No description available.

Dès sa prise de pouvoir en janvier 1933, le régime national-socialiste et son chef, Adolf Hitler, engagent l'Allemagne dans une révolution culturelle, laquelle implique un changement drastique de valeurs nationales idéales et un contrôle strict de la culture. Cette dernière est désormais utilisée comme un outil pour faire la propagande du régime nazi et promouvoir ses idéaux. Tiraillée par les factions de droite et de gauche, la France des années trente est divisée dans ses perceptions du nouveau modèle culturel que développe l'Allemagne hitlérienne. En fonction des évènements qui se passent de part et d'autre du Rhin entre 1933, prise de pouvoir d'Hitler et 1939, début de la Deuxième Guerre mondiale, les opinions à l'égard de la révolution culturelle nazie et de la dictature aux velléités totalitaires qui la conduit évoluent. Ce mémoire vise donc à analyser comment se manifeste la perception de la presse française, reflet et forgeuse de l'opinion publique, à l'égard de la révolution culturelle nazie. Pour ce faire, nous analysons les perceptions de deux importants quotidiens dans le paysage médiatique français, dont les positions éditoriales sont antagonistes : le Figaro , journal de droite conservatrice, et L'Humanité , journal communiste. En analysant les positions de ces deux quotidiens par rapport à certains thèmes majeurs se trouvant au coeur de la révolution culturelle nazie (comme le racisme, la censure, la"communauté du peuple"), nous allons non seulement cerner l'évolution respective de chaque journal sur l'ensemble de la période étudiée, 1933 à 1939, mais aussi les comparer entre eux. Nous exposerons et analyserons ainsi le clivage idéologique qui divise la France des années 1930 et qui s'exprime avec vigueur devant la nouvelle Allemagne hitlérienne.

Undressing Cherubino: Reassessing Gender and Sexuality in Mozart’s Le nozze di Figaro Although Le nozze di Figaro is one of Mozart’s most celebrated operas, we have not yet understood one crucial element. On the surface of the drama, the opera seems to be about class disruption: the Count is the head of the household, but it is his servants who run it. This plot is made evident to the audience, and it is the message that most critics draw from the work. However, there may be a second meaning below the surface that is, in fact, more subversive than the overt one. While class structures are questioned in the foreground, another more hidden narrative explores alternate depictions of femininity and sexuality. This covert meaning is arguably embodied in Cherubino. This character is portrayed as an adolescent boy despite the fact that the role calls for a female singer. Cherubino is understood to be male, and functions as one in the drama, but, as I will suggest, may in fact be conceived as female. As a pagegirl raging with sexual love for all the women in the palace, Cherubino may be seen embodying a prototype of femininity that is contrary to the heterosexual norms of the overt narrative. The first chapter of this thesis examines how both Pierre-Augustin Beaumarchais’ play Le mariage de Figaro and Mozart and Da Ponte’s operatic adaptation could point towards alternate depictions of women. The following two chapters survey the various ways an alternate gender identity for Cherubino can be expressed through features of the libretto (chapter 2) and the score (chapter 3). Drawing from my experience of performing Cherubino, the fourth and final chapter assesses the findings of the previous two and shows that while elements of the text and music may have characteristics that can be assigned gender attributes, neither can intrinsically embody masculinity or femininity. With this finding comes the understanding that who and what a character is is marked not by the outlines of libretto and score but by acts of musical performance.

Undressing Cherubino: Reassessing Gender and Sexuality in Mozart’s Le nozze di Figaro Although Le nozze di Figaro is one of Mozart’s most celebrated operas, we have not yet understood one crucial element. On the surface of the drama, the opera seems to be about class disruption: the Count is the head of the household, but it is his servants who run it. This plot is made evident to the audience, and it is the message that most critics draw from the work. However, there may be a second meaning below the surface that is, in fact, more subversive than the overt one. While class structures are questioned in the foreground, another more hidden narrative explores alternate depictions of femininity and sexuality. This covert meaning is arguably embodied in Cherubino. This character is portrayed as an adolescent boy despite the fact that the role calls for a female singer. Cherubino is understood to be male, and functions as one in the drama, but, as I will suggest, may in fact be conceived as female. As a pagegirl raging with sexual love for all the women in the palace, Cherubino may be seen embodying a prototype of femininity that is contrary to the heterosexual norms of the overt narrative. The first chapter of this thesis examines how both Pierre-Augustin Beaumarchais’ play Le mariage de Figaro and Mozart and Da Ponte’s operatic adaptation could point towards alternate depictions of women. The following two chapters survey the various ways an alternate gender identity for Cherubino can be expressed through features of the libretto (chapter 2) and the score (chapter 3). Drawing from my experience of performing Cherubino, the fourth and final chapter assesses the findings of the previous two and shows that while elements of the text and music may have characteristics that can be assigned gender attributes, neither can intrinsically embody masculinity or femininity. With this finding comes the understanding that who and what a character is is marked not by the outlines of libretto and score but by acts of musical performance.

Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Ciências Agrárias. Programa de Pós-Graduação em Aquicultura / Made available in DSpace on 2012-10-26T11:21:01Z (GMT). No. of bitstreams: 1 310699.pdf: 687228 bytes, checksum: cea9efafb267becf4f9e4d912105b6b7 (MD5) / Endêmico da costa brasileira, o neon gobi (Elacatinus figaro) é um peixe que apresenta interesse para a o mercado ornamental pelo seu pequeno tamanho e fácil adaptação em cativeiro. Devido à captura excessiva, encontra-se inserido na lista de espécies ameaçadas de extinção. Com intuito de incrementar a produção intensiva do neon gobi, e compreender melhor os aspectos nutricionais, o presente estudo buscou compreender o potencial digestório da espécie através da determinação das proteases alcalinas totais. A atividade enzimática foi medida em peixes com 3, 22, 41 e 180 DAE, através da hidrólise da azocaseína. As proteases alcalinas da Artemia e rotífero foram determinadas para avaliar possíveis contribuições de enzima exógenas. Além disso, o protocolo alimentar comumente utilizado na larvicultura da espécie foi modificado, realizando-se um novo protocolo antecipando-se a oferta de Artemia em 6 dias em relação ao protocolo alimentar comumente usado, onde a atividade enzimática, o crescimento e a metamorfose das larvas foram avaliados em ambos os protocolos. A atividade das proteases alcalinas foi estatisticamente semelhante nos três estágios (3,22 e 41 DAE) da espécie, com um aumento evidente apenas na fase adulta (180 DAE). A contribuição de proteases alcalinas exógena no trato digestório do neon gobi foi de 2% do rotífero e 67,9 % da Artemia. A antecipação do fornecimento da Artemia demonstrou incrementar o crescimento e antecipar a metamorfose das larvas, porém a atividade enzimática das proteases alcalinas foi menor nesse protocolo do que o comumente utilizado, demonstrando-se benéfica do ponto de vista produtivo uma vez que alcançou o tamanho comercial mais cedo, e permaneceu menos tempo dependente da alimentação com a Artemia, o que reduz os custos de produção

Undressing Cherubino: Reassessing Gender and Sexuality in Mozart’s Le nozze di Figaro Although Le nozze di Figaro is one of Mozart’s most celebrated operas, we have not yet understood one crucial element. On the surface of the drama, the opera seems to be about class disruption: the Count is the head of the household, but it is his servants who run it. This plot is made evident to the audience, and it is the message that most critics draw from the work. However, there may be a second meaning below the surface that is, in fact, more subversive than the overt one. While class structures are questioned in the foreground, another more hidden narrative explores alternate depictions of femininity and sexuality. This covert meaning is arguably embodied in Cherubino. This character is portrayed as an adolescent boy despite the fact that the role calls for a female singer. Cherubino is understood to be male, and functions as one in the drama, but, as I will suggest, may in fact be conceived as female. As a pagegirl raging with sexual love for all the women in the palace, Cherubino may be seen embodying a prototype of femininity that is contrary to the heterosexual norms of the overt narrative. The first chapter of this thesis examines how both Pierre-Augustin Beaumarchais’ play Le mariage de Figaro and Mozart and Da Ponte’s operatic adaptation could point towards alternate depictions of women. The following two chapters survey the various ways an alternate gender identity for Cherubino can be expressed through features of the libretto (chapter 2) and the score (chapter 3). Drawing from my experience of performing Cherubino, the fourth and final chapter assesses the findings of the previous two and shows that while elements of the text and music may have characteristics that can be assigned gender attributes, neither can intrinsically embody masculinity or femininity. With this finding comes the understanding that who and what a character is is marked not by the outlines of libretto and score but by acts of musical performance.

No description available.

abstract: W.A. Mozart was a masterful creator of music and drama as well as a keen observer of human relationships. Librettists were enamored of his ability to bring their words to life with his music. His truthful portrayal of human relationships, particularly involving women, was highly influenced by his own life experiences. Through these relationships he learned to create characters and music that clearly depict female sibling relationships in the eighteenth century. A review of educational opportunities for women during the eighteenth century, Mozart's personal relationships, as well as selected roles in his operas will help to explain Mozart's portrayal of the eighteenth-century female sibling stereotypes. While Mozart's self-centeredness is well documented in biographies by Cliff Eisen and Ruth Halliwell, and the argument can be made that he surrounded himself with females who fulfilled his needs, he was often drawn to operas in which he could advocate musically for a female character's liberation from the overbearing influence of powerful men. Although Mozart's "musically empowered" women appear in nearly every opera, for the purpose of this paper, I will focus on the characters of Così fan tutte's Fiordiligi and Dorabella, and Le Nozze di Figaro's Countess. First, however, a closer analysis of Mozart's early life and his relationships with his sister and mother is necessary. The ways Mozart set characters created by DaPonte and Beaumarchais cannot be separated from the ways he was taught to appreciate females in his family of origin. Social structure during the eighteenth century dictated a woman's education, responsibility to her family, and therefore, played a fundamental role in defining her life. This situation often created expectations within the birth order that had an impact on sibling relationships as well as individual personalities. Many social and familial influences are represented through the operas of Mozart. Così fan tutte (January 26, 1790) and Le Nozze di Figaro (May 1, 1786) both contain a central female sibling relationship that reflects aspects of Mozart's relationships with women throughout his life. / Dissertation/Thesis / D.M.A. Performance 2010

Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Ciências Agrárias. Programa de Pós-graduação em Aquicultura / Made available in DSpace on 2012-10-23T23:57:47Z (GMT). No. of bitstreams: 1 258942.pdf: 978765 bytes, checksum: 9a6438291eb1dd3b55921573c67930dd (MD5) / Atualmente, existe uma grande demanda por peixes ornamentais marinhos destinados à indústria da aquariofilia. A realidade extrativista e altamente seletiva desta atividade leva a um alto risco de sobre-explotação dos recursos naturais. Uma alternativa para diminuir o extrativismo destes peixes, especialmente os ameaçados de extinção, é o desenvolvimento de tecnologia para a produção desses animais em cativeiro. O presente trabalho tem como objetivo desenvolver tecnologia para a produção massiva do neon gobi, Elacatinus figaro, uma espécie de peixe ornamental marinho nativo ameaçado de extinção. Ao longo de 7 meses foram obtidas 52 desovas e 41 larviculturas do neon. Animais selvagens iniciaram a formação de casais 20 dias após a aclimatação às condições de cativeiro. As desovas iniciaram-se após 12 dias de pareamento, e ocorreram de forma freqüente. A fêmea desova de 140 a 700 ovos num intervalo de 11 dias, em média. O período de incubação dos ovos durou em média 6,8 dias a 25 ºC. As melhores taxas de eclosão dos ovos e sobrevivência das larvas obtidas foram de 99,5% e 30,6%, respectivamente. Como principais resultados, destaca-se a geração de conhecimentos sobre a bioecologia desta espécie de peixe ornamental marinho, bem como o desenvolvimento de tecnologia produtiva para a espécie em questão.

The purpose of this thesis is to explore how the topic of immigration was framed by the two French newspapers Le Monde and Le Figaro in their political online sections during the two weeks following the terror attack on the satirical magazine Charlie Hebdo in 2015. Applying frame analyses on textual articles published during this time, this paper can conclude that five frames manifested themselves. Furthermore, a high degree of political parallelism, characterized by what Robert Entman refers to as content biased news coverage, was detected that greatly distinguished the two newspapers coverage of immigration. Le Monde, commonly erred to as a left-centrist paper, never openly criticized the ruling leftist government during the time frame studied. Contrastingly, Le Figaro, commonly referred to as a right-centrist paper, was overtly sceptic towards the socialist party, and framed multiple articles arguing that the right-wing populist party Front National was unjustly treated by the left as well as arguing for the legitimacy of the right-center party UMP. Based on the theoretical approach of framing, this thesis concludes that the media culture of both Le Monde and Le Figaro display characteristics greatly influenced by their political orientations. This paper also concludes that the two newspapers’ framing of the immigration topic was directly and consequently related to actions by the controversial right-wing populist party Front National. This implies a salience of ideological orientation of the newspapers in their framing of the news framing.Whether and how this framing of the news related to the terror attacks affected the opinions of their readers would be an interesting focus for future research.