The objective of the thesis is to synchronically analyze the morphological structure of noun suffixes: analyze phonemes distribution and demonstrate their joining possibilities and limits in noun suffixes. The structure of morphemes is the least analyzed part of morphology. Linguists have mostly analyzed morphologic alteration of phonemes (vowel alteration, metathesis, consonant alteration). More comprehensive analyses of the phonetic structure of the root of the word of modern Lithuanian have not been performed till today. Affixes have not been analyzed at all. This is the first attempt aiming to show the structural peculiarities of Lithuanian noun suffixes. The thesis sets the following tasks: a) To identify and define the noun suffixes phonemic component parts and their relations. b) To identify structural models and productivity of noun suffixes. c) To calculate statistic characteristics of phonemes used in noun suffixes. The noun suffix nr. 571 has been selected to serve as an empiric material from “Lithuanian Grammar” volume 1 (LKG, 1965, p.251-423) by Vincas Urbutis chapters on composition of the noun. The thesis follows the defined limits of suffixes in V. Urbutis grammar. International words have been completely disregarded. While analyzing the structure of noun suffix, the analyzed suffixes are divided into 3 groups for convenience and clarity: monosyllabic, polysyllabic and non-syllabic suffixes. Each group is analyzed separately. The following components are... [to full text]

abstract: Hungarian composer, Miklós Rózsa, is primarily known for his career as a film composer, but he wrote over forty-five pieces for the concert hall. The most famous of these works, Theme, Variations, and Finale, was composed in 1933 and premiered the following year, ushering in a long history of performances throughout Europe and abroad in the 1930s and 1940s. This document serves as a guide for performers of Theme, Variations, and Finale by offering biographical information about Rózsa, the compositional history and performance history of the work and recorded legacy, details about its two versions, and a detailed analysis of the score. This document also clarifies important details about the work's performance history, which have previously been recorded inaccurately. / Dissertation/Thesis / Doctoral Dissertation Music 2018

In the Old Testament there are many references to musical instruments and each one performs its own specific function. Especially in the Psalms we come across quite a few musical instruments. What is very obvious is the vast amount of references to musical instruments in Psalm 150. In the entire Psalms the most references are made to musical instruments in Psalm 150. The question of this study is: What role did the musical instruments play in the composition of the Psalms? The many references to musical instruments in the Psalms are compared to the other references made to them in the rest of the Old Testament. The psalms in which the musical instruments are mentioned, are discussed and sheds light on how the musical instruments are dispersed in the Psalms’ composition. Recent studies on the composition of the Psalms are also discussed. Every musical instrument that occurs in the Psalms is discussed and with the help of iconographic illustrations it is shown how the musical instruments might have looked. A literary analysis of Psalm 150 helps to argue that this psalm is the final doxology and grand finalé of the Psalms. The studies about the musical instruments’ role in the Psalms shows that the musical instruments build up to a crescendo in the Psalms. The Psalms end with a tremendous grand finalé in Psalm 150. The Psalms is regarded in this study as a great musical composition (a symphony) and the entire symphony orchestra is spread throughout the whole of Psalms. At the end of Psalms the whole symphony orchestra plays together and every one and everything that is created by God is called upon to praise and worship the Lord. / Dissertation (MA (Ancient Languages))--University of Pretoria, 2005. / Ancient Languages / unrestricted

This master's thesis has two main objectives. The first one is represented by the theoretical research of the current situation in the field of social media and the explanation of its marketing use. The potential of communication channels suitable for corporate presentations is described in detail thereafter, while most attention is paid to the following services: Facebook, Twitter, Google+ and YouTube. The other aim of the work is reflected in the practical part which focuses on a draft of the new communication strategy for Film Festival Finale in social media terms. These specific targets were chosen using the SWOT analysis carried out through an expert inquiry in the festival team. The final section is a guide for organizers of film festivals. This comprehensive social media tactics is divided into three phases describing the different activities of the marketer before, during and after the festival.

Scholars and performers have long wondered when and why Beethoven composed an alternative ending to his string quartet, Opus 130. The original, the Grosse Fuge, was an immense and heavy multi-sectioned fugal finale; the second was a much shorter and lighter hybrid sonata-rondo form finale. The second finale was the last substantial piece Beethoven composed and is reminiscent of earlier dance-like 2/4 Allegro finales composed by Beethoven, likely influenced by Haydn. This style is seemingly incongruous with our current understanding of Beethoven’s late style, centered around foreign harmonies and forms, with expansive thematic material. While research on this topic has been extensive, including studies in biography, source material, reception history, and harmonic and formal analysis, it has not led to a fully adequate understanding of this second finale. My study aims to provide a fresh understanding of this movement through the examination and evaluation of the later stages of its composition. The major sections of revision found in the composing score, Berlin, Deutsche Staatsbibliothek, MS Autograph 19c, and the autograph fair copy, Berlin, Deutsche Staatsbibliothek, MS Grasnick 10, are closely studied here for the first time. In order to highlight important steps in the creative process, I have selected four heavily revised areas from each of the sonata-form sections of this movement as shown in both manuscripts. My interpretation of these revisions is based on comparison to parallel sections in both manuscripts and the final version, as shown in transcriptions of these passages from the sketches along with accompanying images of the original pages. For each of these sections, I attempt to suggest the order in which Beethoven made his revisions, and I discuss their formal, thematic and harmonic implications. As a whole, these revisions reveal Beethoven’s concern for economical treatment of thematic material, especially motives from theme 1a, and a concern for playing upon the harmonic and formal expectations of his audience. The voicing of theme 2a in the exposition and recapitulation, and the voicing and texture of theme 1a in the development, the false and authentic recapitulations and the coda are analyzed in terms of momentum, sectional balance, texture, and dramatic tension. I suggest that further study of these sketches and related primary source material might help to revise our notion of Beethoven’s late style.

Cette thèse constitue un premier essai d’analyse du rythme et de l’intensité des phénomènes d’acculturation des céramiques fines en Gaule interne (160/150 av. J.-C. à 50 apr. J.-C.). Fondée sur un corpus de 130 ensembles, provenant de 21 sites urbains localisés entre le centre ouest de la France, le Plateau suisse et le Luxembourg, cette étude se caractérise par la mise en place d’approches systématiques tel le calcul d’un « indice de romanisation » (permettant de quantifier l’acculturation d’un ensemble de 1 à 100) et l’analyse des modalités du phénomène, reposant sur l’utilisation d’outils statistiques (sériation et analyse factorielle). L’examen diachronique et cartographique des résultats obtenus montrant de fortes disparités dans les processus d’acculturation des céramiques fines, des niveaux ont pu être définis, dont le principal intérêt est d’ouvrir la comparaison avec d’autres aspects de l’acculturation des Gaules (instrumentum culinaire, technique de construction…). / This thesis constitutes a first essay of the analysis of the acculturation rate and of intensity of the phenomenon for pottery fine wares in North-eastern Gaul (160/150 BCE to 50 CE). Based on a corpus of 130 assemblages from 21 urban sites from the western centre of France, the Swiss plateau and Luxembourg, the study is characterised by a systematic methodology. The analyses are based on the calculation of a ‘Romanisation index’, quantifying the acculturation level of an assemblage on a scale of 1 to 100. Statistical tools such as seriation and factor analysis were used for analysing the scope of the phenomenon. The diachronic and cartographic examination of the results obtained showed large disparities in the acculturation processes concerning fine wares. The level of Romanisation could be defined, thus allowing a comparison of the acculturation processes among other aspects of Gaulish culture such as cooking implements and construction techniques.

À la fin de l’âge du Fer (IIe et Ier siècle av. n. è.), le quart nord-ouest de la Gaule – plus précisément les régions actuelles de Bretagne et des Pays de la Loire – est subdivisé en plusieurs cités indépendantes. Huit ont fait l’objet d’une attention particulière dans le cadre de cette étude qui consiste à comprendre leur organisation et le rôle des différents sites d’habitats mis en évidence par l’archéologie. Effectivement, ces dernières années, quelques récentes fouilles sont venues enrichir le corpus des habitats groupés fortifiés ou non, à l’exemple de l’oppidum de Moulay ou d’Entrammes en Mayenne, ou encore l’agglomération de Trégueux près de Saint- Brieuc (Côtes-d’Armor), motivant la réalisation de ce travail. Il s’est concentré, dans un premier temps, sur les formes et les fonctions des habitats groupés en complément des nombreuses synthèses déjà existantes sur l’occupation des campagnes à La Tène moyenne et finale, mais également sur la forme et la place des espaces à caractère religieux au sein des territoires. Ces analyses ont permis, dans un second temps, de réfléchir sur les liens économiques, voire administratifs, entre ces divers types de sites et dans le même temps à la structuration sociale des cités et à l’évolution de leurs organisations jusqu’au changement d’ère. Enfin, les principales composantes des territoires de la frange occidentale de la Gaule ont pu être comparées à celles d’autres régions du centre et de l’est de la France – cité des Turons, des Bituriges, des Leuques et des Médiomatriques –, qui ont bénéficié d’approches similaires sur l’occupation des sols. / At the end of the Iron Age (2th to 1st century BC), the northwest of the Gaul (the current region of Bretagne and Pays de la Loire) is subdivided into different cities. Eight of them have been subject to a particular attention within the framework of this study. This one included understanding their organization and the various habitation sites unearth by the archaeology. In fact, these last ten years some recent excavations have now supplemented the corpus of the grouped settlements, enclosed or not, as the oppidum of Moulay or Entrammes in Mayenne, or as Trégueux near Saint-Brieuc, motivating the realization of this work. At first, it focused on the forms and the functions of the grouped settlements as a supplement to the numerous already existing syntheses which deal with the rural occupation in Middle and Late La Tène, but also on the form and the place of spaces with religious characters within territories. Then, these analyses may to think about the economic links, even administrative, between these various types of sites, and at the same time in the social structuring of cities and the evolution of their organizations until the change era. Lastly, the main components of the territories of the western fringe of the Gaul were compared with those of the center or east regions of France, as city of Turons, Bituriges, Leuques and Médiomatriques.

No description available.

No description available.

This dissertation examines three contemporary German novels and their respective representations of the Red-Green era. It focuses on the discourses to which these novels refer in order to shed light on the consequences and implications of Red-Green politics for the subjectification of individuals during this time. When Gerhard Schröder replaced Helmut Kohl in 1998 as Chancellor of Germany, there was a noticeable shift towards neoliberal policies that has since received much attention in scholarly studies and public-political debates about its impact on Germany’s economy, social security system, political party system, and institutional structure. Taking a new approach to understanding the politics of the Red-Green coalition, I argue that its impact is noticeable not only in the political sphere, but that this impact also permeates all levels of society, in particular concepts of selfhood, and that it has found its way into contemporary literary works. As my particular interest lies in investigating how these literary works process the consequences and implications of Red-Green politics for the subjectification of individuals during this time, the novels I selected situate themselves explicitly within the Red-Green era mostly through references to some of its most well-known labour market measures, namely the Ich-AG, the Mittelstandsoffensive, and employability training programs. Analysing the neoliberal discourses to which these novels refer and (re-) constructing the particular sets of knowledge, truths, and norms that enable neoliberal governing practices allow me to shed light on the mechanisms of individuals’ subjectification through the politics of the Red-Green coalition. Of particular importance during the Red-Green era are the discourses surrounding entrepreneurialism as they construct the market as a structuring principle of society in which all individuals are called upon as entrepreneurs. For the examination of neoliberal governing discourses, I draw both on Michel Foucault’s theory of neoliberal governmentality and Ulrich Bröckling’s conceptualization of the entrepreneurial self, an idealized and hence unachievable self-image that addresses individuals as entrepreneurs of their own lives. Foucault’s theory allows going beyond an understanding of neoliberalism as a political theory of free market policies but views it as an act of governing that expands the notion of the government of others to include the government of the self according to the principles of entrepreneurialism and the market, hence taking into account the participatory role of the subject. Bröckling’s conceptualization draws on Foucault’s theory to examine the subjectification of individuals as entrepreneurial selves, that is, as individuals who are constantly stimulated to act as enterprising subjects. The literary analysis of the novels – Ralph Hammerthaler’s Alles bestens (2002), Reinhard Liebermann’s Das Ende des Kanzlers. Der finale Rettungsschuss (2004), and Joachim Zelter’s Schule der Arbeitslosen (2006) – shows they cast light on various ways in which specific forms of subjectivity are promoted and enabled through neoliberal governing practices. More specifically, I illustrate that the protagonists in each novel represent three different facets of the entrepreneurial self, namely the enthusiast, the melancholic, and the social lemming that Ulrich Bröckling identifies in his typology of the entrepreneurial self (2008). While the nameless protagonist in Alles bestens embraces the market as a universal structuring principle and a metaphor for his own life, the protagonist Hans Hansmann in Das Ende des Kanzlers embraces free market principles, yet fails to fully understand the demands of the market and his own position within it. By contrast, Karla Meier in Schule der Arbeitslosen refuses to accept yet nevertheless follows the demands implicit in the image of the entrepreneurial self.