The main aim of this diploma thesis is to describe and explain a position of the king under the Constitutions of Melfi, issued by Holy Roman Emperor and King of Sicily Frederick II. of Hohenstaufen. Constitutions were issued in south Italian city Melfi in 1231 and till today it is one of the most important medieval legal monuments. Despite it's significance and connection with another Holy Roman Emperor and Czech king Charles IV. it has never been properly reflected in Czech legal history. Constitution of Melfi were valid and partially effective in the Kingdom of Sicily till 19. century. At the beginning of text, there is held a brief historical introduction into times of Hohenstaufen and life of the Emperor Frederick. Southern Italy was strongly influenced by Norman, Arabic and Byzantine impacts, reflected later in the Constitutions. Another point of the thesis is to describe the process of creation the legal text, involving influences of Roman, Byzantine or Norman law. There are also introduced glossators of Emperor's court, with their leader Petrus de Vinea, who is supposed to be the main author of Constitutions. But the main aim of thesis, above mentioned, is to describe and explain the regulations concerning position of the king and his powers, relating even the theology and philosophy of that...

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South African composer, Alexander Johnson is a prolific and outstanding figure among his contemporaries. His numerous works and contributions to South African classical and indigenous music is worthy of mention. Over the years, he has been recognised both locally and internationally for his contributions by receiving numerous awards, honorary positions, as well as commissions. His works have been performed both locally and internationally. Johnson’s compositional style mostly features diverse musical elements and devices from the post-tonal era. He also utilises special and unique compositional techniques in his works which give him a ‘signature.’ This study discusses and disseminates brief information on Johnson’s biography, as well as a catalogue of the composer’s published works. Most importantly, the three works in this study namely Kahlolo, Let_at_i, and Vocalise Africa feature Johnson’s unique interpretation of South African music in the twenty-first century. This study focuses on exploring the background of the three chosen works, and the inspiration behind the creation of these works. Furthermore, the compositional techniques employed by the composer, as well as the distinguishing features of his compositional style are also discussed. This study additionally aims to trace and disseminate similarities between the three respective works as well as analyse the three selected pieces with regard to mostly harmonic devices and techniques, melody, rhythm, form structure, texture, and registration for organ music. Each piece is comprehensively discussed separately, with emphasis on the above topics. Further research in the future could entail a study on style discussion of Johnson’s more recent compositions in other genres and instrumentation. / Dissertation (MMus)--University of Pretoria, 2019. / Music / MMus / Unrestricted

Indiana University-Purdue University Indianapolis (IUPUI)

Indiana University-Purdue University Indianapolis (IUPUI) / The complicated state wherein ex-slaves found themselves, as depicted in the narratives of Bibb, Jacobs, and others, problematizes the dualistic relationship between North and South that the genre’s structural components work to enforce, forging an odyssey that, although sometimes still spiritual in nature, does not offer the type of resolutions that might easily persuade fellow slaves to abandon their masters and seek a similarly ambiguous identity in the so-called “free” land of the North. For blacks and especially fugitive slaves, such restrictive legal provisions provided an “uncertain status” where, writes William Andrews, “the definition of freedom for black people remained open.” In those slave narratives that dare to depict the limits of liberty in the North, this “open” status is particularly reflected in the texts’ discursive terrain itself, which portends a series of candid observations and brutal details that actively work to deconstruct any sort of mythological pattern associated with the slave narrative genre, thereby offering a more expansive view of the experience for most fugitive slaves. The Life of William Grimes, a particularly frank and brutal diary of a man’s trials within and without slavery, is one such slave narrative, depicting a journey that, while more consistent with the general experience of ex-slaves in the antebellum U.S., often works outside the parameters of traditional, straight-forward slave narratives like Douglass’s. “I often was obliged to go off the road,” Grimes admits at one point in his autobiography, and although his remark refers to the cautious path he must tread as a fugitive slave, it might just as well describe the thematic and structural characteristics of his open-ended autobiography. Reputedly the first fugitive slave narrative, the publication of Grimes’s Life in 1825 initiated the beginning of a genre whose path had not yet been forged, which likely contributed to its fluid nature. At the time of his narrative’s publication, Grimes’s self-expressed testimony of injustice under slavery was about five years ahead of its time; it wouldn’t be until the 1830s that the U.S. antislavery movement would begin to consciously seek out ex-slaves to testify to their experience in bondage. Once this literary door was open, however, antislavery sentiment became for many early African American authors “a ready forum” for self-expression. Whereas in twenty years’ time Douglass would take full advantage of this opportunity by drawing inspiration from a number of already established narratives, Grimes as an author found himself singularly “off the road” and essentially alone in new literary territory, uncannily reflecting his sense of alienation and helplessness in the North after escaping from slavery aboard a cargo ship in 1815.

The purpose of this study was to examine the gender differences regarding motivation in the individuals who serve in senior administrative positions in Virginia's community colleges. Institutional morale can be damaged by administrators who become dissatisfied with their positions. Institutions use millions of dollars yearly to conduct searches for individuals to replace senior administrators who leave their positions because of lack of job satisfaction or high job dissatisfaction. This study also addressed the possibility of differences between male senior administrators and female senior administrators regarding job satisfaction and job dissatisfaction. Frederick Herzberg' 2-factory theory of motivation regarding job satisfaction and job dissatisfaction was used as the theoretical foundation of the data collection. The Job Descriptive Index that focuses on 5 facets of job satisfaction: work on present job, opportunities for promotion, present pay, co-workers, and supervision as well as the Job in General Scale were used to survey senior college administrators for the purpose of gathering data. Results of the study indicated that senior administrators experienced a high level of job satisfaction regarding work on present job, co-workers, supervision, and the overall job in general. Senior administrators reported low levels of job satisfaction in relation to opportunities for promotion and moderate levels of satisfaction regarding present pay. Findings from the study reflected a difference in male senior administrators and female senior administrators regarding opportunities for promotion, co-workers, and the overall job in general. Male senior administrators reported higher levels of satisfaction in all 3 of these areas whereas 3 female senior administrators reported lower levels of satisfaction. There were no differences found between male senior administrators and female senior administrators regarding work on present job, present pay, or supervision.

With the passage of P.L.94-142, the Education for All Handicapped Children Act of 1975, a national statement was made regarding the rights of handicapped students to a free, appropriate education. Since passage of the law, the cost of implementing P.L.94-142 has been a topic of concern for policymakers, school administrators and taxpayers. The rising cost of special and general education has placed a greater emphasis on accountability for the quality of the programs to justify the expenditures. Thus, the need for cost analysis in education is becoming more important as the competition with other governmental agencies for available funds becomes more acute. Previous studies of special education finance related to cost accounting have indicated the difficulties in gathering accurate data on a uniform basis. As evidenced in this study, not all expenditures were properly charged to special education. When this occurs, benefits of cost analysis are diminished by the inaccuracy. An effective cost analysis system should be accurate, comprehensive and precise, and should not be cumbersome. The Larson Model (1985) can be used to calculate the cost of individual programs and services, and the aggregate costs by handicapping condition or environment. The purpose of this study was to test an instrument that would provide a descriptive cost analysis of the special education programs and services in Frederick County, Maryland, Public Schools during the 1984-85 school year. Per pupil costs were determined by environment or level of service as defined by the Maryland State Bylaw Continuum of Services for special education. This study provides additional testing and development of a common framework or model for descriptive cost analysis of public special education programs and services by local educational agencies. / Ed. D.

This essay examines and juxtaposes Mario Jori’s and Frederick Schauer’s ideas on legal formalism. Although developed independently of each other, these ideas show remarkable similarities: both focus on the notion of norm or rule as a tool for clarifying the notion of legal formalism; both defend legal formalism from the criticisms routinely moved against it. The author maintains that Jori’s and Schauer’s theories may contribute to shed light on (and criticize) the controversial notion of defeasibility of legal rules; they may also contribute to scale down, from a legal-theoretical point of view, the novelties of contemporary constitutional orders; finally, it may help to better understand their working machinery. / In questo saggio vengono esaminate e messe a confronto le idee di Mario Jori e di Frederick Schauer in tema di formalismo giuridico. Pur essendo state elaborate l’una indipendentemente dall’altra, presentano notevoli somiglianze, perché entrambe usano la nozione di norma o regola come punto focale per chiarire la nozione di formalismo giuridico, e perché entrambe difendono quest’ultimo dalle critiche usualmente rivolte ad esso. L’autrice ritiene che l’esame delle idee dei due autori possa contribuire a chiarire (e criticare) la controversa nozione di defeasibility delle norme giuridiche e possa altresì, in via generale, contribuire a ridimensionare, dal punto di vista teorico-giuridico, le novità del diritto degli odierni Stati costituzionali, oltre che a comprenderne meglio i meccanismi di funzionamento. / En este trabajo se examina y compara las ideas de Mario Jori y de Frederick Schauer en relación con el formalismo jurídico. A pesar de haber sido desarrolladas de forma independiente unas de las otras, dichas ideas presentan notables semejanzas ya que ambos autores utilizan el concepto de una norma o regla como punto focal para aclarar la noción de formalismo jurídico, y porque ambos lo defienden de las críticas que usualmente se le dirigen. La autora considera que el examen de las ideas de los dos autores puede contribuir a aclarar (y criticar) la controvertida noción de defeasibility (derrotabilidad) de las normas jurídicas y, de modo general, también a redimensionar, desde el punto de vista teórico-jurídico, las novedades que presentan los derechos de los modernos Estados constitucionales, y comprender mejor los mecanismos de su funcionamiento.

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The preludes as a whole do not conform to any specific formal mold, but offer a variety of form: binary, ternary, one-part, and five-part. As such, no new formal structures have been introduced by this "first" of the nineteenth century and twentieth century "disconnected" preludes. On the other hand, they are a heterogenous collection of styles, moods, and forms--a precedent that was followed by Debussy, Rachmoninoff, and various others. To determine the degree to which Chopin was harmonically advanced would require comparative analyses of works by his contemporaries and later nineteenth-century composers. Suffice it to say that one would be hard put to locate a collection of compositions of similar length and scope, written in the 1820's, that contains the wealth of harmonic innovations found within Opus 28.