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Alfred Schnittke was a prolific and nuanced musical figure of the twentieth-century, contributing significantly to the fields of musical philosophy and composition. One of his most researched contributions, that bridges both disciplines, is his definition and implementation of the compositional technique, polystylism. His 1971 essay, "Polystylistic Tendencies in Modern Music," served as the first serious discussion of the term, providing a narrower definition, differentiating it from other techniques, and discussing its importance in the oeuvre of twentieth-century artists. Schnittke is also known for his fervent desire to overcome the gap between Ernstmusik (serious music) and Unterhaltung (music for entertainment). This lifelong pursuit, combined with polystylism, lead him to create an eclectic catalogue that championed the ideas it was pioneering. However, there is little research done on the 1947 literary work that served as a creative catalyst to all these ideas: Thomas Mann's Doctor Faustus: The Life of German Composer Adrian Leverkühn as told by a Friend. In contrast to other telling's of the Faust legend, Mann's version features a composer-protagonist, Adrian Leverkühn, who sells his soul for twenty-four years of creative musical-genius. During this time, Leverkühn composes numerous successful works, even developing a new system of musical composition. Mann's telling regularly goes into lengthy detail when describing these musical works, compositional techniques, and extramusical associations. To ensure that these musical topics were technically and theoretically sound, Mann chose the philosopher and music critic, Theodore Adorno, to be the primary editor and consultant when writing Doctor Faustus. Exploring and unpacking these connections to Mann's Doctor Faustus exposes numerous hidden layers, even codes, within Schnittke's compositions. Through a close examination of Schnittke's first completed composition, Fuga (1953), many of these Mann influences and hidden layers can be observed and analyzed.

La présente recherche s'intéresse à la première fugue chez l'adolescent de son domicile familial. Elle vise à mieux comprendre le contexte dans lequel s'inscrit la fugue et à cerner le processus de réunification familiale qui fait suite à une fugue. L'analyse du discours de cinq jeunes et quatre de leur parent ayant vécu une première fugue est la démarche priorisée afin d'atteindre ses objectifs. L'approche systémique familiale et la situation de crise comme cadre d'analyse ont permis d'explorer le sens de la fugue et les dimensions de la réunification familiale. Le contexte familial, marqué par des relations parents-enfants conflictuelles, est la principale cause de la fugue chez les adolescents. Toutefois, la fugue s'inscrit aussi dans un contexte où les jeunes présentent des difficultés scolaires, avec les pairs et de consommation. Suite à la réunification familiale, la communication et les pratiques parentales sont les aspects les plus modifiés au sein des familles. L'expérience de fugue pour les jeunes et les parents comportent autant de points positifs que négatifs. Les résultats de cette étude mettent en évidence quelques pistes d'interventions à privilégier auprès des familles à risque ou en période de réunification familiale afin de diminuer les risques de récidives.

The career of Osvaldo Lacerda (1927-2011) spanned a critical time in the development of Brazilian nationalist music. Though he was an outspoken nationalist composer, he was also influenced by European trends and training. Even within his nationalist compositions, evidence of a shift in style that mirrors the European movements of Modernism and Postmodernism is found in his works. Among his thirty-six chamber works, three are wind quintets, written between 1962 and 1997. Although all three works warrant extended discussion, Variações e Fuga para quinteto de sopros is particularly valuable for studying Lacerda's musical language. It was originally written in 1962. However, Lacerda made significant revisions in 1994, completely rewriting and expanding it. Through comparing the 1962 and 1994 versions of Variações e Fuga and analyzing the significant differences between the two, this document aims show that even with his strong stance as a Brazilian nationalist composer, Lacerda was clearly influenced by the movements of the broader music world. Examples from his other two woodwind quintets, Quinteto de sopro and Suíte pra cinco, written in 1988 and 1997 respectively, help to support the idea that this change in his musical language was not an anomaly, but rather a true evolution of style impacted by his own culture and that of the classical music world around him.

Résumé : Musicienne et traductrice de formation et de métier, je présente ici des traductions de poèmes contemporains qui s’annoncent, par leur titre ou leur forme, comme des fugues. Comme hypothèse de départ, je pose la possibilité du transfert des éléments de fugue musicale à ceux de la fugue littéraire. Ma démarche se décline en deux parties. Dans un premier temps, j’analyse les poèmes en suivant pas à pas la méthode de critique des traductions littéraires d’Antoine Berman. La méthode est adaptée à la traduction intersémiotique et rend compte des éléments de fugue contenus dans chacun des poèmes à l’étude. Dans un second temps, une fois le « projet de traduction » bien établi, je propose une traduction française des fugues-poèmes. Dans l’esprit de ce que Barbara Folkart nomme des « traductions d’auteur », dans le rendu proposé, je m’éloigne des approches dénotatives, tentant de réactualiser en français la démarche compositionnelle des poètes. Que retiendront les poètes pour leur projet de fugue-poème? Une confusion est-elle possible avec d’autres formes répétitives, comme le canon, le thème et variations, le ground, la chaconne, la passacaille, voire des formes de musique minimaliste? Malgré les appréhensions d’un certain nombre de critiques, qui taxent de « vaines » toute expérience intersémiotique ou toute tentative pour en démontrer les correspondances, on trouve quelques exemples probants de fugues littéraires. Bien entendu, la musique ne peut se traduire directement en mots. En s’attardant aux phénomènes perceptuels et créatifs, on accède à un degré correct de pertinence. Je me suis donné pour méthodologie le modèle de critique des traductions littéraires d’Antoine Berman, dont j’ai fait l’ossature des chapitres et auquel j’ai greffé des grilles d’analyse paradigmatique et rythmique. J’ai aussi eu recours à un pense-bête des principaux éléments fugaux (constituants de la fugue musicale, définitions de « fugue » dans la langue courante et critères psychiatriques de la « fugue dissociative »). Un questionnaire maison a été le point de départ de mon travail de collaboration avec les poètes. Dans le cas de Paul Celan (1920-1970), j’ai utilisé le même questionnaire, que j’ai rempli au gré de l’analyse et du dépouillement d’autres recherches. J’explore dans les six premiers chapitres les poèmes « Todesfuge » (1945) de Paul Celan, « Night Thoughts on Clauzewitz’s On War » (1986) d’E. D. Blodgett, « Lives of the Great Composers » (1983) de Dana Gioia, « Domestic Fugues » (2009) de Richard Newman, « Art of Fugue » (2011) de Jan Zwicky » et « Arugula fugues » (2001) d’Adeena Karasick. Dans la conclusion, je discute les résultats de recherche, les choix méthodologiques et le processus de traduction. Un tableau-synthèse des correspondances fugales est aussi présenté et commenté. Le chapitre intitulé « Stretto » vient élargir le corpus des fugues-poèmes analysées et traduites. J’y présente les fugues-poèmes suivantes : « Fugue » et « Round » de Weldon Kees, « Fugue in Cold and Rain » et « Little Fugue of Love and Death » de Richard Newman, « The Praying Mantis » d’Annie Charlotte Dalton Armitage, « The Ballad of the Pink-Brown Fence » de Milton Acorn, « The Children are Laughing » de Gwendolyn MacEwen, « And the Season Advances » d’Herménégilde Chiasson (dans une traduction de Jo-Anne Elder et de Fred Cogswell), « Fugue » de Robyn Sarah, « Fugue » du Kaddish d’Allen Ginsberg, « Fugue » de Neville Dawes, « Seaside Canon » de Julia Galef et « Stretto » de Don MacKay. // Abstract : As a professional musician and translator, I am presenting my translations of contemporary poems that are, either through their titles or their forms, fugue-poems. It is my hypothesis that elements present in a musical fugue can be transferred to a literary fugue. There are two parts to my research. First, I analyze the poems in strict accordance with Antoine Berman’s critical method for literary translation. I adapted the method in order to work with inter-semiotic translation, as well as the fugal elements contained in each of the poems studied. Next, with the “translation project” well established, I propose a French translation of the fugue-poems. Based on Barbara Folkart’s notion of “writerly translations,” I will attempt to capture the essence of the poems and recreate true works of literary art in French, rather than using purely denotative translation methods. Which elements do poets employ in their fugue-poems? Is there a possibility of confusing fugal elements with other repetitive forms, such as a canon, a theme and variations, a ground bass, a chaconne, a passacaglia or even certain forms of minimalist music? Despite the apprehension of some critics, who believe that inter-semiotic work or even the attempt to reveal any form of relationship is in vain, there are a number of clear examples of literary fugues. Naturally, music cannot translate directly into words. However, a study of the perceptual and creative phenomena allows us to make the connection. My research methodology is based on Antoine Berman’s model meant for critics of literary translations, which provides the backbone for the chapters in this presentation, and to which I have added a paradigmatic and rhythmic analysis grid. I also used a memory aid of the principal fugal elements (components of a musical fugue, definitions of a “fugue” in common usage, and the characteristics of the psychiatric disorder referred to as “dissociative fugue”). I designed a questionnaire, which I used as the basis for my collaboration with the poets. In the case of Paul Celan (1920-1970), I used the same questionnaire, which I filled out based on my analysis of his work, as well as analyses put forth by other researchers. In the first six chapters, I explore the following poems: “Todesfuge” (1945) by Paul Celan, “Night Thoughts on Clauzewitz’s On War” (1986) by E. D. Blodgett, “Lives of the Great Composers” (1983) by Dana Gioia, “Domestic Fugues” (2009) by Richard Newman, “Art of Fugue” (2011) by Jan Zwicky and “Arugula fugues” (2001) by Adeena Karasick. In the conclusion, I discuss the research results, the methodological choices and the translation process. I have also included a summary table (with comments) of the corresponding fugal elements. The chapter entitled “Stretto” concludes the corpus of analyzed and translated fugue-poems. It includes: “Fugue ” and “Round” by Weldon Kees, “Fugue in Cold and Rain” and “Little Fugue of Love and Death” by Richard Newman, “The Praying Mantis” by Annie Charlotte Dalton Armitage, “The Ballad of the Pink- Brown Fence” by Milton Acorn, “The Children are Laughing” by Gwendolyn MacEwen, “And the Season Advances” by Herménégilde Chiasson (translation by Jo-Anne Elder and Fred Cogswell), “Fugue” by Robyn Sarah, “Fugue” from Kaddish by Allen Ginsberg, “Fugue” by Neville Dawes, “Seaside Canon” by Julia Galef and “Stretto” by Don MacKay.

This work deals with proteins, especially with their structure and kinds of tertiary, or 3D, structure prediction. Tertiary structure prediction is very important for function prediction of this vitally important substance. Bioinformatics do this prediction much more effective and faster, because classical methods of structure prediction directly from molecule are very expensive and slow. On the other hand they are much more exact. Objective of this thesis is to describe tertiary structure prediction methods, describe used tools and possibility of automatic communication with them.  Next objective is describe implementation of server, that will serve to protein engineers for more effective finding of information about tertiary structure from more servers without requesting each of them separately. Results of testing will be described in this work too.

ABSTRACT And concrete diction Carl Jonas Love Almqvist’s Drottningens juvelsmycke (The Queen's Tiara; 1834) is, along with Amorina, the work primarily associated with the ”poetic fugue” – a concept the author develops in ”Om enheten av epism och dramatism; en aning om den poetiska fugan” (”On the unity of epism and dramatism; a notion of the poetic fugue”; 1821); an essay often considered vague and theoretical by researchers in the field. The meaning of the poetic fugue has been regarded unclear, but mainly considered as some kind of synthesis of epic and dramatic writing. This essay argues that that is not the case, and that this one-dimensional approach both limits the interpretations of the essay and the poetic fugue as a whole. From a multidisciplinary perspective, with myself and my own reader as a part of the fugue itself, the aim of this essay is to highlight a very important overseen aspect of the poetic fugue, and Almqvist’s writing in general – the connections to mathematics, the analogies between abstract and concrete levels, and how these are deeply intertwined. The results in this essay are derived from a close reading technique based on mathematical problem solving called the ideotic method (den ideotiska metoden), and analyzed with Douglas Hofstadter's theory of Strange loops in Gödel, Escher, Bach – an eternal golden braid (1979). This analysis shows that this analogy is not just about the composition of a poetic piece of art, a synthesis of epic and dramatic writing, or the relation between music and text. Instead the results do point to an alternative interdisciplinary interpretation, where the relations between parts and units, realities and fictions, readers and texts, make the poetic fugue more of an analogy for the universe as a whole – a living and breathing ”animal coeleste” in contrast to the Newtonian ”mechanical coeleste”. An analogy which, thanks to its mathematical construction and way of looking at time as non-linear, is connected to both Einstein’s theory of relativity and quantum theory – the science of the very big and the very small, parts and units, of everything, including ourselves.

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