Ce travail porte sur l'interaction entre la citation et l'érudition dans l'oeuvre de Rabelais à partir d'une approche construite sur l'idée que l'écriture rabelaisienne repose sur un jeu constant avec l'érudition qu'elle mobilise. Dans la première partie, deux sources relevant du genre des miscellanées, utilisées par Rabelais comme des réservoirs à citations, sont analysées de manière systématique : les traités juridiques de son ami fontenaisien André Tiraqueau et les Adages d'Érasme. Après cette analyse génétique, nous nous penchons en deux temps sur la manière dont l'érudition sert et se trouve incarnée par la représentation fictionnelle. D'un côté, l'espace de la bibliothèque est un des lieux majeurs de l'espace fictif ; de l'autre, les personnages forment une communauté d'érudits aux idiomes distincts. Est analysée dans un dernier temps, la question du genre des « romans » rabelaisiens et en particulier des Tiers et Quart Livres. La dette générique envers le genre des miscellanées, du commentaire philologique, est mise en avant. Rabelais a écrit ses Lectiones antiquae sous la forme d'une narration comique. L'erudito ludere fondateur de son écriture a été reçu comme tel, ce que peut démontrer in fine un retour sur l'histoire de la réception de Rabelais du XVIe au XVIIIe siècle / This study focuses on the interaction between quotation and erudition in Rabelais's work. For this purpose, we follow the idea that rabelaisian writing is built on a constant play with the erudition it mobilizes. In the first part, two sources coming within the genre of miscellanies, used by Rabelais as collections of quotations, are analysed : the legal treatises of his close friend, André Tiraqueau, and the erasmian Adagia. After this genetic part, the study explores the ways erudition improves and is represented in the fiction. Firstly, the library is shown as a major place in the fictional world. Secondly, the characters are forming a community of scholars with distinct idioms. Finally, the question of the gender of rabelaisian « novels » is asked, and particularly for the Third and Fourth Books of Pantagruel. Rabelais seems to be inspired by the aesthetics of the miscellanies and of philological commentaries. He wrote his Lectiones antiquae under the form of a comic narration. The erudito ludere, principle of his writing, has been recognized by his readers as a historical study of Rabelais's reception from the sixteenth to the eighteenth century can finally show

Este trabalho consiste em um portfólio de composição, documentado com partituras e gravações, e um memorial, ambos fundamentados em nove peças escritas entre 2016 e 2017, durante o mestrado em música na Universidade Federal do Rio Grande do Sul. O memorial inicia com comentários breves relativos à música de três compositores que são citados como referências: Richard Wagner, Olivier Messiaen e Krzysztof Penderecki, apontando aspectos de suas obras que influenciaram meu pensamento composicional. Nos capítulos seguintes, cada uma das peças que integram o portfólio é comentada individualmente, fornecendo informações sobre o contexto em que cada obra foi escrita. As peças são discutidas sob o viés da citação, que está presente em todas elas, de formas diferentes, funcionando como material, como recurso estrutural e como recurso expressivo. Além de citações do repertório histórico, utilizei também fragmentos extraídos de um conjunto de canções sacras cantadas pelas Beatas do Cariri, no interior do Estado do Ceará, durante seus atos penitenciais. Serão feitas algumas observações buscando conectar este material folclórico com as intenções expressivas de minhas músicas. Este trabalho expõe uma revisita às peças do portfólio, sob uma nova perspectiva, mais atual, com o objetivo de avaliar suas falhas e suas virtudes. Conclui-se que as citações permitem o diálogo com outras referências, trazendo para minha música características de épocas e lugares distintos, combinando linguagens diversas, e propiciando a criação de uma unidade estilística. / This work consists of a portfolio - vested with scores and recordings - and a memorial, both based on pieces written between 2016 and 2017, during my master's degree in music at Universidade Federal do Rio Grande do Sul. The memorial starts with comments about the music of three composers: Richard Wagner, Olivier Messiaen and Krzysztof Penderecki - describing aspects of his works that influenced my compositional thinking. In the following chapters, each music of my portfolio is presented and discussed, providing information about the context in which each work was written. The pieces are discussed under the bias of the quotation, which is present in all of them - in different forms - working as material, as a structural resource and as an expressive resource. I used, besides the quotations taken from the historical repertoire, fragments extracted from sacred songs sung by the Beatas - in the interior of the State of Ceará - during their penitential acts. Some remarks, trying to connect these quotations with the expressive intentions in my music, will be made. This memorial presents a revisit to these pieces - under a new and current perspective - in order to judge its faults and virtues. It is concluded that the quotations allow the dialogue with many others references, bringing to my music characteristics of different epochs - combining musical languages and styles - and making possible the creation of a particular stylistic unity.

Este trabalho consiste em um portfólio de composição, documentado com partituras e gravações, e um memorial, ambos fundamentados em nove peças escritas entre 2016 e 2017, durante o mestrado em música na Universidade Federal do Rio Grande do Sul. O memorial inicia com comentários breves relativos à música de três compositores que são citados como referências: Richard Wagner, Olivier Messiaen e Krzysztof Penderecki, apontando aspectos de suas obras que influenciaram meu pensamento composicional. Nos capítulos seguintes, cada uma das peças que integram o portfólio é comentada individualmente, fornecendo informações sobre o contexto em que cada obra foi escrita. As peças são discutidas sob o viés da citação, que está presente em todas elas, de formas diferentes, funcionando como material, como recurso estrutural e como recurso expressivo. Além de citações do repertório histórico, utilizei também fragmentos extraídos de um conjunto de canções sacras cantadas pelas Beatas do Cariri, no interior do Estado do Ceará, durante seus atos penitenciais. Serão feitas algumas observações buscando conectar este material folclórico com as intenções expressivas de minhas músicas. Este trabalho expõe uma revisita às peças do portfólio, sob uma nova perspectiva, mais atual, com o objetivo de avaliar suas falhas e suas virtudes. Conclui-se que as citações permitem o diálogo com outras referências, trazendo para minha música características de épocas e lugares distintos, combinando linguagens diversas, e propiciando a criação de uma unidade estilística. / This work consists of a portfolio - vested with scores and recordings - and a memorial, both based on pieces written between 2016 and 2017, during my master's degree in music at Universidade Federal do Rio Grande do Sul. The memorial starts with comments about the music of three composers: Richard Wagner, Olivier Messiaen and Krzysztof Penderecki - describing aspects of his works that influenced my compositional thinking. In the following chapters, each music of my portfolio is presented and discussed, providing information about the context in which each work was written. The pieces are discussed under the bias of the quotation, which is present in all of them - in different forms - working as material, as a structural resource and as an expressive resource. I used, besides the quotations taken from the historical repertoire, fragments extracted from sacred songs sung by the Beatas - in the interior of the State of Ceará - during their penitential acts. Some remarks, trying to connect these quotations with the expressive intentions in my music, will be made. This memorial presents a revisit to these pieces - under a new and current perspective - in order to judge its faults and virtues. It is concluded that the quotations allow the dialogue with many others references, bringing to my music characteristics of different epochs - combining musical languages and styles - and making possible the creation of a particular stylistic unity.

Please read the abstract in the section 00front of this document / Thesis (PhD (New Testament Studies))--University of Pretoria, 2007. / New Testament Studies / PhD / unrestricted

This study investigates Mark’s involvement in the writing of 1 Peter in light of the practice of first century letter writing. Many scholars argue that 1 Peter originated from within a Petrine group in Rome that included Silvanus and Mark, ignoring the possibility that Peter might have employed an amanuensis while composing his epistle, a prominent practice of first century letter writers. By contrast, a considerable number of scholars contend that 1 Peter was penned by an amanuensis, appealing to the reference in 1 Pet 5:12, Dia. Silouanou/ u`mi/n tou/ pistou/ avdelfou/( w`j logi,zomai( diV ovli,gwn e;graya, and identifying Silvanus as its amanuensis. However, the Greco-Roman epistolary evidence shows that the formula gra, fw dia, tinoj identified only the letter-carrier. This work explores Mark’s involvement in composing 1 Peter from five angles by means of a historical and comparative approach. The five criteria are the dominant practice of using an amanuensis in first-century letter writing, the noteworthy employment of an amanuensis by Paul as a contemporary of Peter, historical connections, linguistic connections, and literary connections. Chapter 2 surveys the major proposals regarding the authorship of 1 Peter. Chapter 3 examines first century letter writing and presents the findings as a practical and supportive background for this work. The role of an amanuensis in Greco-Roman antiquity was classified as a transcriber, contributor, and composer. An amanuensis’ role as a contributor was the most common in Greco-Roman antiquity. Chapter 4 explores the process of Paul’s letter writing in light of first century letter writing, with regard to Peter’s employment of an amanuensis. It is most likely that Paul and Peter allowed an amanuensis to have a free hand if he was a gifted and a trusted colleague of them. This probability is supported by the instances that Cicero, Atticus, Quintus, and Alexander the Great employed their amanuenses as contributors. Chapter 5 investigates the close relationship between Peter and Mark through their ministry based on 1 Pet 5:13 and the references to Mark in the early church, including Papias’ note reported by Eusebius, and presents these as evidence of a historical connection between two individuals. Chapter 6 explores the syntactic correlation, the distinctive features of terminology, and the significant and frequent use of w`j for a simile between 1 Peter and Mark’s Gospel and presents them as possible evidence with the implication of linguistic connections between them. Chapter 7 examines the common Old Testament quotations (allusions) in 1 Peter and the Gospel of Mark and their conflated and integrated use of the OT and presents them as possible evidence implying a literary connection between them. 1 Peter and Mark’s Gospel outstandingly emphasize the suffering of Christ and apply the imagery of the rejected stone of Ps 118 (LXX 117):22 and that of the suffering servant of Isa 53 to His suffering. This work concludes that Mark was the contributive amanuensis for 1 Peter with Peter allowing more than a free hand in the composition. / Thesis (PhD)--University of Pretoria, 2008. / New Testament Studies / PhD / unrestricted

With new technology come new possibilities for the creation of artistic works. The invention of sound recording at end of the nineteenth century enabled musical performances to be “written” in the same manner as traditional, printed literature. The status of records as a form of writing and, moreover, as the material for further writing is demonstrated in the work of two hip hop artists, DJ Shadow and Cut Chemist, who assemble new, heteroglossic texts out of a wide array of sampled records. Two concerts, Product Placement (2004) and The Hard Sell (2008) – both of which have been memorialized on DVD – serve as fruitful examples of the potential for artistic production enabled by technology. Indeed, the genre of turntablism, which involves the live manipulation of vinyl records, requires the usage of technology in ways not intended by its original developers – a recurrent theme throughout the history of sound recording. By transforming the turntable from a passive playback device into an active compositional tool, turntablism collapses the distance between consumption and production and so turns the listener into a performer. Furthermore, the exclusive usage of 45 rpm records as the source texts for the two sets dramatizes theories of intertextuality while simultaneously tracing the constraints placed on such artistic piracy by the copyright regime. These texts entail more than just their cited musical content; they also involve visual components. These include not only the video imagery that accompanies and comments on the records being played, but also the physical performance of the DJs themselves and the spectacle of the attending crowds whose response to the music constitutes part of the text itself. Following a theoretical and historical background that will situate these works within the history of hip hop and literature in general, this study will explicate these two multimedia texts and reveal how they demonstrate a concern not only with the history of sound recording, but also such issues as the influence of technology on cultural production, the complication of authorship through intertextuality, and the relationship between culture and commerce. Above all, however, both the form and content of these two performances also serve to highlight the value of physical media as historical artifacts in the face of increasing challenges from incorporeal digital media.

The oratorio August 4, 1964 is a twelve-movement work for orchestra, chorus, and four soloists written by Steven Stucky. The premise for the libretto, adapted by Gene Scheer, is the confluence of two events during one day (August 4, 1964) in the life of Lyndon B. Johnson. Although the main idea of the libretto focuses on these two events of this one day, many cultural references of the 1960's in general can be found as well, such as quotations from the well-known song "We Shall Overcome." Stucky borrows from a motet he wrote in 2005 for another quotation source utilized in this oratorio, "O Vos Omnes." My goal in this thesis is to reveal and analyze the many different levels of quotations that exist within August 4, 1964, to explore each quotation's individual function within the oratorio (as a cultural gesture, commentary or remembrance), and to examine the structural coherence that emerges as a result of their use within the oratorio.

Duo Chopinesque by Michael Hennagin and Chameleon Music by Dan Welcher represent two of the most significant percussion ensemble compositions written in the last twenty years. Both works are written for the mostly mallet type of percussion ensemble wherein the keyboard instruments predominate. However, the most unique aspect of these two pieces is their use of musical quotation. Duo Chopinesque borrows Chopin's Prelude in E minor in its entirety, while Chameleon Music borrows portions from four Mozart Sonatas. This paper places each work within the history of the percussion ensemble, and in the larger history of musical quotation in the twentieth century. In addition, the compositional characteristics of both works are examined with particular emphasis on each composer's use of borrowed material from the music of Mozart and Chopin. Particular attention is paid to the relationship between quoted material and newly composed rhythmic motives.

Metaphor and Mimesis in an Animal Soundscape serves as a supplementary document for two pieces of contemporary concert music; HOWL, for viola, saxophone and fixed media, and Pastorale for viola and fixed media. Both works quote the second movement of Antonio Vivaldi's violin concerto, La Primavera. This quotation is used to support a musical program which explores the larger topic of metaphor in music. In addition, both pieces play with contemporary trends in music including, but not limited to, acoustic ecology and spectralism.

In this thesis, we study three applications of dynamic resource allocation: the first two consider dynamic lead-time quotation in make-to-order (MTO) systems with substitutable products and order cancellations, respectively; and the third application is a manpower allocation problem with job-teaming constraints. Matching supply and demand for manufacturing and service industries has been a fundamental focus of operations management literature, which concentrated on optimizing or improving supply-side decisions since demand has generally been assumed to be exogenously determined. However, recent business trends and advances in consumer behavior modeling have shown that demand for goods and services can clearly be shaped by various decisions that a firm makes, such as price and lead-time. In fact, competition between companies is no longer mainly based on price or product features; lead-time is one of the strategic measures to evaluate suppliers. In MTO manufacturing or service environments that aim to satisfy the customers' unique needs, lead-time quotation impacts the actual demand of the products and the overall profitability of the firm. In the first two parts of the thesis, we study the dynamic lead-time quotation problem in pure MTO (or service) systems characterized by lead-time sensitive Poisson demand and exponentially distributed service times. We formulate the problem as an infinite horizon Markov decision process (MDP) with the objective of maximizing the long-run expected average profit per unit time, where profits are defined to specifically account for delays in delivery of the customer orders. We study dynamic lead-time quotation problem in two particular settings; one setting with the possibility of demand substitution and another setting with order cancellations. The fundamental trade-off in lead-time quotation is between quoting short lead-times and attaining them. In case of demand substitution, i.e., in presence of substitutable products and multiple customer classes with different requirements and margins, this trade-off also includes capacity allocation and order acceptance decisions. In particular, one needs to decide whether to allocate capacity to a low-margin order now, or whether to reserve capacity for potential future arrivals of high-margin orders by considering customer preferences, the current workload in the system, and the future arrivals. In the case of order cancellations, one needs to take into account the probability of cancellation of orders currently in the system and quote lead-times accordingly; otherwise quotation of a longer lead-time may result in the loss of customer order, lower utilization of resources, and, in turn, reduced in profits. In Chapter 2, we study a dynamic lead-time quotation problem in a MTO system with two (partially) substitutable products and two classes of customers. Customers decide to place an order on one of the products or not to place an order, based on the quoted lead-times. We analyze the optimal profit and the structure of the optimal lead-time policy. We also compare the lead-time quotes and profits for different quotation strategies (static vs. dynamic) with or without substitution. Numerical results show that substitution and dynamic quotation have synergetic effects, and higher benefits can be obtained by dynamic quotation and/or substitution when difference in product revenues or arrival rates, or total traffic intensity are higher. In Chapter 3, we study a dynamic lead-time quotation problem in a MTO system with single product considering the order cancellations. The order cancellations can take place during the period that the order is being processed (either waiting or undergoing processing), or after the processing is completed, at the delivery to the customer. We analyze the behavior of optimal profit in terms of cancellation parameters. We show that the optimal profit does not necessarily decrease as cancellation rate increases through a numerical study. When the profit from a cancelled order, arrival rate of customers, or lead-time sensitivity of customers are high, there is a higher probability that optimal profit increases as cancellation rate increases. We also compare the cancellation scenarios with the corresponding no-cancellation scenarios, and show that there exists a cancellation scenario that is at least as good in terms of profit than a no-cancellation scenario for most of the parameter settings. In Chapter 4, we study the Manpower Allocation Problem with Job-Teaming Constraints with the objective of minimizing the total completion time of all tasks. The problem arises in various contexts where tasks require cooperation between workers: a team of individuals with varied expertise required in different locations in a business environment, surgeries requiring different composition of doctors and nurses in a hospital, a combination of technicians with individual skills needed in a service company. A set of tasks at random locations require a set of capabilities to be accomplished, and workers have unique capabilities that are required by several tasks. Tasks require synchronization of workers to be accomplished, hence workers arriving early at a task have to wait for other required workers to arrive in order to start processing. We present a mixed integer programming formulation, strengthen it by adding cuts and propose heuristic approaches. Experimental results are reported for low and high coordination levels, i.e., number of workers that are required to work simultaneously on a given task.