劉傑雄. / 手稿本及手稿本複印本. / Thesis (M.A.)--香港中文大學, 1988. / Shou gao ben ji shou gao ben fu yin ben. / Includes bibliographical references: leaves [13]-[16] / Liu Jiexiong. / Thesis (M.A.)--Xianggang Zhong wen da xue, 1988. / 引言 --- p.1 / Chapter 第一部份 --- 哈特對法律道德關係的看法 --- p.14 / Chapter （甲） --- 社會律則的一般分析 --- p.14 / Chapter （一） --- 社會律則的意義 --- p.14 / Chapter （二） --- 社會律則兩方面的陳述 --- p.16 / Chapter （三） --- 義務 --- p.18 / Chapter （乙） --- 道德 --- p.21 / Chapter （一） --- 道德的意義 --- p.21 / Chapter （二） --- 道德的基本成份 --- p.22 / Chapter （三） --- 道德的特質　 --- p.30 / Chapter （丙） --- 法律 --- p.36 / Chapter （一） --- 基始律則──義務律 --- p.36 / Chapter （二） --- 從屬律則──轉變律、審裁律和認可律 --- p.37 / Chapter （三） --- 法律的成份 --- p.47 / Chapter （丁） --- 法律與道德的關係 --- p.48 / Chapter 第二部份 --- 狄奧堅對哈特的批評 --- p.61 / Chapter （甲） --- 一個基本的概念──原則 --- p.62 / Chapter （一） --- 原則的意思 --- p.62 / Chapter （二） --- 原則和律則 --- p.67 / Chapter （三） --- 原則的來源 --- p.70 / Chapter （乙） --- 對哈特法律理論的批評 --- p.72 / Chapter （一） --- 哈特的兩個選擇 --- p.73 / Chapter （二） --- 第一個選擇──至少有些原則具有法律的約束力 --- p.76 / Chapter （三） --- 第三個選擇──任何原則不具有法律的約束力 --- p.76 / Chapter （四） --- 哈特法律理論的兩難 --- p.88 / Chapter （五） --- 認可律的漏洞 --- p.90 / Chapter （丙） --- 法律與道德的關係 --- p.100 / Chapter 第三部份 --- 哈特與狄奧堅爭辯之評估 --- p.103 / Chapter （一） --- 哈特與狄奧堅爭辯之論題 --- p.103 / Chapter （二） --- 爭辯的爭論點 --- p.103 / Chapter （三） --- 第一個爭論點 --- p.106 / Chapter （四） --- 第二個爭論點　 --- p.116 / Chapter （五） --- 狄奧堅理論的毛病 --- p.124 / 結語 --- p.131

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In the postscript to The Concept of Law, H.L. A. Hart describes the on-going debate inspired by his book, focusing on the criticisms of Ronald Dworkin. In this essay, I will discuss Dworkin’s criticisms of Hart, as well as Hart’s responses, showing that while Hart responds adequately to some criticisms, he fails to respond adequately to others. I will also reconstruct and evaluate the arguments given for and against the separation thesis by Dworkin and Hart. Finally, I will argue that the debate about the separation thesis – the thesis that morality and law are separable – is misguided, conflating as it does two distinct questions. These are the questions of what the positive law is, that is, the law that is posited in a specific time and place, and of what the natural law is, that is, the law that (if it exists) is universal and timeless. Once we distinguish these questions, we will see that the answer to the question of whether law is separable from morality depends on which sense of ‘law’ is relevant, and that there are two different answers corresponding to the two senses of positive law and natural law. Positive law is separable from morality while natural law is not. / text

This study examines the role of religion in the nationalist thought of Lionel Groulx (1878-1967). It attempts to demonstrate that Groulx's understanding of the Incarnation constitutes a paradigm whereby he developed a rationale for the synthesis of Catholicism and French-Canadian nationalism. Chapter 1, the Historical Background, precedes an examination of Groulx's thought in the light of his theological and philosophical education.(Chapter 2) Chapters 3 and 4 explain his construct of the Incarnation. Chapter 5 sets forth Groulx's conception of French Canada based on the Hebrew scriptures. Chapters 6 explores the implications of his incarnational thought for his nationalist pursuits. Chapter 7 summarizes the pivotal idea of "The Primacy of the Spiritual in the Nation," while Chapter 8 sheds light on Groulx's critical, if not negative understanding of Catholic Action. The conclusion reflects on the turn of events in French Canada which evolved so contrary to his aspirations. Despite his myriad activities, prodigious body of work, and such a long, varied career, Groulx remains an enigma primarily due to his transitional role between old religio-nationalist French Canada and secular, contemporary nationalist Quebec. The apologetic intent of his work compounds this enigma since Groulx thereby attempted to apply the conservative social doctrines and praxis of conventional Catholicism to the rapidly changing context of modern, increasingly nationalist Quebec. His thought, therefore, possesses many facets and eludes facile definition. Due to their segregated analyses of Groulx's thought, previous historical, political and ideological studies remain insufficient because they represent largely secular, anachronistic, specifically post-'Quiet Revolution' approaches that truncate the role of religion in the world view of a Catholic priest in French Canada at the turn of the twentieth century. These analyses do not sufficiently take into account the theological principles which shaped his nationalist thought. Writing as editor-in-chief of Le Devoir the day after Groulx died, Claude Ryan declared Groulx "the spiritual father of modern Quebec." However, this assessment largely stands or falls on the place of the 'spiritual' vis-a-vis the 'secular' in Groulx's thought, for the reversal of their respective importance in French-Canadian society announced the advent of modernity in Quebec. In fact, the contemporary debate concerning the proper roles and relationship of the secular and the spiritual in twentieth-century Quebec gave rise to Groulx's apologetic. This study seeks therefore to examine the spiritual and the temporal in Groulx's thought, and how he related the two so that we may come to a better understanding of Groulx's contribution to modern Quebec.

abstract: Highly active in the fields of viola performance, composition, recording, and pedagogy, Lionel Tertis is known as one of the first and most influential career violists. Established in 1980, the Lionel Tertis International Viola Competition and Festival was founded in his honor and occurs triennially at the Isle of Man. While addressing facets of the professional violist with workshops, lectures, and masterclasses, this event provides a venue for competitive performers, acting as a platform for new viola repertoire. Each competitor must prepare an extensive set of viola repertoire, among which is a compulsory piece for unaccompanied viola by an English composer. These commissioned works require the virtuosity and expression available within a contemporary musical language; this additionally challenges competitors to provide an artistic interpretation relatively untouched by tradition or common practice. Although these pieces are written specifically for the competition, the commissioned works have the capacity to reach beyond the competition sphere and are highly programmable in most recital and solo performance settings. These pieces provide the contemporary violist with a greater selection of repertoire that displays idiomatic and expressive strengths of the viola. My project commemorates the contributions of Lionel Tertis to the advancement of viola repertoire and performance with the study of works written a century post his prolific career. The secondary intent is to provide biographical information about each composer and to explore how these highly programmable works enrich the violist and their repertoire, ultimately bringing recognition to these new works for solo viola. Through biographical research, musical analysis, interviews and the recording process, I will provide a performer's analysis and supplemental recordings for three of these works: Darkness Draws In by David Matthews, Sonatine I by Roger Steptoe and Through a Limbeck by John Woolrich. / Dissertation/Thesis / Audio recording of 'Sonatine I' by Roger Steptoe, performed by Allyson Wuenschel / Audio recording of 'Darkness Draws In' by David Matthews, performed by Allyson Wuenschel / Audio recording of 'Through A Limbeck' by John Woolrich, performed by Allyson Wuenschel / Doctoral Dissertation Music 2017

Arthur Bliss’s Sonata for Viola and Piano stands as a significant achievement in early twentieth-century chamber music for viola and is the result of a fruitful collaboration between composer and virtuoso performer. Multiple scholars recognize the sonata as one of Bliss’s finest works. Despite these accolades, the work has failed to attract sustained scholarly investigation. This document provides performers with the necessary tools for a thorough and contextualized presentation of the work. The main body of this study details the technical aspects of performing the sonata: viola technique, expressive challenges, and ensemble concerns. Preceding this, I cover the relevant biographical details from Bliss’s life, examine the roots of his chamber music writing for viola by analyzing two early works, and investigate the collaboration between Lionel Tertis and Bliss in creating this work.

Memoria (licenciado en ciencias jurídicas y sociales) / Esta tesis presenta una reflexión metateórica de la historia de la filosofía del derecho de los siglos XX y XXI al interior de la tradición analítica. Para dicho propósito se divide en tres ejes argumentativos. El primero presenta la elucidación de la noción de tradición analítica en filosofía, a partir de la distinción entre “tradiciones y concepciones filosóficas” propuesta por M. E. Orellana Benado, con el fin de dar cuenta de sus orígenes, rasgos distintivos y discusiones más relevantes. El segundo ofrece una comprensión iusfilosófica de la tradición analítica en el siglo XX. Sobre la base de: la Teoría Pura del Derecho (1934) de Hans Kelsen y El Concepto de Derecho (1961) de H. L. A. Hart. Analizando las dos aproximaciones metodológicas de este último (al derecho como sociología descriptiva y como teoría jurídica analítica) y sus puntos centrales. Finalmente, revisa las consecuencias que trajo la publicación de la segunda edición de El Concepto de Derecho (1994) con el Postscript, añadido por sus editores, texto en el que Hart responde a sus críticos. El tercer eje argumentativo muestra en dos partes el desarrollo de la filosofía jurídica analítica de los tres primeros lustros del siglo XXI. Una de ellas considera la importancia y actualidad de los proyectos de Kelsen y Hart, mientras que la otra indagará en el surgimiento de nuevas concepciones iusfilosóficas como el naturalismo jurídico, el pragmatismo jurídico, el Law & Economics y los estudios críticos del derecho

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Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

Lionel Daunais was an eminent and beloved 20th-century Québécois musician who contributed greatly to the performing arts in Canada. Through his work with the Trio Lyrique, Les Variétés Lyriques, and his numerous compositions, he wielded a potent sphere of influence on the Canadian musical landscape. Lionel Daunais's compositions constitute a significant oeuvre, comprising solo vocal works, song cycles, folksong arrangements, individual choral works, and multi-movement choral works. Marked by irresistible wit, the melodicism of French mélodie, and the absolute eminence of the text, Figures de danse is his most well-known multi-movement choral work. Daunais penned the earliest extant version of Figures de danse in 1947, however, the work emerged into Québec's choral scene in the mid-1970s via the establishment of the Alliance des Chorales du Québec. This set of tragicomic caricatures, which sets beautiful choral and piano writing to clever—and sometimes hilariously nonsensical—texts by Daunais himself, is accessible for performance by youth choirs, community choirs, university choirs, and professional choirs alike. Unfortunately, various factors (e.g. the separation of the choral and piano scores, local references, and score errors) often stymie its performance. The purpose of this dissertation is to ameliorate these challenges via a conductor's guide and to advocate for the performance of Daunais's chef-d'oeuvre.