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Pages 19 to 23 have been omitted because of Revision / Elizabethan prose fiction has been virtually ignored for a long time. The question of rhetoric in this fiction is an extremely complex issue, and studies which have examined this aspect are usually stylistic analyses that fragment the works by dissecting isolated passages for stylistic data concerning an author's manipulation of particular schemes and tropes. This approach has often tended to ignore the possibility that larger ideals and attitudes may underlie the use of rhetorical figures (i.e. elocutio) in particular passages. While this dissertation does not attempt to resolve the problems of the relationship between rhetorical training in the grammar schools and Elizabethan fiction, or between the English vernacular rhetorics and Elizabethan fiction, it offers some idea about what these writers thought about rhetoric beyond its status as ornamentation. This thesis tries to discover what these writers thought about the possibilities of rhetorical training --that is, about its moral status as an art of persuasion. In my view, the major writers of Elizabethan prose fiction dramatize the abuses of verbal skills; they explore some of the techniques of deception, distortion and manipulation that are afforded by rhetorical training. The subject-matter of this fiction is largely concerned with verbal methods of persuasion that manipulate and distort, that rely on false logic and dishonesty; these writers are concerned with rhetorical attempts to change the face of the "real" world in order to justify a particular idea, action, or belief. My thesis explicates the prose fictional works of Gascoigne, Lyly, Sidney, Nashe and Deloney with this theory in mind. As well as suggesting the ways in which rhetoric is handled as a subject in a variety of fictional contexts, my thesis also explicates the rhetorical strategies which these authors themselves use to involve their reader in evaluating rhetoric. / Thesis / Doctor of Philosophy (PhD)

This theses focuses on olfactory and visual components of mate choice in grey partridge. The aim is to evaluate the importance of melanin-based ornametnation and olfaction in mate choice and to explain the role of sexual selection in the evolution of secondary ornamentation in this socially monogamous galliform bird. To do that several experiments were conducted to (1) assess the ability of individuals to recognize conspecific odour and (2) to estimate the significance of melanin based feather ornamentation in male-male and male-female interactions. In some experiments I manipulated the expression (size) of feather maleanin- based ornamentation while in others I used birds forced to pair randomly to find out how the size of ornament and similarity in ornament expression between males and females (assortative pairing) affects reproductive success and investments (egg hatchability and number of eggs laid).

The evolution of elaborate male ornaments via sexual selection is well-understood while the selective pressures acting on female ornaments remains unresolved. Female ornaments in species with strong sexual selection on the male homologue of the ornament were originally thought to result from an intersexual genetic correlation. My thesis explores the evolution of ornaments in females due to direct selection by developing theoretical models and examining the biology of a neotropical mosquito (Sabethes cyaneus) with sexually homologous ornaments coinciding with male-male competition. I began by exploring the morphology of the ornaments in both sexes of S. cyaneus. Sexual dimorphism in the size and shape of the ornaments was slight and both male and female ornaments showed classic hallmarks of sexually selected traits. I then tested for direct selection on S. cyaneus male and female ornaments via mutual mate choice. I found evidence of male, but surprisingly not female, preferences for ornaments. I then further considered the evolution of male mate choice in polygynous species. First, I investigated whether male investment in courtship by S. cyaneus may result in a lower operational sex ratio and thereby reduce the costs associated with male mate choice. Male courtship did pose a significant longevity cost to male S. cyaneus. Second, I explored the possibility that a female preference for male courtship effort may contribute to the benefits of male mate choice in a series of population genetic models. The spread of a male preference gene can be driven by female preferences for male courtship when males court preferred females more. Finally, I found that female S. cyaneus are not benefitting from signalling to increase their mating rate as they are monandrous. My thesis therefore challenges standing sexual selection theory and suggests that sexual selection on females may be more widespread than previously thought. / Felaktigt tryckt som Digital Comprehensive Summaries of Uppsala Dissertations from the Faculty of Science and Technology 729

In this study, historically informed performance practice (HIP) is investigated as an approach to the performance or vocal ornamentation, with special emphasis on the operas of George Frideric Handel. The study aims to use information about this approach to performance practice in order to show forth its significant role in the performance of Handel arias. Through musicological viewpoints that have arisen out of the historical performance debate since the late 20th century, the study investigates the development and attributes of the HIP movement in order to identify its essential characteristics. Following this process, the author is able to define the HIP approach subjectively. Once a clearer knowledge of HIP is obtained, its influence on the performance of ornamentation is studied. Because Handel's operas were composed in the Italian style, the Italian vocal method is explored. Historical information is gathered through the use of an aria, embellished by Handel, Affanni del pensier, from his opera Ottone. With this information, the author attempts to freely embellish an aria, Da tempeste if legno infranto, from Handel's opera, Giulio Cesare. This example of the performance style is practised with the historical information in mind, without inhibiting the creativity of the author. / Thesis (M.Mus.)--North-West University, Potchefstroom Campus, 2010.

In this study, historically informed performance practice (HIP) is investigated as an approach to the performance or vocal ornamentation, with special emphasis on the operas of George Frideric Handel. The study aims to use information about this approach to performance practice in order to show forth its significant role in the performance of Handel arias. Through musicological viewpoints that have arisen out of the historical performance debate since the late 20th century, the study investigates the development and attributes of the HIP movement in order to identify its essential characteristics. Following this process, the author is able to define the HIP approach subjectively. Once a clearer knowledge of HIP is obtained, its influence on the performance of ornamentation is studied. Because Handel's operas were composed in the Italian style, the Italian vocal method is explored. Historical information is gathered through the use of an aria, embellished by Handel, Affanni del pensier, from his opera Ottone. With this information, the author attempts to freely embellish an aria, Da tempeste if legno infranto, from Handel's opera, Giulio Cesare. This example of the performance style is practised with the historical information in mind, without inhibiting the creativity of the author. / Thesis (M.Mus.)--North-West University, Potchefstroom Campus, 2010.

Orientadores: Helena Jank, Adriana Giarola Kayama / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-27T10:55:53Z (GMT). No. of bitstreams: 1 Almeida_AdrianaXavierde_M.pdf: 6443287 bytes, checksum: cf2907566cbdc2fc6ba171ba7d300bb9 (MD5) Previous issue date: 2014 / Resumo: Este trabalho considera aspectos históricos e estéticos do bel canto e seu aculturamento no Brasil como recurso interpretativo na ornamentação e improvisação em modinhas luso-brasileiras. Foram observadas as práticas musicais no Rio de Janeiro durante a presença da Família Real e as influências europeias trazidas pela corte portuguesa e seus músicos, com ênfase na presença dos castrati. A partir de fontes primárias e secundárias, tratados e documentação escrita de época e posterior, propõe-se a realização de três modinhas: Beijo a mão que me condena de Padre José Maurício Nunes Garcia (1767-1830), Quem sabe?!... de Antônio Carlos Gomes (1836-1896) e estilísticos observados em cada uma delas / Abstract: This work considers historical and aesthetic aspects of bel canto and its acculturation in Brazilian as an performance resource for ornamentation and improvisation Luso-Brazilian modinhas. Musical practices in Rio de Janeiro during the presence of the Royal Family and European influences brought by the Portuguese court and his musicians, with emphasis on the presence of the castrati were observed. From primary and secondary sources, treatises and material of the time and later, it is proposed to realize three modinhas: Padre José Maurício Nunes Garcia¿s (1767-1830) Beijo a mão que me condena, Quem sabe?!..., Antônio Carlos Gomes¿ (1836-1896) and Emílio E. C. do Lago¿s (1837-1871) Último adeus de amor, according to technical and stylistic elements observed in each one / Mestrado / Praticas Interpretativas / Mestra em Música

This thesis is a comparative study on the late 16th century manuals of ornamentation by Girolamo Dalla Casa, Giovanni Bassano, Riccardo Rognoni, and Giovanni Battista Bovicelli. The study demonstrates that the latest Renaissance manual should be given more credit for the innovative ornamentation style that was to come in the Early Baroque era. Bovicelli's use of sequence, dissonances, and less moving notes for more rhythmic varieties are features most often associated in the style of the Baroque. Unfortunately, the topic of ornamentation in the late Renaissance is most commonly discussed as a group of different entities writing in the same style. The research for this paper is intended to separate the manuals of the late Renaissance, focusing on the separate styles that led to the work of Giovanni Battista Bovicelli.

The background of the study is that humans’ relationship to the nature and animals is not universal and is based on critical archeology and reflexive thinking. Previous researchers have interpreted the animals in graves as food offerings or a communication meal, where the horse is highlighted as a prominent symbol of power, prosperity, alliances, and aristocracy. Researchers have also compared animal style ornaments with Icelandic Sagas, and they connect humans and animals to transformation, metamorphoses, and hybridity. The interpretations in this context are based on the animals´ contemporary function and modern views. By studying the materials more closely, it turned out that the bones of humans and animals have been mixed in the graves. In the animal style ornamentation, there are often mixtures between humans and animals, and so also in the Icelandic Sagas. This indicates that the ancient humans intended to recreate mixtures between humans and animals in the materials. The study also links to the anthropological terms totenism and animism, to show that humans’ relationship to animals differs, and that it is not always the same as the modern view.

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