Thesis (Th. M.)--Dallas Theological Seminary, 2004. / Includes bibliographical references(leaves [121]-123).

Thesis (Ph. D.)--Washington State University, May 2010. / Title from PDF title page (viewed on June 17, 2010). "Department of English." Includes bibliographical references (p. 151-162).

The Birthday of the Infanta, a ballet that was created by John Alden Carpenter, Adolph Bolm, and Robert Edmond Jones, was performed at the Auditorium Theatre in Chicago on December 23, 1919 and the Lexington Theatre in New York on February 23, 1920. Despite the positive reviews from daily papers and music journals alike the ballet was only revived once and is not a part of a known ballet repertoire. Although musicologist Howard Pollack discusses The Birthday of the Infanta briefly in his biography of John Alden Carpenter my analysis serves, through its exploration of both primary and secondary sources, to create a more complete and thorough dialogue through the examination of the social, economic, political and artistic factors surrounding the ballet. This analysis also helps to create a better understanding of ballet’s place in America in the early twentieth century.

Made available in DSpace on 2016-08-03T12:21:21Z (GMT). No. of bitstreams: 1 ANGELA MARINGOLI KITZINGER CAPA.pdf: 618106 bytes, checksum: 28499952b3e3f0668624b3b6a796f5df (MD5) Previous issue date: 2011-04-15 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This study analyzes the existing relationship between the subjects dialogued by the writer of the book of Rute (4,1-12) and the books that are part of the composition of the Deuteronomistic History.There were three proposals, each one with its own way to see the situation, the mission and the organization of the people.The first one belongs to Joshua and Zerubbabel (Ezra 3,1-13).The second of Ezra (Ed 9,1-10,44) (Ne 8,1-18) and the third of Nehemiah (5,1-19). It was really a challenge punctuating this pericope in this context. Firstly it was placed at the moment of the History of Israel, living deeply the after-exile, with the return of the deportees from Babilônia during the national restructuration of Judá. Afterwards, the personages were placed in their due social papers. The people of the land stayed in Judah and the surrounding areas. The social injustices were many: the peasants were being dispossessed of its own lands, by the Jewish brothers who had arrived from Babilônia (Ne, 51-5).These same Jewish brothers were those that had loaned money to the people of the land and had charged the payment with usury. The scene was a discouraging one. The problems were endless and of all the types. Poverty and hunger were increasing (Ag 1,6) the poor, the foreigners and the widows survived because of spills (Ruth 2.2) / Esta dissertação analisa a relação existente entre os temas dialogados pelo redator do livro de Rute (4,1-12) e os livros que fazem parte da composição da História Deuteronomística. Havia três propostas, cada uma com a sua própria maneira de ver a situação, a missão e a organização do povo. A primeira é a de Zorobabel e Josué (Ed 3,1-13). A segunda de Esdras (Ed 9,1-10,44) (Ne 8,1-18) e a terceira de Neemias (5,1-19). Como abordar a pericope neste contexto foi realmente um desafio. Em um primeiro momento, ela foi situada no momento da História de Israel, vivenciando o pós exílio, com a volta dos deportados da Babilônia, época de reestruturação nacional de Judá. Em seguida, os personagens foram colocados em seus devidos papéis sociais. O povo da terra ficou em Judá e nos arredores. As injustiças sociais eram muitas: os campesinos estavam sendo desapropriados de suas próprias terras, pelos irmãos judeus que chegaram da Babilônia (Ne 51-5). Esses mesmos irmãos judeus são os que emprestaram dinheiro ao povo da terra e cobraram o pagamento com usura. O cenário era desanimador; os problemas intermináveis e de todos os tipos. A pobreza e a fome eram cada vez maiores (Ag 1,6), os pobres, estrangeiros e viúvas sobreviviam da respinga (Rt 2,2)

D. Litt. et Phil. / This dissertation is an exegetical study of the book of Ruth in which there is a clear indication that the concept of יראת יהוה is used in the book to function as a practical illustration of this particular wisdom motif. The investigation is mainly concerned with four text units from the book of Ruth, namely Ruth 1:16-17 (as part of pericope 1 and the unit 1:15-17); 2:12 (as part of pericope 2 and the unit 2:11-13); 3:9 (as part of pericope 3 and the unit 3:9-16a); and 4:11-13 (as part of pericope 4 and the units 4:3- 12 and 4:13).

In Germany, the family is historically that of a traditional one. A bourgeois family, in which the father takes care of the family’s existential situation, and the mother commits to housework and care of children (Fleckenstein, 2011; Nill& Schultz, 2010). This is mirrored in ‘subsidiarity’; that care and financial provision is first and foremost covered by the family itself, and then if first instance fails, covered by the state (Fleckenstein, 2011). Hence, ‘care’ is an explicit political expectation that the state has on families. Within this definition of family, contextualized is the mother; she constitutes a committed care-taker, and a less flexible employee on the labour market (Fleckenstein, 2011; Nill& Schultz, 2010). This bachelor’s thesis, studies governmental discourse surrounding German families and women within them. The aim was to identify definitional constants in the German Family-reports about the concepts of family, and working mothers. For this family- reports from 1968, 1994, and 2006 have been analysed. To do this, the researcher made use of the discourse historical approach formulated by Ruth Wodak (Wodak& Meyer, 2001).

Le livre de Ruth conte un récit qu’il situe dès son premier verset à l’époque des Juges. Sa place dans le canon biblique hébraïque, qui le positionne dans le sous-groupe des Écrits (Ketuvim), ainsi que certains traits de la langue utilisée, ont pu faire penser à une rédaction postexilique tardive. L’objectif de ce travail de recherche est d’étudier la formation et l’évolution du rouleau de Ruth et ainsi, ses messages à caractère politique et les mœurs qu’il a su décrire. Le modèle qui se dégage de cette étude montre une formation et une évolution complexes, en plusieurs strates de rédactions, et avec plusieurs auteurs. Par sa taille assez courte, le livre de Ruth permet de faire cette analyse dans des conditions de laboratoire. On peut y observer des styles de langue distants entre eux de plusieurs siècles, avec des tournures caractéristiques d’une langue paléo-hébraïque jouxtant des expressions influencées par l’araméen, des incohérences logiques dans le texte, et enfin des réminiscences d’un culte polythéiste. De cette façon, ce travail nous fait faire un voyage à travers le temps qui débute par une histoire populaire, celle d’une moabite en terre de Judée, datant vraisemblablement du début de la royauté vers l’an -1000 avant notre ère. Ce voyage fait ensuite une halte vers les septième ou sixième siècles avec une première mise par écrit. Il se conclut finalement au cinquième ou quatrième siècle, après le retour de l’exil de Babylone, période où la version du livre de Ruth que nous possédons actuellement avec le texte massorétique est probablement rédigée. / According to the initial verse of the Book of Ruth, the story takes place during the period of the Judges. However, its place in the Hebrew Bible canon, where it is revealed in Writings (Ketuvim), as well as linguistic aspects of the text, has led scholars to believe that the book was composed during a late post-exilic period. The purpose of this study is to learn the development of the Book of Ruth and in particular, the political messages and customs of that precise period. Thanks to the conciseness of the story, an analysis in a laboratory-like environment is possible. The model that results from this study displays a very complex textual construction of several layers of writings and multiple authors. In turn, it enables one to observe various language styles scattered over a period of several centuries. Some of the language expressions are characteristic of Paleo-Hebrew and some are influenced by Talmudic Aramaic. There also appear to be logical inconsistencies within the narrative and reminders of a polytheistic cult. This research takes us on a journey through time that begins as a folktale of a Moabite woman in the land of Judea, probably from the turn of Royalty around the year 1000 BC. The journey halts unexpectedly during the seventh or sixth century BC, as its first writings appear during this period. It finally concludes during the fifth or fourth century BC, with the return to Zion from exile in Babylon, a period in which the Masoretic version of the Book of Ruth was likely written.

Intricate Maneuvers is a series of musical works that were composed using movement as a model for compositional processes and forms. This essay presents in-depth analyses of three works from the series; Fidget, Sway: The Mildest Form of Falling, and Swerve for Chamber Ensemble. The analysis of each work highlights correlations between the musical characteristics of that work and the temporal, spatial, contextual, and psychological implications of the motion after which it was modeled. The third chapter also demonstrates the ways in which the creation of Sway was influenced by materials and processes taken from Ruth Crawford's String Quartet 1931. In order to investigate the question of how life experiences can function as models for compositional processes, the essay examines precedents for the compositional modeling of extra-musical ideas and images in the works of Bed?ich Smetana, Elliott Carter and Roger Reynolds. It also discusses approaches to modeling movement in music created for dance. Throughout the Intricate Maneuvers series, movement is modeled not merely to create an association between a musical work and a particular movement pattern, but rather to infuse the compositions with the dynamism that defines a particular kinetic experience.

[pt] Rute é uma mulher pobre, viúva e estrangeira moabita. Não obstante isso, é uma mulher de força/valor, em atitudes e palavras; é uma mulher decidida que se comporta em termos de paridade com Booz, o homem que ao seu lado divide a cena central em Rt 3: a cena da eira. A presente tese, intitulada Uma heroína chamada Rute: análise narrativa e intertextual de Rt 3, buscou mostrar, por meio da exegese narrativa, as possibilidades que assinalam essa paridade entre os protagonistas, Rute e Booz, através da análise de seus atos e falas, quer pelo tratamento que o autor, através da voz do narrador dá a cada um, quer pelo discurso destes personagens, valorizando, ainda, a importância e o papel de Noemi nas cenas anterior e posterior à cena da eira. A seguir, a partir da análise intertextual bíblica e extrabíblica, foi possível identificar outras mulheres que em muito se assemelham à pessoa, às características e ao comportamento de paridade entre Rute e Booz em Rt 3: as mulheres bíblicas Débora, Jael, Abigail e a mulher de Pr 31,10-31, bem como as mulheres extrabíbicas Arete e Alceste, todas com seus pares masculinos em cena. Esta aproximação permitiu aplicar a Rute o conceito de heroína, conforme o modelo literário dos textos da Antiguidade. Nestes, mulheres fortes, corajosas e pares dos homens caracterizam as heroínas, seja nos textos que retratavam a sociedade em Israel, no Antigo Oriente Próximo, ou entre os povos da Grécia continental e insular, os quais circulavam na bacia do Mediterrâneo. / [en] Ruth is a poor, widowed and moabite foreigner woman. Nevertheless, she is a woman of strength/value, in attitudes and words; a decided woman that behaves at parity with Booz, the man with whom she shares side by side the central scene in Rt 3: at the threshing floor. This thesis, entitled A heroine called Ruth: narrative and intertextual analysis of Rt 3, sought to show, through the narrative exegesis, the possibilities that point out that parity between the protagonists, Ruth and Booz, either by the treatment the author, through the Narrator s voice, gives to each one or by the speeches of these characters, giving value, still, to Naomi s importance and role before and after the threshing floor scene.Then, from the bible and extrabible intertextual analysis, it was possible to identify other women who very much resemble the person, characteristics and behavior of parity between Ruth and Booz in Rt 3: the bible women Deborah, Jael, Abigail and woman of Pr 31,10 31, as well as the extrabible women Arete and Alcestis, all with their male counterparts at the scene. This approach made it possible to apply to Ruth the concept of heroin, as the literary model of the texts of Antiquity. In these strong, courageous women and men s counterparts characterize the heroines in texts that depict the society in Israel, in the ancient Near East, or between the people of continental and insular Greece, which circulated in the Mediterranean basin.

Babe Ruth, American Herois a one-person play that chronicles the life of sport's greatest legend and first superstar. The manuscript and performance represent over a year of research, writing and rehearsing. The process to produce a first draft of a manuscript began by researching biographies, autobiographies, documentaries, and the websites including Babe Ruth, the Babe Ruth Museum, and the Baseball Hall of Fame. A production staff was assembled and on April 27, 2002, at the Veterans Memorial Theatre, in Johnson City, TN, a staged reading of the play was performed before an audience. The manuscript underwent a series of rewrites, and the play premiered on October 18 and 19, 2002, at the Bud Frank Theatre, East Tennessee State University Campus. The article that follows contains the first and final drafts of the play, as well as supplemental, promotional, and program information.