Die Kubaanse komponis Leo Brouwer (1939- ) het ʼn unieke idiomatiek vir die kitaar ontwikkel wat met die eerste oogopslag ingewikkeld lyk (en klink), maar steeds logies is en gemaklik onder die vingers lê. In hierdie mini-verhandeling word Brouwer in konteks geplaas met ontwikkelings in Kuba. Biografiese agtergrond van sy lewe word verskaf, en sy werke word in drie komposisiefases verdeel. Elke komposisiefase word afsonderlik bespreek met fokus op die volgende solo kitaarwerke: <ul> <li>Danza Caracteristica (1972)</li> <li>Elogio de la Danza (1964)</li> <li>10 Etudes Simples (1973)</li> <li>Canticuum (1968)</li> <li>La Espiral Eterna (1971)</li> <li>El Decameron Negro (1982)</li> <li>Paisaje Cubano con Campañas (1987)</li> <li>Sonata (1990)</li></ul> Hierdie werke word bespreek meestal in terme van komposisietegnieke en notasie. Aspekte wat Brouwer se idiomatiek verduidelik word uitgelig en die toeganklikheid van die werke word krities geëvalueer. Brouwer se groei en ontwikkeling as komponis word uitgewys, en sy invloed op hedendaagse komponiste en kitaarspelers word bespreek. Daar word bevind dat die idiomatiek in Brouwer se geselekteerde solo kitaarwerke ʼn dominante rol speel in sy benadering tot kitaarkomposisie. Die studie is veral vir kitaarkomponiste van waarde om sinvolle komposisie-besluite te kan maak. ENGLISH : The Cuban composer Leo Brouwer (1939- ) developed an idiomatic writing style for the classical guitar which is an important factor when the difficult technical requirements of the guitar are taken into consideration. This idiomatic writing style might seem (and sound) complex at first glance, but is in fact logical and easily accessible on the instrument. In this mini-dissertation Brouwer is placed in context with political and artistic development in Cuba. Biographical background of his life is given, and his works are divided into three compositional periods. Each period is discussed separately with the focus on the following solo guitar works: <ul> <li>Danza Caracteristica (1972)</li> <li>Elogio de la Danza (1964)</li> <li>10 Etudes Simples (1973)</li> <li>Canticuum (1968)</li> <li>La Espiral Eterna (1971)</li> <li>El Decameron Negro (1982)</li> <li>Paisaje Cubano con Campañas (1987)</li> <li>Sonata (1990)</li> </ul> These solo guitar works is discussed mostly in terms of compositional techniques and notation. Aspects that describe Brouwer’s idiomatic writing style are emphasised, and the accessibility of the works is critically evaluated. Brouwer’s development as a composer is highlighted, and his influence on guitar composers and guitarists is discussed. As a conclusion it is shown that the idiomatic writing style of Brouwer plays a leading role in his approach to solo guitar composition. The study is of value to guitar composers when sensible compositional decisions have to be made. / Dissertation (MMus)--University of Pretoria, 2012. / Music / unrestricted

This thesis presents extended program notes for a recorded graduate classical guitar recital consisting of the following works for solo guitar with string quartet and chamber orchestra: Mario Castelnuovo-Tedesco: Quintet for Guitar and Strings, Op. 143; Leo Brouwer: Concerto No. 3 (“Elegiaco”). Both works are pioneering and invaluable contributions to guitar literature. Tedesco’s Quintet for Guitar and Strings, Op. 143 is the first quintet ever composed to properly showcase the virtuosity of the guitar within a chamber setting. Concerto “Elegiaco” demonstrates the refinement of Leo Brouwer’s use of post-modern tonality and minimalism within classical form, and showcases his unique compositional style.

Submitted by Natalie Mendes (nataliermendes@gmail.com) on 2015-11-12T01:28:44Z No. of bitstreams: 1 Disserta??o Lippia grata UEFS.pdf: 1504199 bytes, checksum: 6547f6ba792b976ed41c1fae77889843 (MD5) / Made available in DSpace on 2015-11-12T01:28:44Z (GMT). No. of bitstreams: 1 Disserta??o Lippia grata UEFS.pdf: 1504199 bytes, checksum: 6547f6ba792b976ed41c1fae77889843 (MD5) Previous issue date: 2013-09-27 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES / The treatment of orofacial pain remains a major challenge for modern medicine. So, new therapeutic proposals has sought in natural products pharmacological options for this nosology. In the current study, it was prepared and physicochemically characterized a ?-cyclodextrin complex containing L. grata leaf essential oil (?-CD/EO) in order to investigate their possible antinociceptive activity in animal models of orofacial pain. The essential oil from the leaves of Lippia grata (EO ) was obtained by hydrodistillation in a Clevenger-type apparatus and the main compounds identified was made through CG-MS. The phytochemical analysis of EO demonstred the presence of camphor (28,69%), (E)-caryophillene (11,47%), bicyclogermacrene (10,22%), camphene (9,45%) and borneol (7,64%) as the main compounds. Following these preliminary results, the inclusion complex of ?-cyclodextrin and EO (?-CD/EO) was prepared by slurry procedure (SC). It was taken physicochemical characterization. The results of DSC and TG/DTG showed that the products prepared by SC methods were able to incorporate greater amounts of EO. In the X-ray diffractogram, it was showed that complex between EO and ?-CD was formed. Male Swiss mice were pretreated with ?-CD/EO (6, 12 or 24 mg/kg, per os, gavage, p.o.), morphine (5 mg/kg, i.p.), or vehicle (distilled water, p.o.), 90 min. before treatment with formalin (20 ?l, 2%), capsaicin (20 ?l, 2,5 ?g), or glutamate (40 ?l, 25 ?M) into the right upper lip. The obtained data were evaluated by one-way analysis of variance (ANOVA), followed by Tukey?s test. The results demonstrated that p.o. treatment with ?-CD/EO was (p<0,05 or p<0,001) capable in reducing the nociceptive face-rubbing behavior in both phases of the formalin test. ?-CD/EO-treated mice were also (p<0.05 or p<0.001) protected against nociception induced by capsaicin and glutamate. For the action in the central nervous system (CNS), ninety minutes after the treatment, the mice were perfused, the brains collected, crioprotected, cut in a criostate and submitted to an imunofluorescence protocol for Fos protein. The imunofluorescence protocol demonstrated that the ?-CD/EO significantly activated (p<0,05; p<0,01 or p<0,001) the motor cortex, the locus ceruleus, the nucleus raphe magnus and the periaqueductal gray of the CNS. These effects did not alter, in tested doses, the motor coordination of mice in the rota-rod test. These results suggest that treatment with ?-CD/EO induces an analgesic profile in experimental models of orofacial nociception, promising pharmacologic complex in treatment of orofacial pain. / O tratamento da dor orofacial representa um importante desafio para a medicina moderna. Desta forma, novas propostas terap?uticas t?m buscado nos produtos naturais op??es farmacol?gicas para esta nosologia. No presente estudo, foi preparado e caracterizado fisicoquimicamente, um complexo de ?-ciclodextrina incorporado com o ?leo essencial das folhas de Lippia grata (?-CD/OE) buscando avaliar sua poss?vel a??o antinociceptiva em modelos animais de dor orofacial. O ?leo essencial (OE) foi obtido por hidrodestila??o em aparato de Clevenger e os compostos marjorit?rios foram identificados por CG-MS. A an?lise fitoqu?mica do ?leo demonstrou a presen?a de c?nfora (28,69%), (E)-cariofileno (11,47%), biciclogermacreno (10,22%), c?nfeno (9,45%) e borneol (7,64%) como principais componentes. Ap?s estes resultados preliminares, este ?leo foi ent?o complexado em ?-ciclodextrina e a an?lise fisicoqu?mica realizada. Os resultados da DSC e TG/DTG demonstraram que produtos preparados por m?todos de coevapora??o foram capazes de incorporar grandes quantidades de ?leo essencial. No difractograma de raios X, foi mostrado que o complexo entre OE e ?-CD foi formado. Camundongos machos Swiss foram pr?-tratados com ?-CD/OE (6, 12 ou 24 mg/kg, per os, gavagem, v.o.), morfina (5 mg/kg, i.p.), ou ve?culo (?gua destilada, v.o.), 90 min. antes do tratamento com formalina (20 ?l, 2%), capsaicina (20 ?l, 2,5 ?g), ou glutamato (40 ?l, 25 ?M) no l?bio superior direito. Os dados obtidos foram avaliados por an?lise de vari?ncia de uma via (ANOVA), seguido pelo teste de Tukey. Os resultados demonstraram que o tratamento v.o. com ?-CD/OE foi capaz de reduzir (p<0,05 ou p<0,001) o comportamento nociceptivo de co?ar a face em ambas as fases do teste da formalina. Camundongos tratados com ?-CD/OE foram tamb?m (p<0,05 ou p<0,001) protegidos contra a nocicep??o induzida por capsaicina e glutamato. Para avaliar a a??o no sistema nervoso central (SNC), noventa minutos ap?s o tratamento, os camundongos foram perfundidos, os c?rebros coletados, crioprotegidos, cortados num criostato e submetidos a um protocolo de imunofluoresc?ncia para prote?na Fos. O protocolo de imunofluoresc?ncia demonstrou que o complexo de ?-CD/EO ativou (p<0,05; p<0,01 ou p<0,001) o c?rtex motor, o locus ceruleus, o n?cleo magno da rafe e a subst?ncia cinzenta periaquedutal do SNC. Esses efeitos n?o alteraram, nas doses testadas, a coordena??o motora dos camundongos no teste rota-rod. Os resultados sugerem que o tratamento com ?-CD/EO induz perfil analg?sico em modelos experimentais de nocicep??o orofacial, sendo um complexo farmacol?gico promissor no tratamento da dor orofacial.

Este trabalho busca desvelar e sistematizar claramente os princípios straussianos de filosofia política clássica e, especificamente, os princípios straussiano-platônicos do melhor regime. Isto é, este trabalho busca desvelar o que Leo Strauss acredita ser o começo da filosofia política clássica, o que Leo Strauss acredita ser a “metodologia” clássica à filosofia política e, especificamente, as conclusões de Platão sobre o melhor regime. Os primeiros são princípios straussianos, porque advêm da interpretação de Leo Strauss sobre vários filósofos clássicos; os últimos são straussiano-platônicos, pois advêm de uma interpretação straussiana de Platão. Por fim, a análise de Leo Strauss sobre a crise da modernidade e sobre a historiografia da filosofia são apresentadas a fim de que possamos entender por que e como trilhar o caminho straussiano aos clássicos. / This work intends to state and arrange clearly the Straussian principles of classical political philosophy and, especially, the Straussian-Platonic principles of the best regime. That is, this work intends to state what Leo Strauss thought to be the beginnings of classical political philosophy, what Leo Strauss thought to be a classical “methodology” for political philosophy and, finally, Plato's conclusions about the best regime. The first two are Straussian principles because they ensued from Leo Strauss' interpretation of various classical political philosophers and the last ones are Straussian-Platonic because they ensued from a Straussian interpretation of Plato. That being said, Leo Strauss' analysis of the crisis of modernity and Leo Strauss' historiography of philosophy are presented as requirements for a better understanding of what consists the Straussian way back to the classics.

Denna studie undersöker reklamfilmer producerade av två svenska spelföretag, ett statligt ägt och ett privat. Med grunder i en retorisk analys syftar studien till att undersöka ifall dessa reklamfilmer kan anses vara måttfulla sett till spellagen som stiftades 2018. För att besvara studiens syfte ställs följande tre frågeställningar: Följer Svenska spel och Leo Vegas spellagen sett från ett retoriskt perspektiv? Förekommer det gränsöverskridande retorik i företagens reklamfilmer? Kan man se någon skillnad i hur statligt ägda företag respektive privata företag anpassar sig till spellagen? Slutsatsen av studien visar att Svenska spel följer spellagen sett från ett retoriskt perspektiv medan Leo Vegas inte gör det. Resultatet visar att det förekommer gränsöverskridande retorik i företagens reklamfilmer och att det statligt ägda företaget har anpassat sig bättre till spellagen än vad det privata gjort. Studien visar dock att en mer omfattande undersökning krävs för att få fram resultat som är mindre generaliserande. Studien visar även att undersökningen blir viktig för fortsatta studier, då den väcker frågor om vad som kan anses vara måttfullt inom marknadsföring samt huruvida retoriska aspekter ska övervägas i spellagen.

The objectivie of this study was to describe the splanchnology and topography of the female reproductive organs of the African lion. The reproductive organs of three embalmed cadavers from three-year-old known aged nulliparous lionesses weighing between 120 kg and 140 kg were studied. Two fresh carcasses from another study were used for some of the topographical photos since these rendered better quality images. The project was approved by the Animal Use and Care Committee and Research Committee of the University of Pretoria (protocol number V038-09). The topography and splanchnology of the reproductive organs were studied and described in situ and after removal. The kidneys were located far caudally in relation to the thirteenth ribs with the left kidney further caudal. The suspensory ligament was very well developed. It originated in a fan-like manner from the dorso-lateral abdominal wall lateral to the kidney extending up to a few centimetres cranial to the kidney. The proper ligament of the ovary was well developed and consisted of several clearly distinguishable bands. The broad ligament resembled that of the cat with the exeption of the cranial part of the mesovarium being very well developed. The round ligament was well developed and inserted on the medial femoral fascia. It therefore did not extend to the vulva as in other canine and feline species. The left ovary was longer, wider and heavier than its right counterpart and the ovaries were relatively small in relation to body weight. The ovarian bursa had a short mesosalpinx that did not cover any part of the ovary and the fimbriae extended the entire length of the ovary. The urethral tuberculum as well as the urethral crest was very well developed. The left uterine horn was longer than the right and the tip of the uterine horn was located dorsal to the proper ligament. The uterine tube was prominently convoluted, situated entirely on the lateral aspect of the ovary and was found to open directly into the tip of the uterine horn and not onto a papilla. The female reproductive organs of the African lion resemble that of the domestic cat and dog with some major differences especially to the size and development of certain structures. The clinical relevance of these differences has to be debated and some thoughts might include the following: 1) does the suspensory and proper ligaments of the gravid uterus contract to suspend the entire uterus closer to the body wall during hunting since the lioness is the primary hunter in the pride? 2) does the lioness have to roll on her back and extend her back legs after mating to facilitate sperm entering the dorsally located tip of the uterine horn while the round ligament stabilises the terminal part of the uterine horn, and does this have a bearing on the fact that multiple copulations are required over a prolonged period for conception by lions? 3) do more ovulations take place from the bigger left ovary and? 4) are more conceptusses borne by the longer left uterine horn? The anatomical information obtained during this study was subsequently applied in a surgical study on sixteen lionesses using laparoscopy to perform laparoscopic ovariectomy and salpingectomy. The availability of these two laparoscopic procedures subsequently led to a wider interest to its application in population control of lions in the smaller national parks of South Africa. / Dissertation (MMedVet)--University of Pretoria, 2012. / gm2014 / Companion Animal Clinical Studies / unrestricted

The Master’s degree project named “Homage to Krása, Smit and Winterberg” is focusing on the music composed for clarinet in the era of the Second World War. The main aim of this project is to research three specific pieces: Three Songs by Hans Krása, Trio for Clarinet, Viola and Piano by Leo Smit and Suite for Clarinet and Piano by Hans Winterberg; and provide a recording of them. Besides that, it also provides historical background and theoretical information as well as an interpretative reflection. / Magisterský projekt s názvem "Pocta Krásovi, Smitovi a Winterbergovi" je zaměřen na hudbu pro klarinet zkomponovanou v období druhé světové války. Hlavním cílem projektu je nastudování třech vybraných skladeb (Tři písně pro baryton, klarinet, violu a violoncello Hanse Krásy, Trio pro klarinet, violu a klavír Leo Smita a Suita pro klarinet a klavír Hanse Winterberga) a následné pořízení nahrávek. Mimo to se práce také zabývá osobnostmi skladatelů v historickém kontextu a poskytuje interpretační analýzu skladeb. / <p>Exam Concert (26 April 2022, Nathan Milstein Hall)</p><p>Igor Stravinsky (1882 – 1971)</p><p>Three Pieces for Solo Clarinet (1918)</p><p> </p><p>Francis Poulenc (1899 – 1963)</p><p>Sonata for Clarinet and Piano, FP 184 (1962)</p><p>              I. Allegro tristamente</p><p>              II. Romanza                                                                           </p><p>              III. Allegro con fuoco</p><p> ~</p><p> Hans Winterberg (1901 – 1991)</p><p>Suite for Clarinet and Piano (1944)</p><p>              I. Con moto</p><p>              II. Poco grave (non troppo)</p><p>              III. Presto</p><p> </p><p>Leo Smit (1900 – 1943)</p><p>Trio for Clarinet, Viola and Piano (1938)</p><p>              I. Allegretto</p><p>              II. Lento</p><p>              III. Allegro Vivace</p><p>Alžběta Baldová, clarinet</p><p>Erik Lanninger, piano</p><p>Madara Tupiņa, viola</p><p>Octavian Leyva Dragomir, piano</p><p> </p><p>Recording in the studio at KMH (28 April 2022)</p><p>Hans Krása: Three Songs for Baritone, Clarinet, Viola and Cello</p><p> </p><p>David Edström, baritone</p><p>Alžběta Baldová, clarinet</p><p>Madara Tupiņa, viola</p><p>Elfi Maria Øhre Marcussen, cello</p><p> </p><p>Sounding part of the project:</p><p>Hans Krása: Three Songs for Baritone, Clarinet, Viola and Cello</p><p>Leo Smit: Trio for Clarinet, Viola and Piano</p><p>Hans Winterberg: Suite for Clarinet and Piano</p>

This dissertation concerns the satirical Flat Earth Society (FES) founded at Fredericton, New Brunswick in November 1970. The essay’s successive chapters examine the lives and literary works of three understudied authors who held leadership positions in this critically unserious, fringe society: FES Symposiarch Alden Nowlan; the Society’s President Leo Ferrari; and its First Vice-President Gwendolyn MacEwen. Therefore, my project constitutes an act of recovery and reconstruction, bringing to light cultural work and literary connections that have largely faded from view. Chapters show how certain literary writings by Nowlan, Ferrari, or MacEwen directly or indirectly relate to their involvement with FES, making the Society an important part of their cultural work rather than a mere entertainment, distraction, or hoax. These authors represent the local/regional inception of FES (Nowlan), its international influences and reach (Ferrari), and its Canadian context (MacEwen). Organized according to three jointly literary and geo-political layers, and drawing on little-known archival documents, each chapter records statements from the Society’s wider membership as they relate to Atlantic Canada, the international perspective, and Canada. Despite its aberrant and oppositional spirit, FES appeared within an identifiable cultural context and participated in a countercultural tradition that continues to this day. The Society’s surface lampoon embeds potent social critique and creative meaning. In other words, FES was not merely playful, nor merely serious, but interweaved these modes in a compelling way; the Society looks by turns intelligent and unintelligible, stupid and sophisticated. Further, it invited contributions from members and applicants: seldom-seen interpretations of “Planoterrestrialism” by individuals from many walks of life and now housed in archives at the University of New Brunswick and University of Calgary. The participatory, humorous, and poetic nature of FES means that its unusual brand of Flat Earthism cannot be tied to any singular ideology, place, or literary tradition. It operates as an enigmatic, errant, itinerant, and underground non-ideology. Planoterrestrial thought is reflected in the playful poetic styles of Nowlan, Ferrari, and MacEwen: three Society members who were nonetheless serious authors and sincere in their role as cultural workers, their Flat Earth antics not excepted. / Graduate

This study examines phrase and larger formal structures in the first movement of Leo Brouwer’s Elegio de la Danza (1964), a work that draws on tonal and post-tonal traditions. By adapting key features of the tonal motive, as described by Douglass Green, and the tonal period, as proposed by Green and William Caplin, the model seeks to provide a tool for the discussion of phrases and larger forms in Brouwer’s work. An analysis of primary parameters, such as melody, harmony, and rhythm, provides the means to discuss how the composer articulates beginnings and endings of statements and responses, which are then grouped into antecedent and consequent phrases. These periods articulate large-scale sections, which outline a ternary formal design. Secondary parameters (dynamics, tempo markings, instrumental markings) further contribute to the identification of formal structures in Brouwer’s work.

Das Erzgebirge besitzt aus der Zeit der hochmittelalterlichen Ostsiedlung eine Vielzahl an Ortschaften und Burgen. Doch wie bei den Ortswüstungen, haben auch nicht alle Burgen die Zeit überstanden. Zu diesen Burgen zählt auch die Quedlinburg zwischen Elterlein und Burgstädtel. Mit Hilfe der wissenschaftlichen Ausarbeitungen von dem Heimatforscher Leo Bönhoff aus den ersten Jahrzenten des vorigen Jahrhunderts und den seit 2019 öffentlich verfügbaren Digitalen Geländemodellen soll in diesem Dokument der Standort der Quedlinburg lokalisiert und der Grundriss rekonstruiert werden.:1. Vorwort 2. Geschichte 3. Lokalisierung 4. Schlusswort