Thesis (D. Min.)--Catholic Theological Union at Chicago, 2001. / Vita. Includes bibliographical references (leaves 118-122) and index.

Thesis (M.A.)--Miami University, Dept. of Theatre, 2008. / Title from first page of PDF document. Includes bibliographical references (p. 68).

Thesis (D.W.S.)--Institute for Worship Studies, 2004. / Abstract. Includes bibliographical references (leaves 215-223).

Thesis (D.W.S.)--Institute for Worship Studies, 2004. / Abstract. Includes bibliographical references (leaves 215-223).

Thesis (D. Min.)--Catholic Theological Union at Chicago, 2001. / Vita. Includes bibliographical references (leaves 118-122) and index.

Orientador : Prof. Dr. Rodrigo Tadeu Gonçalves / Dissertação (mestrado) - Universidade Federal do Paraná, Setor de Ciências Humanas, Programa de Pós-Graduação em Letras. Defesa: Curitiba, 30/03/2016 / Inclui referências : f. 188-192 / Resumo: O presente trabalho tem por finalidade apresentar pesquisa a respeito de duas vertentes modernas de tradução poética, centrada nos Amores de Ovídio. Para isso, discorre-se sobre o metro do texto de partida, o dístico elegíaco, características do texto ovidiano e pressupostos de teoria da tradução. Após isso, comentam-se traduções de alguns poemas latinos em metros tradicionais portugueses, dentre elas a dos Amores de Antonio Feliciano de Castilho, as de Odorico Mendes até trabalhos publicados mais recentemente. Percebeu-se uma tendência de utilização de dodecassílabo seguido de decassílabo - dois versos muito tradicionais em português - como alternativa para dístico elegíaco. Em seguida, esse modelo de tradução foi confrontado com a apresentação de trabalhos que procuram emular o ritmo do texto de partida, recorrendo à correspondência entre longas latinas e tônicas portuguesas. Esse modelo também tem longa tradição, desde experimentos do século XIX a Carlos Alberto Nunes, no século XX, e teses, dissertações e trabalhos recentes publicados no século XXI. Depois de se discutirem esses dois modos de traduzir, apresenta-se dupla tradução do livro primeiro dos Amores de Ovídio, procurando diferir apenas em opções de metro: tom, escolha vocabular e outros critérios, dentro das possibilidades de cada escolha tradutória, foram mantidos o mais próximos possível. Seguem comentários e notas de tradução, além de uma apreciação crítica deste trabalho dentro da história da tradução dos clássicos no Brasil. Palavras-chave: tradução poética, metros portugueses, versos com emulação do ritmo, dístico elegíaco, Ovídio. / Abstract: This Master's thesis presents two modern models of poetic translations, focused on Ovid's Amores. We discuss the original Latin meter, the elegiac couplet, some aspects of Ovid's production and key concepts for us about translation criticism. After that, we present and discuss other poetic translations, from Latin into Portuguese, using traditional Portuguese poetic forms, from Antonio Feliciano de Castilho, Odorico Mendes, until texts published recently. It is a fact that there is a clear tendency to translate the elegiac couplet with 12- and 10-syllable verses - very traditional poetic forms in Portuguese. This model is compared with the presentation of works in which translators emulate the original rhythm, using stressed syllables in Portuguese in the place of princepes long syllables in Latin. This method also has a long tradition in Portuguese, from some experiments in the 19th century, to Carlos Alberto Nunes, in 20th century, and theses and essays published in the 21st century. After discussing these two ways of translating Latin into Portuguese, we offer a dual-translation of Book I of Ovid's Amores, focusing on the rhythmical choices: similarity in tone, vocabulary choices and other criteria, respecting the possibilities offered by both translation choices, were maintained as far as possible. Finally, we provide a commentary on the texts and on translation choices, as well as a critical appreciation of the work in relation with the translation history of Classics in Brazil. Keywords: poetic translation, Portuguese metrics, emulative verses, elegiac couplet, Ovid.

Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro Tecnológico. / Made available in DSpace on 2012-10-17T16:21:59Z (GMT). No. of bitstreams: 0Bitstream added on 2014-09-25T17:38:34Z : No. of bitstreams: 1 174952.pdf: 11454837 bytes, checksum: a5c1c48b4e2fa7e4e82dbeabc8950d52 (MD5) / Neste trabalho foi analisada a melhoria nas características de um solo quando estabilizado com cal, bem como a viabilidade técnica de se utilizar camadas deste novo material em pavimentos urbanos. O solo utilizado no trabalho, para fins de tratamento, localiza-se às margens da Rodovia SC - 407, próximo a Santa Teresa, região metropolitana de Florianópolis/SC. O trabalho teve as seguintes finalidades: realizar um estudo da influência do teor de cal obtido sobre as propriedades físicas e químicas do solo tratado, verificar qual o ganho de resistência com o tempo de cura. O teor ótimo de cal foi identificado pelo método de Hilt e Davidson (Hilt e Davidson, 1960 - LIME FIXATION POINT) como sendo de 7%. Sobre o solo natural e a mistura solo-cal, foram realizados os ensaios de: limites de Atterberg, compactação, CBR, granulometria, permeabilidade, microscopia eletrônica, durabilidade, método das pastilhas MCT, resistência à compressão simples e diametral. Os corpos de prova foram curados em câmara úmida nas idades de 7, 14, 28, 60, 90, 120 e 150 dias. Dos resultados obtidos, concluiu-se: houve, de uma maneira geral, melhora nas características físicas com o acréscimo de cal; houve ganho de resistência com o tempo de cura.

El objeto de estudio delimitado en este proyecto de tesis es la problemática del sujeto en las obras ya aludidas de José Donoso. La perspectiva para dar cuenta de ello está dada por una noción de sujeto en cuanto construcción cultural y social que podemos ver desarrollada en la ficción. En El obsceno pájaro de la noche, Casa de campo y La misteriosa desaparición de la marquesita de Loria, la problemática del sujeto puede ser analizada a partir de la consideración del otro. En otras palabras, la problemática del sujeto incluye al otro, en tanto figura expulsada de un orden y lenguaje legitimados asentados, la mayoría de las veces, en la figura del patrón o del narrador.

AN ABSTRACT OF THE THESIS OF José E. Guzmán Borrero, for the Master of Music degree in Music Theory and Composition, presented on April 8, 2016, at Southern Illinois University Carbondale. TITLE: ISOCHRONAL: A SUITE FOR JAZZ ORCHESTRA MAJOR PROFESSOR: Dr. Christopher Walczak The suite is a three movement composition for jazz orchestra in which I integrate contemporary compositional methods with the harmonic idioms of the jazz genre. The first movement, “Flight,” takes a minimalist (ca. 1970-1990) approach through the beginning of the piece, then incorporates a development section reminiscent of music from the Classical period with the use of two and three voice counterpoint. Followed by a traditional jazz solo section. The second movement, “'Round Ten” is a ballad featuring the post-tonal compositional method of dodecaphony (ca. 1925-1950) in tandem with melodic and harmonic jazz expressions reminiscent of Thelonious Monk. My compositional use of tone rows is similar to the methods of Benjamin Britten and Alban Berg, who used the row as a compositional guideline or tool. This is unlike the initial use of the row by its founder, Arnold Schoenberg, which restricted the composer by the necessity of using all twelve pitches (with no emphasis on a tonal center) and using it in a predetermined order. The ballad section of the second movement is similar to Thelonious Monk's music in its use of non-harmonic tones and sharp dissonances mixed with a repetitive melodic contour. The third and final movement, “Lights Out!” is an up-tempo piece that uses the dense harmonies reminiscent of Don Menza and Thad Jones’ arrangements. The harmonic structure of the piece is from the modal jazz period of the 1960s in which composers pushed the boundaries of the typical 32-bar song format. The melodic material in this movement includes material from the two previous movements.

In this dissertation, I autoethnographically explore the Guatemalan traditional blouse, a huipil, as a cultural object of identity, where the objectification of clothing is blurred as intertextual, and can be seen as both object and art. I argue, the huipil is situated within the purview of Latina/o communication studies, contributing to the conversation of a created, a woven, and a worn mestizaje. In chapter two, I discussed the historical significance of Rigoberta Menchú as a key international historical figure. Who preserves the cultural, historical, and political significance a representation of Guatemalan Indigenous women by continuing to wear her full traditional traje. In chapter three, I moved to discussing the performance art works of Regina José Galindo. I worked to construct a historical view of Guatemala for myself as shown through Galindo’s performance art work. I attempted to find answers to Galindo’s understanding of the huipil. In chapter four, I discuss who further contributed to the overall understanding of the huipil as significant to their cultural, historical, and political orientations as women from Guatemala during my research interviews. I developed a sense of the fabricscape woven to construct an identity based on clothing that communicatively segregates the Indigena and Ladina women into those categories. Finally, I turned to the Guatemalan experiences I had as family member, friend, and American scholar focusing on the huipil. The textile that carried me through my journey to and from Guatemala. I dressed the part of the dissertation as I wear this meaning in Mi Huipil and weave this document from and back into that embodied experience.