I detta arbete analyseras det omfattande pianoverket ”Dantesonaten” komponerat av Franz Liszt i syfte om att ta reda på vilka musikaliska och tekniska element han utnyttjat för att uttrycka djävulen, helvetet och andra diaboliska företeelser i sin musik. Därmed kommer en djupgående analys av eposet Den gudomliga komedin skrivet av Dante Alighieri genomförasdå Liszt baserat sin komposition på detta verk. Liszts intresse för Den gudomliga komedin och Dante som poet belyses samt varför han valt att basera sin sonat på detta ämne. Resultatet tyder på att Liszt använt dissonanta intervall som tritonus, dimackord, heltonsskalor, kromatik och tremoloteknik m.m. för att allt i kombination bilda en tydlig representation av det som kan kopplas med det diaboliska. Största delen av resultatet består av egna tolkningar men även andras interpretationer hämtade från olika litterära källor och online-resurser. Det var svårt att finna konkreta tecken på vad kompositörens egna återspeglingar i musiken må ha varit. Däremot kan detta arbete ändå vara en bra utgångspunkt för en pianist som planerar att spela verket och vill få idéer om hur det diaboliska materialet och andra teman ur ”Dantesonaten” kan tolkas. / In this study, the extensive piano piece "The Dante Sonata" composed by Franz Liszt is analyzed in order to find out what musical and technical elements he has used to express the devil, hell and other diabolical phenomena in his music. Thus, an in-depth analysis of the narrative poem The Divine Comedy written by Dante Alighieri will be made, as Liszt bases his composition on this work. The study investigates Liszt's interest in The Divine Comedyand Dante as a poet and why he chose to base his sonata on this subject. The results indicate that Liszt used dissonant intervals such as tritones, diminished chords, whole-tone scales, chromatic passages and tremolo technique, etc. to all in combination form a clear representation of the diabolical. Most of the results consist of own interpretations but also other renderings taken from various literary sources and online-resources. It was difficult to find concrete signs of what the composer's own reflections in the music may have been. However, this work can still be a good starting point for a pianist who plans to study thismusic and want to get ideas on how the diabolical material and other themes from "The Dante Sonata" can be interpreted. / <p>F. Liszt - Après une Lecture du Dante (Fantasia quasi Sonata) från Années de pèlerinage II, Deuxième année: Italie, S. 161, Nr. 7, "Dantesonaten"</p>

[pt] O pensamento político de Santo Agostinho marcou profundamente a Idade Média Cristã. Contudo, devido à excepcional riqueza de suas contribuições nesta área, elas não se estagnaram no tempo. Na verdade, determinados temas abordados na Cidade de Deus continuam atuais e pertinentes. Entre estes a política ocupa um lugar preponderante. O Bispo de Hipona foi além de sua época onde ele viveu. Os princípios que, para ele, devem orientar a atividade política conservam sempre sua validade. Alias, os políticos autênticos agem inspirados e sustentados pelo amor de Deus. Nesta dissertação, propomos a visão política de Santo Agostinho contida na Cidade de Deus. As causas que levaram o Império Romano à ruína como a ganância, a soberba, os vícios, em resumo, o amor concupiscente, são retratados por santo agostinho e ele conclui que sem o amor-caritas é impossível governantes e governados construírem uma sociedade justa e tranqüila. A concórdia social só será obtida quando o Estado se abrir para os valores religiosos, prestando culto ao Deus Verdadeiro. O cristianismo contem em si uma riqueza extraordinária capaz de transforma a política no exercício da caridade. Essa encontra sua razão de ser na máxima evangélica Amar a Deus e ao próximo como a si mesmo. No entanto, o Pastor de Hipona não esconde que o estado, embora tenha uma papel importante para a sociedade ele é relativo. A atividade política é notável, porém não é absoluta. Ela pode quando bem exercida tornar a vida dos cidadãos da pátria celeste confortável e serena. Porém, de forma parcial, pois seu campo de atuação se esgota nos estreitos limites da cidade terrena. O destino final dos governantes e dos seus súditos que aderiram aos preceitos de Cristo é o gozo da paz duradoura e perfeita. Esta já desfrutam os cidadãos da pátria celeste. / [en] The thought politician of Saint Augustin marked the Christian Average Age deeply. However, due to bonanza wealth of its contributions in this area, them they were not estagnaram in the time. In the truth, determined boarded subjects in the City of God they continue current and pertinent. The politics enters these occupies a preponderant place. The Bishop of Hipona was beyond its time where it lived. The principles that, for it, must guide the activity politics always conserve its validity. You unite, the authentic politicians act inhaled and supported for the love of God. In this dissertação, we consider the vision politics of Saint Augustin contained in the City of God. The causes that had taken the Roman Empire to the ruin as the greed, the magnificent one, the vices, in summary, the love concupiscente, are portraied by saint Augustin and it it concludes that without the love- caritas it is impossible governing and governed to construct to a society calm joust and. The social concord will only be gotten when the State if to open for the religious values, giving cultured to the True God. The Christianity will count in itself a capable extraordinary wealth of transforms the politics into the exercise of the charity. This finds its reason of being in the evangélica principle Amar the God and to the next one as itself exactly. However, the Shepherd of Hipona does not hide that the state, even so has an important paper for the society it is relative. The activity politics is notable, however she is not absolute. It can when exerted well to become the life of the citizens of the comfortable and calm celestial native land. However, of partial form, therefore its field of performance if depletes in the narrow limits of the terrena city. The final destination of the governing and its subjects who had adhered to the rules of Christ is the joy of the lasting and perfect peace. This already enjoys the citizens of the celestial native land. / [fr] La pensée politique de Saint Augustin a marqué profondément le Moyen-Age chrétien Toutefois, c´est la richesse exceptionnelle de ses contributions dans ce domaine qui l´ont empêchée de se stagner à travers le temps. En effet, certains thèmes abordés dans la - Cité de Dieu - sont encore actuels et pertinents. Parmi ceux-ci, la politique occupe une place prépondérante. L´évêque d´Hipona a dépassé l´époque où il vivait. Les principes qui, d´après lui, doivent orienter l´activité politique sont toujours valables. D´ailleurs, les politiciens authentiques agissent sous l´inspiration de Dieu et sont soutenus par Son amour Dans notre dissertation, nous proposons la vision politique de Saint Augustin contenue dans la - Cité de Dieu -. Il signale, d´une manière toute spéciale, les causes qui ont provoqué la chute de l´Empire Romain, telles que, l´ambition, l´orgueil, les vices, en résumé, l´amour concupiscent, et il conclut en affirmant que, sans l´amourcharité, il s´avère impossible aux gouvernants et à leurs sujets de construire une société juste et pacifique. La paix sociale ne sera obtenue que si l´Etat s´ouvre aux vraies valeurs religieuses, rendant à l´unique et véritable Dieu le culte qui Lui est dû. Le christianisme contient en lui-même une richesse extraordinaire, capable de transformer la politique en exercice de charité. Sa raison d´être se résume dans la maxime de l´Evangile:- Aime dieu et ton prochain comme toi même -. Toutefois, le pasteur d´Hipona ne s´omet pas quand il affirme qu´en effet l´Etat joue un rôle important dans la société, mais il est relatif. L´ activité politique est notable, mais pas absolue. Quand elle est bien exercée, elle peut rendre la vie des citoyens confortable et paisible. Mais ceci d´une façon partielle, car son champ d´action s´épuise dans les limites étroites de la cité terrestre. La destinée finale des gouvernants et de leurs sujets qui ont adhéré aux précepts du Christ est la jouissance d´une paix durable et parfaite, dont se benéficient déjà les citoyens de a patrie céleste.

This thesis examines the early work of poets Leonard Cohen and Seamus Heaney in light of their treatment of mythology, ritual, and mythologization, moving either from personal to political awareness (Heaney), or from political to personal awareness (Cohen). Heaney, writing in the midst of the Irish Troubles throughout the late 1960s and 1970s, slowly works up to political awareness as the situation from which he is writing becomes more dire. By contrast, Cohen writes during the beginnings of the Quiet Revolution in Quebec, from the late 1950s to the mid-1960s, moving progressively farther away from the highly political and mythologized work of his first book. This thesis analyzes both poets first four books of poetry and how each poet addresses the politics of his historical time and place as a minority figure: an Irish Catholic in Northern Ireland, and an Anglophone Jew in Montreal, respectively. Ultimately, each poet chooses to mythologize and use traditional mythologies as a means of addressing contemporary horrors before being poetically (and politically) exhausted by the spiritual and mental exertion involved in the "poetry of disfigurement."

This thesis examines the early work of poets Leonard Cohen and Seamus Heaney in light of their treatment of mythology, ritual, and mythologization, moving either from personal to political awareness (Heaney), or from political to personal awareness (Cohen). Heaney, writing in the midst of the Irish Troubles throughout the late 1960s and 1970s, slowly works up to political awareness as the situation from which he is writing becomes more dire. By contrast, Cohen writes during the beginnings of the Quiet Revolution in Quebec, from the late 1950s to the mid-1960s, moving progressively farther away from the highly political and mythologized work of his first book. This thesis analyzes both poets first four books of poetry and how each poet addresses the politics of his historical time and place as a minority figure: an Irish Catholic in Northern Ireland, and an Anglophone Jew in Montreal, respectively. Ultimately, each poet chooses to mythologize and use traditional mythologies as a means of addressing contemporary horrors before being poetically (and politically) exhausted by the spiritual and mental exertion involved in the "poetry of disfigurement."

當人們談論動物保護時，可能提出的問題大約不脫「人類是否應該保護動物」、「人類為何保護動物」、「人類應該保護哪些動物」，以及「人類如何保護動物」之延伸範疇，針對這四個問題又可以依所採之研究基礎偏重倫理學或法學，而有各種不同的回應。 本文採取偏重法學角度之立場，從實定法出發，隨時序個別分析我國及德國動物保護法之歷史發展及現行法呈現之樣貌後，藉由與咸認先進的德國動物保護法制及其背後所可能隱含之人與動物關係的歷史變遷進行比較研究，試圖在同與異之間尋找我國動物保護法所隱含的人與動物關係之可能解釋，此乃嘗試從實定法追溯背後的倫理學意涵，並在此解釋基礎上，進一步探求動物保護法益之可能回答，由倫理學再回歸法學領域，均是試圖回應「人類是否應該保護動物」及「人類為何保護動物」二問。 最後嘗試藉由求得之動物保護法益「道德感情」來建構我國動物保護刑事規範，則是試圖給出「人類應該保護哪些動物」及「人類如何保護動物」二問在刑事法層面上之回答，對現行動物保護法刑事規範提出修正建議，包括將動物一般保護規定及刑事規範分勾，擴張動物一般保護之客體範疇而維持刑事規範涉及之行為客體範圍，以重構本文理想之動保刑事規範。 / When referring to animal protection, the most popular questions probably will be within the range of the following four. Should humans protect animals? Why should humans protect animals? What kind of animals should humans protect? And the final one, how do humans protect animals? The answers can be changed depending on the different views, like ethics view or legal point of view. This study basically focuses on the legal point of view, starting with Taiwan’s Animal Protection Act and German’s Animal Welfare Act (in German: Tierschutzgesetz), by comparing those two different animal protection systems, trying to figure out the development level of Taiwan’s Animal Protection Act in the tide of the world’s development of animal welfare, then using the conclusion to explore the legal interest of animal protection, attempting to answer the first two questions: Should humans protect animals? And why? Furthermore, using the legal interest “moral emotion” to construct ideal animal protection criminal legal norms, attempting to answer the rest of the questions: What kind of animals should humans protect? And how to protect? The final purpose is to reconstruct an ideal animal protection criminal law system in Taiwan.

Indiana University-Purdue University Indianapolis (IUPUI) / The fragmented bodies and lives of postcolonial Caribbean women examined in Caribbean literature beget struggle and psychological ruin. The characters portrayed in novels by postcolonial Caribbean writers Edwidge Danticat, Michelle Cliff, and Shani Mootoo are marginalized as “Other” by a Western patriarchal discourse that works to silence them because of their gender, color, class, and sexuality. Marginalization participates in the act of fragmentation of these characters because it challenges their sense of identity. Fragmentation means fractured; in terms of these fictive characters, fragmentation results from multiple traumas, each trauma causing another break in their wholeness. Postcolonial scholars have identified the causes and effects of fragmentation on the postcolonial subject, and they argue one’s need to heal because of it. Danticat, Cliff, and Mootoo prove that wholeness is not possible for the postcolonial Caribbean woman, so rather than ruminate on that truth, they examine the journey of the postcolonial Caribbean woman as a way of making meaning of the pieces of her life. This project contends that fragmentation – and the fracture it produces – does not bind these women to negative existences; in fact, the female subjects of Danticat, Cliff, and Mootoo locate power in their fragmentation. The texts studied include Danticat’s "Breath, Eyes, Memory" (1994) and "The Farming of Bones" (1999), Cliff’s "Abeng" (1984) and "No Telephone to Heaven" (1987), and Mootoo’s "Cereus Blooms at Night" (1996) and "He Drown She in the Sea" (2005).

The meaning of loss is love. I know this through attention to experience. Whether loss or love is experienced in abundance or in absence, the meaning is mystical with an opening of body, mind, heart and soul to spirit. And so, in the style of a memoir, in the way of contemplative prayer, I contemplate and share my soul as a promise kept in the mystical reach through loss. With the first, initiating loss, the loss of my nine-year-old nephew, Caleb, I experience an epiphany that gives me spiritual instructions that will not be ignored. I experience loss as an abundance of meaning that comes to me as gnosis, as “knowledge of the heart” according to Elaine Pagels or divine revelation in what Evelyn Underhill calls mystical illumination in the experience of “losing-to-find” in union with the divine. Then, with gnostic import, in leaving the ordinary for the extraordinary, I enter the empty room in the painful yet liberating experience of the loss of my self. In the embrace of emptiness, I proceed to the first wall, the second wall, the third wall, the dark corner of denial, the return to centre, and, finally, to breaking the fourth wall in the empty room so as to keep my promise to you. Who are “you”? You are God. You are Caleb. You are spirit. You are my higher soul or self. And, you are the reader. You are my dear companion in silence. And then, through a series of broken promises and more loss, within what John of the Cross calls, “the dark night of the soul,” I am stopped by the ineffability of the dark corner of denial, the horror of separation and the absence of meaning, which is depicted as the grueling gap between the spiritual abyss and the breakthrough. What does it mean to keep going through a solemn succession of losses? I don’t know. In going into the empty room, I simply put pain to work in order to reach you. Through loss, though there are infinite manifestations, there is only one way: keep going. And so, in a triumph of the spirit, I keep going so as to be: a promise kept in the mystical reach through loss. As for you, through my illumined and dark experiences of loss, what is my promise to you? I keep going to reach the unreachable you. In the loss of self, with embodied emptiness, in going into the dark corner of denial, with a return to the divine centre of my emptied self, in an invitation to you, I give my soul to you in union with you. / Graduate / 2020-06-25