In the early Christian celebrations of the Eucharist the presentation of bread and wine by the deacons was a simple, practical matter surrounded with little or no ceremonial. Liturgical and musical elaboration of this part of the liturgy seems to have taken place first in Africa early in the fifth century concomitant with the development of the laity's role in the offering. The first extensive description of the Western offertory appears in Ordo Romnnus l: the laity did not form a procession and only the existence of an offertory chant is mentioned. Since the compiler of the Ordo does not regard the offertory as similar to the introit and communion (and, therefore, antiphonal) it must have been performed responsorially. A responsorial performance is appropriate for the offertory as it appears in the earliest musical record of the Roman liturgy, the Gregorian Gradual of Mt. Blandin. Thus, the late medieval term, antiphona ad offertorium, does not reflect the authentic form of the offertory. The elaborate verses of the Old-Roman and Gregorian traditions probably existed in the early ninth century. Their gradual disappearance has been attributed to a decline in the people's participation at Mass. In general, the texts of the offertories are drawn from the Psalterium Romanum but in a significant number of cases Old-Roman end Gregorian chant texts agree on a particular reading against the Psalterium Romanum. Two quasi-psalmodic formulae are found in the refrains and verses of many Old-Roman offertories. One of them, Formula B, occurs in virtually all F-mode offertories, frequently repeated many times within a single piece. In Formula A the reciting element (a repeated torculus) is more prominent. Thia formula is also shorter than Formula B (4 elements versus 7). Formula A occurs more frequently in the verses than it does in the refrains. Repetition of melodic material plays an important role in the formal design of the Old-Roman offertories. Forty offertories of a total of ninety four studied have at least one repetition of an entire phrase; in most cases the repetitions are extensive enough to have a unifying force. Small segments of the phrase which is repeated are broken off and subjected to multiple repetitions so that the complete phrase is heard only two or three times. The procedures of adaptation are extremely flexible though the identity of the model phrase is recognizable through all the variants. Repetition of short phrases or motives (generally a a or a a') occurs in both neumatic and melismatic portions of the chant. The Old-Roman melos is pervaded by this mosaic-like working with small motives. An extension of the principle of melodic repetition exists in the many cases (50) of "rhyme" between the ends of verses or between refrain and verse. In about one-third of the Old-Roman offertories at least one verse closes with the same cadence which preceded the detachable conclusion of the refrain (that part of the refrain which is repeated after each verse). In the tritus and tetrardus modes cadences which close a refrain never appear at the end of a verse or as internal cadences. This functional division is not adhered to strictly in the other-two modes. Text repetition, a phenomenon unique to the offertories, demonstrates the common textual basis of Old-Roman and Gregorian chants. All but four of the twenty-three Old-Roman examples observed have parallels in the Gregorian tradition.

《詞律》二十卷，清初詞家萬樹（字紅友，又字花農，1630¬¬－1688）編撰，成書於康熙二十六年（1687），全書錄六百六十調，一千一百八十餘體，是清初錄調最豐，辨體最詳的詞譜著作。現時《詞律》的研究，就成書背景及撰作原因而言，學者大多以明清易代的政治變故及清初詞壇針對明代詞壇而作出的反響這兩大方面切入，而就《詞律》一書本身的內部情況而言，學者傾向借助萬樹《詞律》中的〈自敘〉及〈發凡〉發微，闡述其體例，批評其得失。以上現況反映《詞律》的研究已經開展，同時基於《詞律》與時代的密切關係，又再一次證明此書對清初詞壇的重要性。然而，以上外緣因素雖然適用於清初詞壇的普遍情況，卻缺乏對《詞律》的針對性分析，而《詞律》的內部分析則又過份倚賴萬樹本人在〈自敘〉及〈發凡〉的現身說法，忽視了書中例詞、旁注、萬樹評點的價值。因此，本研究除緒論及結論，正文凡四章，分上、下篇，嘗試從外緣到內部，為《詞律》研究提供新說。第一章〈緒論〉將就研究動機、文獻回顧、方法論等作基本說明；第二章將重新檢討清初詞壇的尊體策略，析論破體、辨體及時流景貌，重估清初詞壇在尊體此命題下的角力關係，由此，為萬樹《詞律》在清初詞壇的定位提供說法，作為往後論述的基調；第三章則從先秦兩漢論律、論樂的思想傳統、宋代六次更訂樂制及大晟府影響下的詞人生態這三方面溯源，析論萬樹《詞律》將詞律設想為樂律，再藉由樂律之道通往尊體之道的根據，以此分析萬樹《詞律》由「紹述古音」轉出其獨特的「律呂之學」的思路；第四章則轉入《詞律》內部，嘗試於《詞律》的〈自敘〉及〈發凡〉之外，探索其內在理路，藉柳永及周邦彥、方千里、吳文英這兩組在《詞律》中特殊的現象，指出萬樹強調比勘互校，並將此提升至貫穿全書、組織全書的內在理路，由此邁向其「至公大雅」的追求；第五章則借鑑文獻學及西方書籍史研究的觀點，反思詞譜類著作的物質形態，分析《詞律》如何有別於當時一般詞譜，同時兼顧了視覺閱讀及聲音演練兩方面以推動填詞實踐，既解決填詞的操作問題也克服審美的困難，由此，呼應編撰《詞律》以推尊詞體的目標；第六章為結論，除歸納本研究中有關《詞律》的發現，同時亦會就研究方法作出反思。= 20 volumues of CiLu (《詞律》), written and edited by early Qing Dynasty Ci scholar WanShu (萬樹, who also named Hungyou, and known as Huanong) are finished in the year of Kangxi 26 (1687). The whole volume collects 660 kinds of tune (詞調) and more than 1180 kinds of genre (詞體). This makes it the most abundant collection of tune and classification of genre in early Qing. Of studies of CiLu today, from the perspective of writing background and reason, scholars tend to intersect the object through lens of political change during Ming to Qing as well as of the pinpointed response of early Qing Ci literary circle towards Ming Ci literary circle. Moreover, with regard to content of CiLu, scholars tend to decipher the text by interpreting WanShu's self account and introduction, explaining its format and criticizing its good and bad. This shows that research effort towards CiLu has already begun, and, at the same time, has demonstrated its importance to Qing literary circle due to the fact that it has a very close relationship with the era. However, although those external factors raised here are suitable to explain the universal situation of early Qing Ci circle, a target-oriented analysis towards CiLu is absent. Those internal analysis based on content also overly rely on WanShu's self account and introduction yet omit the value of Ci examples, annotations and WanShu's comments. Therefore, in this research, except the parts of introduction and conclusion, the body contains 4 chapters and is divided into former and latter part so as to provide a fresh angle and discourse upon the study of CiLu via an attempt of viewing it from the external to the internal. The first chapter－Introduction－ provides a clean explanation upon the goals, literature review and methodology of the research; the second chapter will review early Qing Ci poetry circle's canonization strategy (尊體策略) to clarify genre integration (破體), genre classification (辨體) and the spectacle of writing trend of the era. It also revaluates the tension among literary parties upon the issue of canonization in early Ching circle so that a new discourse upon the literary status of WanShu's CiLu would be brought forth as the fundamental argument of the thesis. The third chapter will trace traditional influence of CiLu's by reviewing music discussion in Pre-Qin and Han, six times official review of music systems in Song dynasty and Ci lyricists' inhabitation under the influence of Dashengfu (大晟府), and hence, it is analyzed that WanShu's CiLu alludes rules of Ci poetry writing to music theory. Then through the way of music theory, it paves the road to canonization of certain Ci poetry －this also demonstrates how WanShu's CiLu develops its own unique rules of music-lyrics theory (律呂之學) from purely inheriting ancient style (紹述古音) . The forth chapter shifts to the internal textual studies of CiLu. Apart from CiLu's self account and introduction, it tries to explore its inner logic(內在理路): by the unusual phenomenon of juxtaposing LiuYong and ChouBaoyan as well as comparing FangQianli and WuWenyin, it is noted that WanShu's emphasis on comparingly slow reading and parallel proofreading is the inner clue of netting the whole volume as well as the corner stone to his literary pursuit of being "supremely just and grandly noble" (至公大雅). The fifth chapter borrows angles of bibliography and the Cultural History Study of Book to reflect on the material form of Cipu (詞譜)writing, analysing how CiLu differentiates from other common Cipu during the period: it both masters the two facets of visual reading and vocal drill to advocate the practice of Ci poetry writing. This not only solves the problem of writing techniques but also conquers the difficulty of adopting different aesthetics norm. It, hence, echoes CiLu's editing aims which are promotion and canonization of Ci. The sixth chapter is conclusion which induces all the discoveries of this research as well as reflects on the methodology.

Includes bibiographical references (pages 236-271). / It is my purpose to show that in Southern Africa African English literature as defined above has absorbed the culture of the West and has begun to reciprocate by adding its own distinctive features. My contention will be based on an investigation of the trends and ideas which appear in the novels, short stories, poetry, drama, autobiographical and critical writing of Africans.

Bibliography : pages 312-319. / The present study sets out to accomplish two things: first, to demonstrate that space and spatiality is the domain in which discourse partakes of the colonial project, and second, to isolate a number of textual strategies employed in the discursive production of colonial space. The first aim requires a lengthy theoretical discussion which occupies the first part of the study. Here I develop the thesis that spatiality as a philosophical preoccupation has never been divorced from the questions of sigmfication and subjectivity, and that the production of significant and subjective space is always a production of social space. In support of this thesis, it is shown that vision and writing are the two functions in which subjective space becomes meaningful, and that in both cases it becomes meaningful only as social space. It is thus in the context of looking and writing that the production of colonial space may be examined as a social space within which meaning and subjectivity are possible. The second aim requires an analytical study of a number of colorual texts, which I undertake in part II of the study. For simplicity, I have confined myself to the colonial discourse of German South West Africa in the period 1884-1915. The central thesis developed here is that discourse develops strategies for enclosing spaces by demarkating borders, privileging certain passages between spaces and blocking others. This organization of space is presented as the ordering of a chaotic multiplicity and, as such, as a process of civilization. The contradiction between the blocking and privileging of passages results in what I call a "ritual of crossing": an implicit set of rules prescribmg the conditions of possibility for crossing the borders it establishes. As a result, in its production of space, the colonial text assumes a mythical function which allows it to transcend the very spaces it produces. It is here that I attempt to situate colonial discourse's claims to uruversal truth. In conclusion, the detailed analysis of the production of space in colonial discourse may be understood as a strategic intervention. It attempts to use the texts of colonisation to counter colonization's claims to universal truth and a civilizing mission.

"Of the endeavors made each year to select and reprint in an anthology the best magazine stories of the preceding twelve months, Edward Joseph Harrington O'Brien's Best Short Stories, the first to be initiated, is one of the best known and most widely recognized. Many college, public, and secondary school librarians have accepted the collections as representative of the best current short story writing, and have made them a permanent part of their annual acquisitions. In this study, an attempt shall be made to determine O'Brien's purpose in establishing the anthology, the criteria followed, the procedures used in making the selections, and the critics' reactions to these criteria, procedures, and selections from 1915 to 1949. And finally, in order to determine more clearly what the reader may expect to find in a volume of Best Short Stories in terms of authors, kinds of stories, and magazines represented, an examination shall be made of these three factors in the selections of the eleven-year period, 1939-1949"--Introduction. / Typescript. / "August, 1951." / "Submitted to the Graduate Council of Florida State University in partial fulfillment of the requirements for the degree of Master of Arts." / Advisor: Robert G. Clapp, Professor Directing Study. / Includes bibliographical references (leaves 62-71).

Many Southern Sotho authors have made important contributions to Southern Sotho literature. Their works cover a wide range of subjects which evince great differenees in significance and depth. We note this in the different books they have written and the themes they have treated. Unfortunately, to date, no serious evaluation of their books has been attempted. The real value of the works is still unkrown to the reader. No effort has been made to unearth the gist of the artist's imaginative power and also to pin-point the weaknesses, so that they oan be remedied. The critical and creative functions must be developed simultaneously if our literature is to attain great heights. At present there is, in most works, a kind of 'stagnation' and spiritual poverty which is realized in a failure to appreciate the meaning of our cultural milieu. We live, as it were, consciously in the present, out- - rooted and transported from cultural forces as if they do not impinge on our minds . There is a lack of depth and failure to recapture the essence of human feeling and thought, less ability and intellectual skill to interpret the world around, and a general incompetence to explain and unfold the very being of human sensitivity. / African Languages / M.A. (Bantu Languages)

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