Thesis (Ph. D.)--Northwestern University, 1958. / Vita. "This study has been limited to the First Book of Motets for Four Voices"--V. 1, leaf 6. Vol. 2: "First book of motets for voices [score] by Luca Marenzio." Includes bibliographical references (v. 1, leaves 77-78).

Reproduction de : Thèse de doctorat : Formes et représentations en langues et littératures. Italien : Poitiers : 2008. / Titre provenant de l'écran titre. Bibliogr. p. 295-302. Notes bibliogr. Index.

Originally presented as the author's thesis, Vienna 1966. / Bibliography: v. 1, p. i-v.

This study details the role of genre enhancement and genre upgrading in four parodies by Thomas Morley. These four parodies, first published in Morley's The First Book of Balletts to Five Voices (1595), are based on villanelles from Luca Marenzio's collection I cinque libri di Canzonette, Villanelle et arie alla Napolitana a tre voci (1584-1585). Through the application of specific techniques, Morley transformed Marenzio's villanelles into parodies that, according to Morley's treatise A Plain and Easy Introduction to Practical Music, are higher in the genre hierarchy than their respective models. Comparative analyses will reveal the techniques of genre enhancement and genre upgrading at work in Morley's parodies.

Thesis -- Departmental honors in Art History. / Bibliography: ℓ. 130-133.

This dissertation examines the role of Cardinal Giovanni Battista de Luca in the reform of nepotism in the seventeenth-century Catholic Church. Popes gave very large amounts of money to their relatives and the burden of nepotism on the Catholic Church was very onerous. The Catholic Church was crippled by nepotism and unable to carry out its traditional functions. Although Cardinal de Luca and Pope Innocent XI worked tirelessly to end nepotism, they were thwarted in their attempts by apprehension among the Cardinals concerning conciliarism and concerning the use of reform measures from the Council of Trent; by Gallicanism and the attempts of the French King to exercise power over the French Church; and by the entrenchment of nepotism and its long acceptance within the Church. Cardinal de Luca and Innocent XI were not able to push through reforms during their lifetimes but Pope Innocent XII was able to complete this reform and pass a reform Bull. This dissertation has two complementary themes. First, a confluence of circumstances allowed for the unfettered growth of nepotism in the seventeenth-century Church to the point of threatening the well-being of the Catholic Church. Reform was not undertaken until the threat to Church finances was severe. Secondly, two upstanding and honest reformers arose in the Catholic Church to correct the problem, de Luca and Innocent XI. The achievements of Cardinal de Luca, also an important reformer of the Canon Law, are almost unknown to an English-speaking audience.

No description available.

Les ARN de transfert, éléments centraux de la traduction, présentent une grande variété de nucléosides modifiés dérivés des nucléosides canoniques (A, U, G et C), qui modulent la stabilité, la capacité de décodage et l’identité de ces molécules. t6A (thréonylcarbamoyl-N6-Adénosine) est un nucléoside hypermodifié retrouvé en position 37 (adjacent à l’anticodon) au niveau de tous les ARNt qui s’apparient aux codons de la forme ANN. Il joue un rôle essentiel dans la fidélité de traduction à travers deux fonctions principales : (i) il intervient dans le maintien de la bonne conformation de la boucle anticodon ; (ii) il facilite l’appariement codon/anticodon afin d’éviter le décalage de cadre de lecture durant la synthèse protéique. Ce nucléoside modifié est universel, présent chez les Archées, les Bactéries, les Eucaryotes, mais également chez les organites (mitochondries et chloroplastes), ce qui suggère que son apparition représente une acquisition évolutive importante et très ancienne, probablement antérieure au dernier ancêtre commun universel (LUCA). Pourtant, la voie de biosynthèse de t6A est restée inconnue pendant près de quarante ans.Récemment, des études de génétique ont montré que deux protéines universelles, Sua5/YrdC et Kae1/YgjD, sont nécessaires à sa synthèse chez Saccharomyces cerevisiae et Escherichia coli. Chez les Bactéries, la synthèse in vitro de t6A requiert la présence de deux autres protéines spécifiques à ce domaine du vivant : YeaZ et YjeE. Chez les Archées et les Eucaryotes, Kae1 (l’orthologue de YgjD) fait partie d’un complexe protéique conservé appelé KEOPS (pour Kinase Endopeptidase and Other Proteins of Small size), aux côtés de trois autres protéines : Bud32, Cgi121 et Pcc1, qui n’ont pas d’homologues chez les Bactéries. Depuis sa découverte en 2006 chez S.cerevisiae, ce complexe a été impliqué dans plusieurs processus cellulaires (homéostasie des télomères, maintien du génome, régulation de la transcription), sans que sa fonction ne soit clairement élucidée.Nous avons entrepris de caractériser et de comparer par une approche biochimique in vitro les machineries de biosynthèse de t6A issues des trois domaines du vivants, en utilisant comme organismes modèles l’Archée Pyrococcus abyssi, l’Eucaryote Saccharomyces cerevisiae et la Bactérie Escherichia coli. (i) Nous avons montré pour la première fois que le complexe KEOPS et la protéine Sua5 catalysent ensemble la synthèse de t6A chez les Archées et les Eucaryotes. Nos résultats nous ont permis d’élaborer un modèle de mécanisme catalytique, et nous avons montré par des expériences de complémentation in vitro que ce mécanisme est universel : les différents orthologues Sua5/YrdC sont interchangeables, et le complexe KEOPS est l’analogue fonctionnel du trio de protéines YgjD/YeaZ/YjeE Bactérien. (ii) Nous avons alors étudié le rôle de chacune des sous-unités du complexe KEOPS de Pyrococcus abyssi dans la synthèse de t6A. Ainsi, nous avons montré que Kae1 est le seul composant catalytique stricto sensus et que les trois autres partenaires ont des fonctions distinctes dans la régulation de l’activité catalytique. (iii) Enfin, nous avons étudié la synthèse de t6A chez la mitochondrie de S.cerevisiae, et avons montré que Sua5 et la protéine Qri7, l’orthologue mitochondrial de Kae1/YgjD, catalysent ensemble la synthèse de t6A et constituent ainsi un système minimaliste à deux composants.Ces résultats ouvrent la voie à une compréhension détaillée du mécanisme de biosynthèse de t6A dans les trois domaines du vivant, et permettent de proposer des scénarii évolutifs concernant l’histoire de la machinerie de synthèse de ce nucléoside modifié universel. / Transfer RNA are central elements of the translational system and carry a large diversity of modified nucleosides (derived from canonical nucleosides A, U, G, and C), which tune the stability, the decoding capacity and the identity of these oligonucleotides. t6A (threonylcarbamoyl-N6- adenosine) is a hypermodified nucleoside found at the position 37 (next to the anticodon) in all tRNA decoding ANN codons. It plays an essential role in the fidelity of translation through two main functions: (i) it ensures a correct conformation of the anticodon loop; (ii) it enhances codon/anticodon pairing to prevent frameshifting during translation. This nucleoside is universal, found in Archaea, Bacteria, Eukarya and also in organites such as mitochondria, which suggests that it appeared early in the evolution, probably before the last universal common ancestor (LUCA). Despite the importance of t6A and its distribution, its biosynthetic pathway has remained unknown for almost 40 years.Recently, genetic studies have shown that two universal proteins, Sua5/YrdC and Kae1/YgjD, are both necessary for synthesis of t6A in Saccharomyces cerevisiae and Escherichia coli. In Bacteria, the in vitro synthesis of t6A requires two other bacterial specific proteins called YeaZ and YjeE. In Archaea and Eukarya, Kae1 (the YgjD orthologue) is a part of a conserved protein complex called KEOPS (for Kinase Endopeptidase and Other Proteins of Small size), with three other proteins Bud32, Cgi121 and Pcc1, that have no bacterial homologues. Since its discovery in 2006 in yeast, this complex has been involved in several cellular processes (telomere homeostasis, genome maintenance, transcription regulation), but its real function remained unclear.Using an in vitro biochemical approach we aimed to characterize and compare the t6A biosynthesis systems from the three domains of life, using as model organisms Pyrococcus abyssi (Archaea) Saccharomyces cerevisiae (Eukarya), and Escherichia coli (Bacteria). We have reconstituted for the first time an in vitro system for t6A modification in Archaea and Eukarya, using purified KEOPS and Sua5. This allowed us to propose a model for the catalytic mechanism, and using in vitro complementation experiments we demonstrated that this mechanism is universal: Sua5/YrdC orthologues are interchangeable, and the KEOPS complex is the functional analogue of the bacterial trio YeaZ/YgjD/YjeE. In the second part of this work we have studied the role of each sub unit in the synthesis of t6A. Using KEOPS from P. abyssi as model we demonstrated that Kae1 is the only catalytic component while the three other partners have distinct functions in dimerization, tRNA binding and allosteric regulation. Finally, we have focused on the t6A synthesis in the mitochondria of S.cerevisiae, and shown that Sua5 and Qri7, the mitochondrial orthologue of Kae1/YgjD, catalyze together the synthesis of t6A and so represent a minimal two-component system.Overall these findings shed light on the reaction mechanism of t6A synthesis in the three domains of life, and allowed proposing a scenario concerning the history of the t6A synthesis machinery and its evolution.

Cette thèse propose une exploration de la poésie de Gherasim Luca et de l’écriture scénique de Dimitris Dimitriadis à partir des interrogations philosophiques et esthétiques que suscite la notion de performatif. Cette notion qui circule entre la philosophie du langage et de l’art est décisive pour comprendre la profonde complicité entre l’écriture des deux auteurs, le corps et l’acte de lecture. Dans cette exploration, la danse contemporaine est une référence centrale : elle est en effet intrinsèquement performative en ce que ses fabriques sont de l’ordre d’une monstration et en ce que ses temporalités vacillent entre l’actuel de l’improvisation et le répétable de la composition. La monstration est aussi ce par quoi le langage est performatif : les mots donnent des définitions aux choses, or, ce faisant, ils inscrivent celles-ci dans un devenir ; ainsi, le langage est une scène où recommence infiniment le spectacle de l’existence. Mais le performatif du langage se détermine encore par la vacillation entre l’actuel et le répétable : le sens est pris dans un mouvement de sapement du présent par un passé impossible à délimiter, si bien que toute communication a lieu sur le fond de quelque chose qui lui échappe ; plus que de cerner un objet, sa fonction est de le décliner à l’infini. La danse contemporaine est une île dans ce vaste espace de pensée qu’ouvre le performatif et fournit des outils précieux afin de naviguer dans les œuvres littéraires hybrides de Luca et de Dimitriadis. La danse répond ainsi à ces écritures qui déploient la plasticité du langage. Elle répond aussi à leur tendance à rendre poreux le passé de l’écriture et le présent de la lecture, ainsi que les frontières entre la poésie et le théâtre. / This thesis proposes a path throughout the poetry of Gherasim Luca and the dramatic writing of Dimitris Dimitriadis based on the philosophical and the aesthetic questions of performativity. This notion circulating between the philosophy of language and of art is decisive so as to understand the great relation of both authors’ writing to the body and the act of reading. Contemporary dance is a basic reference into this path : it is, indeed, profoundly performative as it’s creations are similar to demonstration and it’s temporality vacillates between the moment of improvising and the composition’s repetition. Demonstration is, equally, a performative aspect of language : words define things, and thus, they inscribe them in an motion. Therefore, language is the scene where the performance of being restarts endlessly. Furthermore, performativity of language is determined by the vacillation between the present and repetition itself : meaning is grasped by a mouvement of undermining of the present by a past improbable to limitate and all communication takes place in the background of something that espaces from it. Instead of clarifying an object, language’s fuction is to broaden it infinitely. Contemporary danse is an island in this vast space of thought on performativity and offers precious tools so as to navigate in the hybrid literary work of Luca and Dimitriadis. Danse indeed converses with these texts, which unfold the plasticity of language. It finally gives answers in regard to the texts’ tendancy to render the past of writing and the present of reading, as well as the boundaries between poetry and theater, permeable.

This thesis shall produce the translation of six essays from Italian author Erri De Luca's collection PIanoterra (1995). De Luca's work often defies traditional attempts at translation due to its philosophical and polysemantic nature ; more than mere essays or accounts of, for instance, his involvement with humanitarian missions in Bosnia, his work consists of reflections on life and language itself. De Luca, himself a prolific translator from Ancient Hebrew, Russian and Yiddish, oftentimes emphasizes the origins of specific words, making carefully studied choices in his own writing. Therefore, in addition to the six carefully produced translations with special attention paid to De Luca's word choices and an awareness of the etymological weight each one carries, this thesis shall also provide a theoretical framework emphasizing a sense-based translation which will allow the freedom necessary to explore De Luca's polysemy as well as commentary highlighting the challenges encountered in translating his work. / by Jonathan O'Neill. / Abstract in English. / Thesis (M.A.)--Florida Atlantic University, 2012. / Includes bibliography. / Mode of access: World Wide Web. / System requirements: Adobe Reader.