på tre olika datorer. Resultat – FAUST presterade bättre än JUCE gällande latency och CPU-belastning under experimentet. JUCE presterade däremot bättre gällande minnesanvändning. Implikationer – Denna studie har gjort det lättare att fatta ett beslut baserat på prestanda vid val mellan JUCE och FAUST beträffande utveckling av plugins. Begränsningar – Tidsbegränsningar har lett till att endast en jämförelse mellan JUCE och FAUST har genomförts. Andra relevanta alternativ har uteslutits på grund av detta. Det har också medfört att endast en typ av plugin har utvecklats. Studiens resultat kan inte tillämpas eller generaliseras till andra ramverk och domänspecifika programmeringsspråk vars syfte är att bearbeta digitala ljudsignaler.

The great novelist and poet Johann Wolfgang von Goethe (1749 – 1832) arguably made his most significant contribution to the artistic world with his literary masterpiece Faust I. Goethe’s love of music and melody is evident throughout all of Faust, particularly in the expressive poetry of the character of Gretchen, whose meaningful words gave inspiration to a variety of musical manifestations, especially in German Lied. This document serves as a performance guide for vocalists. It provides vital information on the setting and arrangement of the poetry within the musical settings, the background and significance of the composer and his works, and the organization of the music. The examination of each piece will involve assessment of musical phrasing, tessitura, and overall vocal complexity in eight German Lieder settings of Gretchen’s soliloquy “Ach neige, du Schmerzenreiche” from Goethe’s Faust. The suggestions within the investigations are based on examination of pedagogical practices as well as personal experience and discoveries made while singing and performing these pieces. Through an investigation of each piece, the singer will be able to attain a successful understanding of the framework and approach to the music and poetry, and thereby achieve awareness of accurate performance practice. This document examines in order of composition, the settings by Bettina von Arnim, Franz Schubert (including the completed fragment as arranged by Benjamin Britten), Conrad Kreutzer, Bernhard Klein, Johann Loewe, Robert Schumann, Hugo Wolf, and Fredric Joseph Kroll. Because this document serves to investigate only German Lieder settings, it will not examine the choral works of Hans Pfitzner, Antoni Radziwill, Julius Röntgen, Giuseppe Verdi’s Italian setting “Deh, pietoso, oh Addolorata,” nor Richard Wagner’s Melodram. This document will also very briefly discuss the lost and inaccessible settings of Gretchen’s prayer, including those of Carl Debrois van Bruyck, Edmund von Freyhold, Moritz Hauptmann, Justus Lecerf, Leopold Lenz, Louis Schlottmann, and Hans Sommer.

Submitted by Marlene Santos (marlene.bc.ufg@gmail.com) on 2014-09-26T21:35:11Z No. of bitstreams: 2 Silva, Marcela Italo Rodrigues e..pdf: 722458 bytes, checksum: f4cf6d1bc2c1db766599cd5a3968f7d8 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Jaqueline Silva (jtas29@gmail.com) on 2014-09-26T21:41:18Z (GMT) No. of bitstreams: 2 Silva, Marcela Italo Rodrigues e..pdf: 722458 bytes, checksum: f4cf6d1bc2c1db766599cd5a3968f7d8 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2014-09-26T21:41:19Z (GMT). No. of bitstreams: 2 Silva, Marcela Italo Rodrigues e..pdf: 722458 bytes, checksum: f4cf6d1bc2c1db766599cd5a3968f7d8 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2013-05-03 / La présente dissertation se propose à analiser de quelle forme la compréhension freudienne de la mélancolie est présente dans le Faust de Pessoa. On vera de quelle forme la mélancolie comme caractéristique de la modernité projete dans le Faust de Pessoa une autre phase du mythe faustique. On va analiser le retour subjectif sur soi-même comme une issue rencontré par le sujet poétique pour exprimer les temps modernes, dans la transformation/construction du Faust de Pessoa. On commence notre travail présentant um bref parcours historique des principales lectures du mythe de Faust dans la littérature ocidental, de Spiess, Marlowe, Goethe et Mann. À partir de ce parcours, on va vérifier comment le mythe de Faust s’apréhende dans la modernité par Fernando Pessoa. À propos du Faust de Pessoa, on découvre de quelle manière l’oeuvre est construite dans ses trois organisations, par les editeurs Freitas da Costa, Duílio Colombini et Teresa Sobral Cunha. Dans le chapitre suivant, on commence en présentant un embasement théorique des conceptions freudiennes du malaise dans la culture et la mélancolie. On va voir de quelle manière la mélancolie apparaît comme marque d’une époque orienté par la malaise. On va comprendre comment le malaise provoque dans l’être humain un délaissement hériter de sa subjetivité et caractéristique de la modernité. À la fin de notre travail, on va analiser comment les poèmes se relacionnent avec les thématiques de la mélancolie présente dans l’oeuvre du Faust de Pessoa. Nous comprenons le Faust de Pessoa comme une expression, à la fois, de la mélancolie et le génie de l’artiste. / A presente dissertação se propõe a analisar de que forma a compreensão freudiana de melancolia está presente no Fausto pessoano. Veremos de que forma a melancolia como característica da modernidade projeta, no Fausto de Pessoa, outro momento do mito fáustico. Analisaremos o retorno subjetivo para si como a saída encontrada, pelo sujeito poético, para expressar os tempos modernos, na transformação/construção do Fausto pessoano. Iniciamos nosso trabalho apresentando um breve percurso histórico sobre as principais leituras do mito de Fausto na Literatura Ocidental, em Spiess, Marlowe, Goethe e Mann. A partir desse percurso, verificamos como o mito de Fausto passa a ser apreendido na modernidade por Fernando Pessoa. Sobre o Fausto pessoano, percebemos como a obra é construída em suas três organizações pelos editores Freitas da Costa, Duílio Colombini e Teresa Sobral Cunha. No capítulo seguinte, iniciamos apresentando um embasamento teórico sobre as concepções freudianas de mal-estar na modernidade e melancolia. Observamos a maneira pela qual a melancolia aparece como traço de uma época orientada pelo mal-estar. Compreendemos de que forma o mal-estar provoca, no ser humano, um desamparo legado à sua subjetividade, traço da modernidade. Na parte final de nosso trabalho, analisamos como os poemas se relacionam com a temática da melancolia presente na obra do Fausto pessoano. Entendemos o Fausto de Pessoa como expressão, ao mesmo tempo, de melancolia e genialidade do artista.

No description available.

Universidad Complutense, Diss--Madrid, 2006.

Der Begriff "Böse" ist seinem Bedeutungsumfang nach derart allumfassend, dass es unmöglich erscheint, sich diesem substanziell zu nähern. Die Arbeit versucht daher, das Phänomen des Bösen über seine Personifikationen zu erfassen und diese anhand begriffsgeschichtlicher Methoden aufzuarbeiten. Dabei steht das Zeitalter der Aufklärung im Zentrum der Analyse, da sich in jener Epoche ein elementarer Wandel vollzog, der das bis ins 18. Jh. hinein religiös geprägte Bild des Bösen ins Reich der Mythen und Legenden verbannte, ohne jedoch seine Personifikation, den Teufel, gänzlich zu vernichten. Ausgehend von diesem wichtigen Schritt in der Geschichte des Abendlandes entwickelt die Arbeit einen roten Faden der Kulturgeschichte des Bösen, der sich von den biblischen Anfängen bis hin zu den heute geläufigen Vorstellungen zieht. Damit wird verdeutlicht, inwieweit die religiöse Vorstellung des Teufels ein Paradigma bilden konnte, welches epochenübergreifende Geltung gewann.

Submitted by FABRICIO MESQUITA DE ARO null (farotransmidia@gmail.com) on 2016-12-14T14:39:43Z No. of bitstreams: 1 Distorções-Elásticas-no-Cinema-Digital-de-Alexandr-Sokurov.pdf: 4048829 bytes, checksum: 607a1b260496bee0c99b0555423dc805 (MD5) / Approved for entry into archive by Felipe Augusto Arakaki (arakaki@reitoria.unesp.br) on 2016-12-19T17:36:29Z (GMT) No. of bitstreams: 1 aro_fm_me_bauru.pdf: 4048829 bytes, checksum: 607a1b260496bee0c99b0555423dc805 (MD5) / Made available in DSpace on 2016-12-19T17:36:29Z (GMT). No. of bitstreams: 1 aro_fm_me_bauru.pdf: 4048829 bytes, checksum: 607a1b260496bee0c99b0555423dc805 (MD5) Previous issue date: 2016-10-27 / O presente trabalho pretende elucidar os mecanismos que negaram a perspectiva linear por meio da distorção da imagem no cinema de Alexandr Sokurov. A partir da teoria da Dobra de Deleuze e dos preceitos da Perspectiva Inversa de Pável Floriênski, serão analisadas obras pictóricas, que vão do Barroco, passando pela Bauhaus, chegando até Francis Bacon. Tais obras entrarão em sintonia com a filmografia de Sokurov utilizando o termo da “distorção elástica”, pressupondo um deslocamento não-espacial e temporal-não-linear através da análise fílmica e estética das obras. A adaptação de Fausto de Goethe realizada pelo cineasta russo em 2012, será o elemento condutor ao elucidar o trânsito imagético do suporte analógico para o digital e suas potencialidades estéticas de subversão à perspectiva linear. / The present work intends to elucidate the mechanisms that denied the linear perspective inherited from Ancient Greece and emphasized in the Renaissance period, to undergo the process of distortion of this mechanism of representation. From the theory of Deleuze's Dobra and the precepts of the Inverse Perspective of Pável Floriênski, will be analyzed pictorial works, ranging from the Baroque, passing by the Bauhaus, reaching Francis Bacon. Such works will be in tune with the filmmaking of the Russian filmmaker Alexandr Sokurov using the term "elastic distortion", presupposing a non-spatial and non-linear displacement through the filmic and aesthetic analysis of works. Goethe's Faust's adaptation by the Russian filmmaker in 2012 will be the driving element in elucidating the imaginary transit from analog to digital support and its aesthetic potential from subversion to linear perspective.

La présente thèse compare le drame Le Docteur Faust de Christopher Marlowe (1604, 1616) avec la première traduction française faite par Jean-Pierre Antoine Bazy (1850) et la première traduction italienne faite par Eugenio Turiello (1898) en visant à identifier les changements textuels révélateurs du contexte culturelle et idéologique au moment où se produisent les deux textes cibles. Le Docteur Faust est un exemple emblématique de l’instabilité du texte dramatique source. Il nous est parvenu en deux versions (le texte A et le texte B) différentes du point de vue structurel, thématique et doctrinal. En revanche, aucune version ne permet pas une interprétation cohérente. Ce travail a pour propos d’examiner si les traductions de Bazy et de Turiello, qui proviennent de contextes géographiques, historiques et littéraires différents mais étroitement liés, multiplient les lectures plausibles ou bien si elles aboutissent à une vision plus constante. En outre, on s’interroge sur la cause des variations textuelles, généralement dénommées en traductologie les glissements. Tout d’abord, j’ai identifié une régularité des glissements qui se manifestent dans deux traductions en question. Puis, j’ai analysé les effets des glissements sur la structure et la signification générales des textes. Enfin, en adoptant une approche socioculturelle de l’analyse des traductions, j’ai exploré la manière dont les changements sont déterminés par l’idéologie des traducteurs et leur interprétation de l’original. Cela explique leur position au sein de l’espace politique et idéologique de chaque culture d’arrivée, ainsi que les normes traductrices et culturelles adoptées au cours de la traduction. / The aim of this research is to compare Christopher Marlowe’s play Doctor Faustus (1604, 1616) with the first French translation by Jean-Pierre Antoine Bazy (1850) and the first Italian translation by Eugenio Turiello (1898) in search of the changes that are symptomatic of the cultural and ideological context of translation production. The case of Doctor Faustus represents the epitome of the instability of a dramatic source text. Two main versions of the play (the A-text and the B-text) differ in structural, thematic and doctrinal terms. At the same time, neither version delivers a coherent vision. The research seeks to examine whether Bazy’s and Turiello’s translation, belonging to different yet related geographical, historical and literary traditions, further multiply the potential readings of the original or whether they display a more consistent framework. In addition, we will analyse the causes of textual variation, commonly labelled in Translation Studies as shifts. First, we identified a pattern of shifts manifested in the target texts in question. Then, we discussed the ways in which the identified patterns of shifts affect the general meaning and the structure of the texts. Finally, adopting a socio-cultural approach, we showed how certain shifts are conditioned by the translators’ ideology and their interpretation of the original. This in turn reveals the positions they occupy within the political and ideological space of each target culture and the main cultural and translation norms operating in the recipient systems.

This thesis deconstructs the gender symbolism evident in the opera Faust (1859) by Gounod. The objective is to determine the gendered authenticity, originality and contributing nature of the work, acknowledging the Catholic nineteenth-century French context in which it was written. The study aims to establish the nature of the gender constructs portrayed (whether representative of their conservative milieu, or suggestive of unconventionality, liberalism and innovation) and how these portrayals were executed by Gounod and his librettists. An exploration of the construction of Faust and a comparison with Goethe’s Faust: Der Tragödie Erster Teil (1808), on which the Gounodian creation is loosely based, initiates the study. The theory of performativity by Judith Butler (1990), together with other general gender hypotheses on, for instance, masculine and feminine personalities and perversity, follows. Hereafter, gender in the context of artistic performances, and gender constructs in Christianity are investigated. These general, performance-based and theological theories and ideas are then compared to the gendered characters in Faust. The secular and Catholic gender norms that governed men and women in nineteenth-century France inevitably had an influence on how gender is represented in the opera. Hence, contextual aspects, as well as Gounod’s own interaction with, and exhibition of gender are analysed in order to establish their influential extent on Faust. A deconstruction of the opera as three different texts – libretto, score and DVD productions of three Faust performances – is applied since this contributes to holistic and objective conclusions. The aspects investigated in the study have brought to light that Faust shamelessly highlights the destructive consequences of social, cultural and religious gender stereotypes governing nineteenth-century Catholic France, whilst simultaneously proposing liberated gender identities. Gounod is innovative in presenting a female protagonist through the role of Marguerite. She is an intricate, developing character representative of multiple perplexed femininities, many of which are conquering and symbolic of female empowerment. Siébel serves as a source of great gender ambiguity and contradiction. These aspects are fuelled by an ironic female identity – hence, the notion of performativity is ingeniously incorporated into this character. Both femininity and masculinity is advocated in the portrayals of Méphistophèles and the Christian God, while interesting and unexpected masculinities are embodied through Faust and Valentin. By using the above methodology, I suggest that Gounod’s Faust is an authentic and pioneering work representing ambivalent, controversial, contradictory and empowering gender constructs, making it a composition of considerable worth, both musically and historically. NB: Additional information available on a CD stored at the Merensky Library front Counter. / Dissertation (MMus)--University of Pretoria, Pretoria, 2013. / 5 CDs available with the study. Kept at the Open Scholarship Office in the Embargo room. / Music / unrestricted

TITLE: Faust and the role of myth in the philosophy of Czech thinkers: Bratránek, Masaryk, Patočka AUTHOR: Tereza Čechová DEPARTMENT: General Antropology SUPERVISOR: Mgr. Jakub Marek, Ph.D. ABSTRACT: The thesis Faust and the role of myth in the philosophy of Czech thinkers: Bratránek, Masaryk, Patočka, deals with the theme of Faust and its role in individual works of the mentioned philosophers. The thesis briefly contains the origin and development of the Faust myth, its most famous literary work, and its appearance on the Czech territory. The main chapters of the thesis are those that are focused on such texts of the mentioned thinkers, who are concerned with the Faustian theme. The resulting analyzes and comparations contribute to the depiction and arrangement of the role of the Faustian myth in Czech philosophy, mainly because of the different approaches, goals and methods of research used in their work by F. T. Bratránek, T. G. Masaryk and Jan Patočka. KEYWORDS: Faust, Myth, Contract with the Devil, Goethe, Czech Philosophy, Philosophy of History, Jan Patočka, F. T. Bratránek, T. G. Masaryk