Proefschrift Universiteit Maastricht. / Met index, lit. opg. - Met samenvatting in het Nederlands.

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abstract: The purpose of this project is to introduce Bryan Johanson's composition for two guitars, 13 Ways of Looking at 12 Strings, and present an authoritative recording appropriate for publishing. This fifty-minute piece represents a fascinating suite in thirteen movements. The author of this project performed both guitar parts, recorded them separately in a music studio, then mixed them together into one recording. This document focuses on the critical investigation and description of the piece with a brief theoretical analysis, a discussion of performance difficulties, and guitar preparation. The composer approved the use and the scope of this project. Bryan Johanson is one of the leading contemporary composers for the guitar today. 13 Ways of Looking at 12 Strings is a unique guitar dictionary that takes us from Bach to Hendrix and highlights the unique capabilities of the instrument. It utilizes encoded messages, glass slides, metal mutes, explosive "riffs," rhythmic propulsion, improvisation, percussion, fugual writing, and much more. It has a great potential to make the classical guitar attractive to wider audiences, not limited only to guitarists and musicians. The main resources employed in researching this document are existing recordings of Johanson's other compositions and documentation of his personal views and ideas. This written document uses the composer's prolific and eclectic compositional output in order to draw conclusions and trace motifs. This project is a significant and original contribution in expanding the guitar's repertoire, and it uniquely contributes to bringing forth a significant piece of music. / Dissertation/Thesis / Recording of movement 1: Toccataesque mp3 / Recording of movement 2: Bad Egg Cafe mp3 / Recording of movement 6: Strings Etouffee mp3 / Recording of movement 7: Steel Pans mp3 / Recording of movement 8: Slide Rule mp3 / Recording of movement 10: EGAD! mp3 / Recording of movement 13: Jammus Vulgaris mp3 / D.M.A. Music 2011

abstract: The focus of this study was the first Serbian opera, Na Uranku (At Dawn). It was written by Stanislav Binièki (1872-1942) and was first performed in 1903 at the National Theatre in Belgrade. There were two objectives of this project: (1) a live concert performance of the opera, which produced an audio recording that can be found as an appendix; and, (2) an accompanying document containing a history and an analysis of the work. While Binièki's opera is recognized as an extraordinary artistic achievement, and a new genre of musical enrichment for Serbian music, little had been previously written either about the composer or the work. At Dawn is a romantic opera in the verismo tradition with national elements. The significance of this opera is not only in its artistic expression but also in how it helped the music of Serbia evolve. Early opera settings in Serbia in the mid-nineteenth to early twentieth century did not have the same wealth of history upon which to draw as had existed in the rich operatic oeuvre in Western Europe and Russia. Similarly, conditions for performance were not satisfactory, as were no professional orchestras or singers. Furthermore, audiences were not accustomed to this type of art form. The opera served as an educational instrument for the audience, not only training them to a different type of music but also evolving its national consciousness. Binièki's opera was a foundation on which later generations of composers built. The artistic value of this opera is emphasized. The musical language includes an assimilation of various influences from Western Europe and Russia, properly incorporated into the Serbian musical core. Audience reaction is discussed, a positive affirmation that Binièki was moving in the right direction in establishing a path for the further development of the artistic field of Serbian musical culture. A synopsis of the work as well as the requisite performing forces is also included. / Dissertation/Thesis / Opera Na Uranku: Part I directed by Jana Minov / D.M.A. Music 2011

Chez les oiseaux et mammifères domestiques, la sélection sur des critères de croissance et de conversion alimentaire s’est accompagnée d’effets négatifs sur les performances de reproduction des deux sexes. Les travaux rapportés ici, réalisés sur deux souches commerciales de dindes (souches lourde et medium), constituaient une approche afin de mieux comprendre les effets d’alimentations libérales ou retreintes sur les performances de ponte durant la période de reproduction. Dans une première étude, nous avons pu démontrer qu’une restriction alimentaire au cours de la période d’élevage a eu un effet bénéfique sur la qualité globale des œufs. Au cours d’une seconde étude, nous avons comparé l’effet de régimes alimentaires différant soit par leur niveau énergétique soit par leur niveau protéique. Alors que les taux de ponte ont été améliorés par des aliments riches en énergie, un effet génétique fort a été mis en évidence concernant la réponse de femelles soumises à différents taux protéiques. Enfin, bien que la couvaison et son apparition aient déjà été clairement décrites dans des études préalables, nous avons observé des différences dans la rythmicité de son expression entre les deux souches, suggérant une dérive génétique de ce comportement sous l’action de la sélection. / In domesticated birds and mammals, selection for growth and feed conversion has been accompanied by adverse effects on reproductive performances in both sexes. The present studies, performed with two meat-type of turkey breeds (heavy or medium types), were an attempt to better assess the effects of liberal or moderately restricted feed regimes on laying performances over the reproductive season. In a first series of experiment, we could demonstrate that feed restriction during the growing period has a favourable effect on the overall ‘egg quality’ (incubable eggs). In a second study, we compared the global effects of feed regimes differing either for their total energy content or for their total protein levels. Laying rates were improved in females fed with regimes adjusted with high energy while a marked effect of the genetic origin was noted in females subjected to variable levels of proteins. While the occurrence of broodiness was also carefully noted in pre-cited studies, differences in the rhythmicity of this behaviour were observed between the two strains, suggesting genetic derivations of this trait caused by selection.

Previous academic research which focused on girls’ behaviour tended to do so by looking at behaviour in terms of the extremes: by either exploring the perceptions and experiences of girls who appear to behave well, or alternatively, by researching girls who are categorised as extreme misbehavers, in institutions such as Pupil Referral Units. This ethnographic study was undertaken in a state secondary school setting over one academic year. The research centred on girls who were in Years 10 and 11, and is an exploration of the micro performances of their behaviour in the school. The ethnographic nature of the research allowed an in depth focus on girls’ micro performances in school. The feminist influenced thesis seeks to explore girls’ constructions of gender, how this is negotiated alongside their wider performances as pupils in the school and is subsequently recognised (by themselves and others), as performances of particular behaviour. The research draws on Goffman’s (1959) conceptualisation of performance and impression management, Butler (1990), theoretical notions of performativity and Foucault’s (19757:1978) theories of power, discourse and surveillance, to explore how gender and behaviour are being understood in this context. The study sought to explore the world from the girls’ viewpoint to understand the complexity of their experiences more fully. The research examines not only how the girls were positioned in terms of their perceived behaviour, but also how they responded to this positioning (their resistance and accommodation of these positions, and the shifting nature of these positionings across time) and how these were often perceived in relation to particular gendered expectations. The originality of the research stems from findings about issues of self-harm, panic attacks, authenticity, social media, middle class girls and fighting, which lie in the rich and detailed empirical data arising from the study. The significance of these findings draws these multiple threads together, giving insight into gender positioning and behaviour, and the study privileges the girls’ voices as they discuss their feelings and the effects of these issues on them, complicating previous research.

This thesis is focused on conceptual design of electric powered training aircraft, using certification guidelines CS-LSA. Designing process of geometrical and aerodynamic characteristics is primary based on statistics of certificated aircrafts in this particular category. The following calculation of performance stabilities and flight performances is based on knowledge of aerodynamic polar. The calculation of the polar is also part of this thesis. The last part of the thesis consists of construction design of the front part of fuselage and engine static structural analysis of engine mounts.

Staging Sleep: Labor, Care, and Rest in Contemporary Performance examines an archive of plays and performances from the past forty years—which I term sleep theatre—including dramatic literature that foregrounds sleep and sleeplessness and performance art in which the artist sleeps in front of an audience. Contemporary theatre about sleep exposes the roots of sleep loss in overwork, healthcare disparities, and housing insecurity and imagines alternative social possibilities for sustainable rest. I understand the concerns and possibilities raised by sleep theatre through the framework of social reproduction theory, a feminist analysis of the vital forms of labor antecedent to commodity production, including housework and dependent care, that keep us all alive. I reorient theatre scholarship on sleep away from psychoanalytic readings of staged dreams and toward an understanding of sleep as a political act shaped by social and material contexts. In Staging Sleep, I argue that studying sleep in theatre and performance art offers new insights into social relations of care and interdependence among performers and spectators, and that sleep onstage not only critiques inhumane economic arrangements but also imagines myriad new social configurations that value rest over work. Staging Sleep begins in 1980, in the immediate aftermath of two decades of international Marxist feminist organizing that saw politicized housewives agitating for recognition of the value of both their work and their leisure. I demonstrate how sleep theatre expands and complicates this political legacy, beginning with the continuing global assault on welfare and unions in the 1980s. In my first chapter, I track how pioneering socialist feminist playwright Caryl Churchill develops the sleepless housewife as a character type, bringing sleep to the stage in a new way as a linchpin of her critique of the family. I then track sleep in theatre as a site of experimentation informed by feminist, queer, and disability studies through the 2010s. Chapter 2 explores sleep in plays by Sarah Kane, Maria Irene Fornes, and Peggy Shaw at the nexus of illness, friendship, and a fraying welfare state. Chapter 3 examines how directors stage homeless sleep in four recent adaptations of Cymbeline from the UK and South Sudan. My final chapter asks how performance itself creates the care and attention necessary to sustain sleep in the globe-touring, iterative performance artworks Best Place to Sleep and Black Power Naps. Sleep performances imagine, enact, and test the limits of very different configurations of labor and rest: ways of life in which caretaking labor is redistributed, and resilience and health become collective concerns rather than individual responsibilities. I suggest that sleep performance is a nascent theatrical phenomenon that will continue to reappear as politically-minded artists work through the theatrical possibilities of spectatorship, site, and immersion in the context of deep questions of everyday justice and equity. Staging Sleep shows how theatre can exploit and transform the weirdness of watching someone sleep, or of falling asleep in the audience, into a restructuring of our practices of work and rest, space and shelter, toward ensuring safe and restorative sleep as a universal right.