In this thesis, Ned Rorem's Poems of Love and the Rain is analyzed, with conclusions being drawn in the sphere of musico-textual relationships within individual songs.

La présente étude résulte des difficultés rencontrées lors de l'entraînement fait en vue de l'utilisation du système d'analyse d'interaction développé par N.A» Flanders (I960). Notre projet initial de thèse avait comme objectif d'essayer de déterminer s'il existe des liens entre certaines variables qui font partie de l'enseignement. Etant donné que le système d'observation de Flanders est construit de façon à donner des informations sur les aspects affectifs de l'acte d'enseigner, nous avions pensé qu'il pourrait y avoir des relations entre ces données et celles obtenues sur les qualités de relations humaines des professeurs telles que perçues par les élèves et mesurées par le Barrett-Lennard (1962). Comme nous devions nous assurer des qualités métrologiques de l'instrument d'observation que nous avions décidé d'utiliser, une période d'entraînement suffisamment longue pour obtenir un coefficient acceptable d'entente entre deux observateurs avait été prévue. Tenant compte du fait que Flanders (1967) estime qu'un entraînement préliminaire de six à dix heures avec des enregistrements est nécessaire avant de passer à l'observation dans des classes réelles, tenant compte également que d'après Flanders (1967), un coefficient de Scott (1955) d'au moins 0.85 d'entente entre deux observateurs est souhaitable, nous avons pensé indispensable, après un entraînement de plus de vingt-cinq heures sans obtenir un coefficient de Scott dépassant 0.65, de faire une étude approfondie des problèmes qui se rapportent à la fidélité et à la validité du système d'analyse d'interaction en classe. Nous avons cru qu'une telle étude s'imposait du fait que le système de Flanders est très répandu aux Etats-Unis (Campbell et Barnes, 1969) et qu'il est maintenant utilisé au Québec (Gauthier, 1969) alors que peu d'études critiques ont été faites à son sujet (Allon, 1969; Mitchell, 1969; Rosenshine, 1970). Trois chapitres servent à rendre compte de notre recherche. Dans le premier chapitre, nous faisons un exposé du système d'analyse élaboré par Ned A. Flanders» Le deuxième chapitre fait état de l'essai d'utilisation que nous avons fait du système d'analyse d'interaction. Les problèmes rencontrés en exécutant cette opération sont analysés dans le troisième chapitre. Une conclusion termine l'ouvrage. / Québec Université Laval, Bibliothèque 2014

En 1995, le philosophe Ned Block a proposé de distinguer deux notions de conscience : une notion purement expérientielle, la « conscience phénoménale », qui désigne l’effet que cela fait d’être dans tel ou tel état mental, et une notion purement fonctionnelle, la « conscience d’accès », ou « accès cognitif » (Block, 2007), entendue comme la capacité du sujet à utiliser ses représentations pour le contrôle de ses opérations cognitives, et, via ces opérations, pour le contrôle de la parole et de l’action. Block défend depuis l’hypothèse très discutée selon laquelle l’expérience consciente, ou « conscience phénoménale », déborde l’accès cognitif du sujet. L’objet central de ce travail est de mettre cette hypothèse à l’épreuve de la recherche sur le rêve. Nous y soutenons principalement les trois arguments suivants : 1. Sous hypothèse d’une continuité entre les propriétés de la mémoire onirique et vigile, on peut objectiver la réalité d’expériences conscientes pendant le sommeil en s’appuyant sur le critère canonique de rapportabilité. De fait, de nombreuses études convergent pour montrer que les sujets peuvent rapporter un contenu onirique qui reflète de manière non équivoque un stimulus présenté plus d’une minute avant l’éveil – ce qui, au regard de l’extrême évanescence de la perception subliminale, ne pourrait pas être le cas si le rêve était un processus inconscient. Sachant que le sommeil s’accompagne d’une sévère désactivation des aires frontales, et en particulier du cortex dorsolatéral préfontal (DlPFC), un tel résultat tend à questionner le modèle neuropsychologique de « l’espace neuronal global de travail » (Dehaeneet Naccache, 2001 ; Dehaene et al, 2006) qui fait dépendre la perception consciente de l’activation de ces aires.2. Le fait même d’objectiver la réalité d’expériences conscientes pendant le sommeil à travers des récits de rêves recueillis à l’éveil implique cependant de reconnaître que ces mêmes expériences ont été remarquées par le dormeur et qu’elles relèvent en ce sens minimum de la conscience d’accès. Pour autant, certains désordres cognitifs de la conscience rêvante, tels notamment que la cécité au changement, suggèrent qu’il ne suffit pas qu’une expérience soit remarquée par le dormeur pour qu’elle relève de plein droit de la conscience d’accès : il fautencore qu’elle puisse être maintenue activement dans la mémoire de travail. Le phénomène bien connu des « dissociations identité-apparence » (Schwartz, 1999) suggère pareillement que la rapportabilité d’une expérience onirique n’assure pas qu’elle soit posée pour le contrôle des opérations cognitives dans le rêve.3. Dès l’instant où l’on a pu objectiver la réalité des expériences oniriques à travers le critère canonique de rapportabilité, il devient possible – là encore, sous hypothèse de continuité –d’inférer de façon empiriquement contraignante l’existence d’une vie consciente non rapportable du dormeur. Se pose alors la question de savoir si un tel vécu, dont on peut soutenir qu’il constitue une forme d’inconscient psychique, relève de plein droit de la conscience d’accès.Enfin, à travers ces trois arguments portant spécifiquement sur la conscience onirique, nous montrons que la recherche sur le rêve permet de questionner de façon privilégiée la notion d’une nécessaire rapportabilité de l’expérience consciente et de faire valoir le concept de modularité de la conscience qui sous-tend l’hypothèse blockéenne du débordement expérientiel (Block, 1995, 1997). / In 1995, the American philosopher Ned Block proposed to distinguish between two notions of consciousness: “Access-consciousness” and “Phenomenal-consciousness”. “P-consciousness” is experience: it refers to what it is like to be in a certain mental state. “Aconsciousness” is a purely functional notion. A mental state is A-conscious when it allows the subject to cognitively control its reasoning, speech and action. Since 1995, Block supports the controversial hypothesis according to which conscious experience overflows our cognitive access to it. The main goal of this work is to assess this hypothesis from the point of view of scientific research on dreaming. This PhD dissertation makes the three following points : 1. Assuming there is a continuity between waking and dreaming memory, one can objectively verify that dreams are conscious experiences that occur during sleep relying on the canonical criterion of reportability. Indeed, many studies show that subjects can report on a dream content that unequivocally reflects a stimulus that has occurred more than one minute before awakening – which couldn’t be had this dream content been unconsciously processed. Considering that sleeping involves a severe deactivation of the frontal areas of the brain, especially of the dorsolateral prefrontal cortex (DlPFC), this result seems to call into question the global neuronal workspace theory of consciousness. Indeed, according to this theory the activation of these very areas is a necessary condition for a conscious perception to occur(Dehaene & Naccache, 2001; Dehaene et al, 2006). 2. There is no way though to demonstrate scientifically that dreams are conscious experiences of the sleeper without implying they were noticed during sleep, which, in turn, implies an elementary level of access. Still, certain cognitive disorders of our dreaming consciousness, such as change blindness, suggest that, due to a severe weakness of working memory, noticing an experience during sleep might not suffice to constitute a genuine cognitive access to it. The well-known phenomenon called “identity-appearance dissociation” (Schwartz, 1999) also suggests that dreaming experiences that are reportable on awakening might not always be poised for cognitive control in the dream. 3. Once the reality of conscious experiences during sleep is objectively established relying on the criterion of reportability, it becomes possible – again under the assumption of continuity - to empirically infer the existence of dreaming experiences that the subject cannot report. The following question then arises: are these experiences, which can be seen as a form of unconscious mental life, access-conscious? Finally, and more generally, we show that the results of dreaming research offer a vantage point both to call into question the notion that conscious experience is necessarily reportable and to support the concept of modularity of our conscious selves (Nagel, 1971; Gazzaniga,1985) that underlies Block’s overflow hypothesis (Block, 1995, 1997)

TITLE: The Fictional Man: Ned Kelly in Peter Carey's True History of the Kelly Gang in Comparison with Older Portrayals AUTHOR: Adam Prentis DEPARTMENT: Department of English Language and Literature SUPERVISOR: PhDr. Petr Chalupský, Ph.D. ABSTRACT: The thesis concerns itself with the analysis of various personality aspects of the protagonist of Peter Carey's True History of the Kelly Gang (2000) - Ned Kelly. Albeit a historical figure, Ned Kelly is approached as a fictional character with focus placed on his symbolic status of Australian nationality, myth and manhood, and on the literary means that point to this. The separate aspects are placed in an evolutionary context through comparisons with older portrayals of the same character - in Max Brown's Australian Son (1948) and J. J. Kenneally's The Complete Inner History of the Kelly Gang and their Pursuers (1929), all of which use a heroising approach to the man. The work shows that Ned Kelly may be perceived in many complex ways, with further possibilities for analysis suggested. Comparing the three books, it is found that although considerable unifying tendencies and moments exist, some aspects have a significant difference in focus or emphasis. A shift is noted from a confrontational idealising defence of what is perceived as a historical person to a...

Prostate cancer (PCa) is the most common cancer in American men. Although initial androgen deprivation therapy (ADT) confers a five year survival rate of 99%, the relapse of metastatic and drug resistant PCa (CRPC- Castration-Resistant PCa) continues to account for most deaths. How certain PCa cells develop into CRPC is the key question in the field. In addressing it, attention has focused on epigenetic factors that contribute to CRPC development. Herein we investigated the role and regulation of histone demethylase PHF8 during PCa neuroendocrine differentiation (NED) and progression into CRPC. We utilized bioinformatic analyses and biochemical approaches in PCa/CRPC cell line and mouse models to unravel the following results: First, we discovered that PHF8 post-transcriptionally clusters with cell cycle genes during NED and into CRPC via an AR/MYC/miR-22 regulatory axis. We showed that this axis is dysregulated in CRPC cells to allow enhanced cell proliferation and resistance to the clinical AR antagonist drug Xtandi® (enzalutamide). Second, we revealed that PHF8 is necessary for hypoxia induced NED by demethylating repressive H3K9me2 and H3K27me2, above maintaining active H3K4me3 on select NED genes. Importantly, we unveiled that PHF8 sustains HIF1α expression in CRPC cells via a regulatory role associated with full length AR. Third, we recapitulated the role of PHF8 in vivo by excising its floxed allele in the prostate of TRAMP mice -Transgenic Adenocarcinoma of the Mouse Prostate. We observed that KO of Phf8 lowered tumor burden in part by sustaining Ezh2 expression during NED transition into CRPC. In conclusion, our data implicates PHF8 in multiple oncogenic roles and regulations during PCa NED into CRPC. Our results lay a foundation for understanding the dynamics of histone modifying enzymes during PCa progression and hint at designing small molecule inhibitors against PHF8 as a novel CRPC therapeutic target.

There exists between lyric poetry and music a bond that is at once tangible and grounded in practice, and yet that is indeterminate, a matter of perception as much as theory. From Graeco-Roman antiquity to the modern day, lyrical forms have brought together music and text in equal partnership: in archaic Greece, music and lyric poetry were inextricably (now irrecoverably) coupled; when lyric poetry flowered in the eighteenth century, composers harnessed text to music in order to create the new and fully integrated genre of Lieder; and in our contemporary age, the connection between word and music is perhaps most keenly felt in pop music and song 'lyrics'. In 2016, the conferral of the Nobel Prize for Literature on Bob Dylan brought to wider public attention the nature of lyric's poetical-musical bond: can Dylan be considered a poet if the meaning, syntax and expression of his words are dependent upon music? Is music supplementary to the words or are the two so harnessed that the music is in fact a facet of the poetic expression? The connection between music and poetry is perfectly clear in such integrated lyric forms as these, but a more indeterminate connection can also be felt in 'purely' musical or poetic works - or at least in the way that we perceive them - as our postRomantic, adjectival use of the word 'lyrical' shows. Describing music as lyrical often suggests that it carries an extra-musical significance, a deeply felt emotion, something akin to verbal expression, while a lyrical poem brings with it an emotive aurality and a certain musicality. Text and music of lyrical quality may, therefore, invoke the other for the purpose of expression and emotion so long as our understanding of lyric forms remains conditioned by the appreciation of an implied music-poetry relationship This thesis works within the overlap of music and poetry in order to explore the particular lyric voice of Catullus in the context of his twentieth-century musical reception. Whilst some of Catullus's poems may have been performed musically, what we know of poetry circulation, publication and recitation in first-century BCE Rome suggests that the corpus was essentially textual. Nevertheless, Catullus's poetry was set to music centuries later, not in reconstruction of an ancient model, but in new expression, suggesting not only that composers of the twentieth century found themes in Catullus's poetry that resonated in their own contemporary world but that they found a particular musicality, something in the poetry that lent itself to musical form. I argue that it is in these works of reception that we can most clearly identify the essence of Catullan lyricism. Moreover, by considering the process of reception, this thesis is able to take a broader view of lyric, identifying traits and characteristics that are common to both music and poetry, thus transcending the boundaries of individual art forms in order to consider the genre in larger, interdisciplinary terms.

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Thesis (MMus (Music))--University of Stellenbosch, 2008. / This study is concerned with determining whether the application of Ned Herrmann’s “whole-brain” model would impact violin teaching in any way. Our educational system places great importance on what has become known as the left-brain modes, that is, reading, writing and arithmetic, to the neglect of the socalled right brain’s cognitive abilities, such as, music, art, intuition and dance. Wellintentioned, yet ill-informed teachers teach learners in ways that make learning difficult or impossible, as they are unaware of how to determine and use the preferred learning style of each learner. When a learner’s learning style is not matched with the method of instruction, the learner’s discomfort level may be so great that it not only interferes with the learning process but it could also ultimately prevent learning from taking place. The researcher, therefore, set out to determine whether the use of whole-brain development would lead to any significant changes in the learning process. For a period of two school terms, case studies using action research were conducted on five of the learners that received instruction from the researcher. The research participants were so chosen as to make the experimental group as homogenous as possible. Data was collected qualitatively by means of diaries and was presented descriptively. Every week the learners received a printed copy of the homework exercises. They recorded their feedback weekly, in their diaries. The researcher, as the teacher of the learners, made weekly observations during lessons. During this research the process of triangulation was used. This process added validity to the study as information about specific aspects was gained from three different perspectives, namely, that of the learners, the teacher and the learners’ accompanists. The accompanists gave their feedback before the start of the research and again at the end. After applying Herrmann’s model for two terms, the following became apparent: • The learners practised more, were more motivated and there was a general improvement in their attitude. • The learners felt that having received a printed copy of the exercises, a whole brain exercise in itself, had helped them to know what and how to practise. • There was a significant change in the playing of the majority of learners (three of the five). • The learners, where significant changes were not apparent in their playing, indicated that their understanding of their practising methods and playing had increased. • The learners felt that they had benefited from the experiment as they all indicated that they would like future lessons to be conducted in the same manner. In view of the positive outcome of the research, and given that this was a pilot study, the researcher suggests that similar studies using larger numbers of learners and involving a longer period of time, be conducted. The inclusion of a control group would also render the findings more conclusive. The researcher also suggests that violin teachers become knowledgeable about learning styles and whole-brain learning if they wish to reach all learners and enable them to achieve their potential.

Abstract This dissertation presents a new algorithm by integrating evolutionary programming (EP), tabu search (TS) and quadratic programming (QP), named the evolutionary-tabu quadratic programming (ETQ) method, to solve the nonconvex economic dispatch problem (NED). This problem involves the economic dispatch with valve-point effects (EDVP), economic dispatch with piecewise quadratic cost function (EDPQ), and economic dispatch with prohibited operating zones (EDPO). EDPV, EDPQ and EDPO are similar problems when ETQ was employed. The problem was solved in two phases, the cost-curve-selection subproblem, and the typical ED solving subproblem. The first phase was resolved by using a hybrid EP and TS, and the second phase by QP. In the solving process, EP with repairing strategy was used to generate feasible solutions, TS was used to prevent prematurity, and QP was used to enhance the performance. Numerical results show that the proposed method is more effective than other previously developed evolutionary computation algorithms.

American mezzo-soprano, Beverly Wolff has not received the credit or respect that she deserves in operatic history. Her career began in 1952 and flourished until her retirement from the stage in 1981. Her intense characterizations, innate musicianship, and intelligence made her one of the most sought-after performers from the 1950s to the 1970s. For thirty years, she worked with some of the operatic world’s finest musicians, including Leonard Bernstein, Gian-Carlo Menotti, Samuel Barber, Ned Rorem, Beverly Sills, Norman Triegle, Placido Domingo, among others. She was represented by Columbia Artists Management Inc (CAMI), one of New York’s oldest and most prestigious management companies, and maintained an active performance schedule that often included operatic, concert, and recital performances in the same week. She trained at the American Vocal Academy in Philadelphia and was inducted into its Hall of Fame. She performed in New York, Boston, Washington, D.C., San Francisco, New Orleans, and Atlanta and was an active member of the New York City Opera, Handel Society, Tanglewood, and the Handel Society of Washington, D.C. Wolff is credited with over sixty recordings. She also appeared on several of NBC’s live operatic programs, which brought opera to the masses. Perhaps most importantly, she created and debuted several important roles in American opera. Few have heard of her; the purpose of this document is to fill in this gap in operatic history, and to clarify and correct misinformation about her. In this document, I will answer the following questions: What determines a performer’s worth? What secures a performer’s place in history? Finally, and more specifically, what imprints did Beverly Wolff leave for posterity?