Diss.--Bamberg--Universität, 1995. / Bibliogr. p. 331-365.

Proeschrift--Rijksuniversiteit Leiden, 1994. / Résumé en néerlandais. Bibliogr. p. 310-323.

Thesis (M.C.S.)--Regent College, 2006. / Abstract and vita. Includes bibliographical references (leaves 121-132).

Texte remanié de: Doct. diss.--Faculty of Fuller theological seminary's center for advanced theological studies, 1993. / Bibliogr. p. 221-232. Index.

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111f. / Submitted by Suelen Reis (suziy.ellen@gmail.com) on 2013-04-01T17:46:09Z No. of bitstreams: 1 Uendel%20Silva.pdf: 669882 bytes, checksum: cd7d6d4225d9e7a8ad6f9eaa936bac05 (MD5) / Approved for entry into archive by Ednaide Gondim Magalhães(ednaide@ufba.br) on 2013-04-10T13:46:03Z (GMT) No. of bitstreams: 1 Uendel%20Silva.pdf: 669882 bytes, checksum: cd7d6d4225d9e7a8ad6f9eaa936bac05 (MD5) / Made available in DSpace on 2013-04-10T13:46:03Z (GMT). No. of bitstreams: 1 Uendel%20Silva.pdf: 669882 bytes, checksum: cd7d6d4225d9e7a8ad6f9eaa936bac05 (MD5) Previous issue date: 2010 / rata-se de análise crítico/descritiva da peça Fim de Partida (1954-1956) de Samuel Beckett (1906-1989), tendo como eixo de análise a temática do fracasso, bem como os modos diversos através dos quais tal temática é abordada pelo autor na referida obra. Observa-se a configuração de uma crítica beckettiana a modelos dramatúrgicos, bem como a estruturação de um questionamento em torno da dramaturgia em si e da própria possibilidade de representação. Ao longo da dissertação, são abordados primeiramente aspectos biográficos do autor, as principais influências que sofreu e o processo de criação da peça Fim de Partida; realiza-se ainda um estudo comparativo entre a referida peça e os romances que constituem a trilogia beckettiana do pós-guerra – Molloy, Malone Morre e O Inominável –, para, em seguida, examinar-se então elementos dramatúrgicos mais específicos como espaço, tempo, ação e personagens em Fim de Partida, a fim de melhor abordar a temática do fracasso na citada peça. / Salvador

Submitted by Diogo Barreiros (diogo.barreiros@ufba.br) on 2016-06-14T15:06:28Z No. of bitstreams: 1 Fellipe Antonio Leite - Dissertação - Versão Digital.pdf: 1212145 bytes, checksum: d51ca2e2014d171566edebc7fd9f4659 (MD5) / Approved for entry into archive by Alda Lima da Silva (sivalda@ufba.br) on 2016-06-14T15:33:25Z (GMT) No. of bitstreams: 1 Fellipe Antonio Leite - Dissertação - Versão Digital.pdf: 1212145 bytes, checksum: d51ca2e2014d171566edebc7fd9f4659 (MD5) / Made available in DSpace on 2016-06-14T15:33:25Z (GMT). No. of bitstreams: 1 Fellipe Antonio Leite - Dissertação - Versão Digital.pdf: 1212145 bytes, checksum: d51ca2e2014d171566edebc7fd9f4659 (MD5) / CAPES / O presente trabalho tem como objetivo apresentar a resposta para a seguinte quest~ao, proposta pelo ge^ometra alg ebrico Pierre Samuel em 1947: sob que condi c~oes duas imers~oes, de uma variedade no espa co Euclideano, possuem a mesma aplica c~ao de Gauss e induzem m etricas conformes na variedade? A caracteriza c~ao obtida e baseada no preprint \A complete solution of Samuel's problem" de Marcos Dajczer e Ruy Tojeiro.

abstract: Samuel Máynez Prince (1886-1966), was a prolific and important Mexican musician. Prince’s musical style followed the trends of the nineteenth-century salon music genre. His compositions include lullabies, songs, dances, marches, mazurkas, waltzes, and revolutionary anthems. Prince’s social status and performances in the famed Café Colón in Mexico City increased his popularity among high-ranking political figures during the time of the Mexican Revolution as well as his status in the Mexican music scene. Unfortunately there is virtually no existing scholarship on Prince and even basic information regarding his life and works is not readily available. The lack of organization of the manuscript scores and the absence of dates of his works has further pushed the composer into obscurity. An investigation therefore was necessary in order to explore the neglected aspects of the life and works of Prince as a violinist and composer. This document is the result of such an investigation by including extensive new biographical information, as well as the first musical analysis and edition of the complete recovered works for violin and piano. In order to fill the gaps present in the limited biographical information regarding Prince’s life, investigative research was conducted in Mexico City. Information was drawn from archives of the composer’s grandchildren, the Palacio de Bellas Artes, the Conservatorio Nacional de Música de México, and the Orquesta Sinfónica Nacional. The surviving relatives provided first-hand details on events in the composer’s life; one also offered the researcher access to their personal archive including, important life documents, photographs, programs from concert performances, and manuscript scores of the compositions. Establishing connections with the relatives also led the researcher to examining the violins owned and used by the late violinist/composer. This oral history approach led to new and updated information, including the revival of previously unpublished music for violin and piano. These works are here compiled in an edition that will give students, teachers, and music-lovers access to this unknown repertoire. Finally, this research seeks to promote the beauty and nuances of Mexican salon music, and the complete works for violin and piano of Samuel Máynez Prince in particular. / Dissertation/Thesis / Doctoral Dissertation Music 2016

This study attempts to discover in the early poetry of Coleridge anticipations of the poetic excellence exhibited in "The Ancient Mariner." It begins by explaining that the years from 1787, the date of his first recorded poem, to 1798, when he travelled to Germany, may be divided into three periods: 1787 to 1794, the years spent at school and university; 1794 to 1796, the years of his discipleship to two eighteenth-century rationalists, Godwin and Hartley; and 1797 to 1798, the years of his happy fellowship with the Wordsworths. The poetry has markedly different characteristics in each of these periods. The study proceeds by discussing the poetry under three headings: ideas, imagery and symbolism, and form. Noticeable progress towards the degree of achievement found in "The Ancient Mariner" appears in each of these areas. Chapter One, which discusses Coleridge's ideas, begins by establishing that from 1787 to 1798 the poetry is characterized by attempts to explain and offer a solution for evil and suffering. From 1787 to 1794 Coleridge advocated a simple and trite schoolroom morality, largely based on Church-of-England doctrine. Then he turned to the rationalism of Godwin and Hartley, accepting their concept of necessity, of the mind as a tabula rasa, of private property and institutionalism as the prime sources of evil, and of environment, reason and necessity as forces working toward the perfection of man. Rejecting Godwin's atheism, he subscribed to Hartley's system, in which these same concepts were placed in a Christian framework. However, disillusioned by the sterility of rationalism, and by the failure of the French Revolution to advance the morality of society, he retired to Nether Stowey in December, 1796, confused in mind and depressed in spirit. There he established a more meaningful concept of morality. It was based on faith in man's mind, as was Godwin's, and was focused on religion, as was Hartley's. But, unlike the system of either master, it found its motivation in will rather than reason. "The Ancient Mariner" embodies this concept of morality. In Chapter Two the study proceeds by categorizing the imagery and symbolism in "The Ancient Mariner" into three groups, or clusters, and showing that each appears, at least in nucleus, throughout the early poetry. The first cluster, which describes the Mariner, from 1787 to 1794 is associated with poet figures, from 1794 to 1796 is associated with political and social reformers and the spiritually regenerate. In 1797 and 1798 it is associated with individuals who, through an act of self-less will, have achieved a degree of moral and spiritual regeneracy, or who have a mission to enlighten other men. The second cluster is related to the murder of the Albatross. From 1787 to 1794 murder is treated as the inevitable consequence of living in an evil world, as an act committed consciously by men helpless to do otherwise. From 1794 to 1796 murder is treated as an act of self-interest, and of opposition to God, an act which violates the laws of reason and nature. During 1797 and 1798 murder is treated as the inevitable result of a purely sensual mind, in contrast to a spiritual mind. The final cluster, nature imagery and symbolism, is characterized by duality throughout the early poetry. From 1787 to 1794 the positive and negative aspects of nature describe happiness and unhappiness in Coleridge's personal life, and successes and failures of his poetic imagination. From 1794 to 1796 the duality contrasts the self-centered, ignorant mind to the enlightened, rational mind, which senses divine order in creation. During 1797 and 1798 the dualism contrasts the vision of the sensual man to that of the spiritual man. Chapter Three discusses the three kinds of form in poetry: external form, technique and internal form. Poetry is differentiated from prose by having pleasure as its immediate end. Pleasure is provided by an intuitive recognition of unity in multeity. Therefore form in poetry must be characterized by unity. External form is the relation of various thoughts and feelings to each other in the framework of a poem. Almost all Coleridge's poems have a well-unified external form. The success of this kind of form is most fully expressed in a poem such as "The Ancient Mariner," in which a unified symbolic level is super-imposed upon a unified narrative level. Technique is the way in which a poet expresses his thoughts and feelings. The various elements of technique - diction, imagery, metre, rhyme and stanza form - are well unified when they are the best and most natural expression of the poet's thoughts and feelings, and therefore mutually support and explain each other. The technique of the early poetry is noticeably weak; its mastery in "The Ancient Mariner" is the product of ten years of apprenticeship. Internal form is the proportion between the degree of thought and the degree of feeling in a poem. In all good poems thought and feeling give rise to and balance each other; they are unified. The greatest and best poems contain deep thought - a sense of spirituality in the midst of social and political reform - and deep feeling - a love which concerns itself with the changes in individual men. Deep thought and deep feeling can occur only with the achievement of the ultimate end of poetry: moral or intellectual truth. The poetry of 1787 to 1794 is characterized by an overbalance of feeling, that of 1794 to 1796, by an overbalance of thought. "The Ancient Mariner" contains a fusion of deep thought and deep feeling conveyed on the symbolic level. Enchanting the reader through the pleasure yielded by the perfect harmony of all the parts, and suggesting to him through symbolic patterns that it contains deep truths of human experience, the poem draws him back into itself, that he might discover these truths, find greater unity, and achieve more pleasure. / Arts, Faculty of / English, Department of / Graduate

An examination of Samuel Johnson’s essays and his tragedy, Irene, and his Oriental tale, Rasselas, reveals that his concept of womanhood and his views on the education of woman and her role in society amount to a thorough-going criticism of the established views of eighteenth-century society. His views are in advance of those of his age. Johnson viewed the question of woman with that same practical good sense which he had brought to bear on literary criticism. It was important he said "to distinguish nature from custom: or that which is established because it was right, from that which is right only because it is established." Johnson thought that, so far as women were concerned, custom had dictated views and attitudes which reason denied. Because society's concept of womanhood emphasized the physical and Johnson’s, the mental, there was little agreement about her education and her role in the home. Johnson's views on women will be drawn from his works rather than from comments recorded by his biographers, James Boswell, Mrs. Thrale, or Sir John Hawkins, or from remarks made in the diaries and letters of Fanny Burney and Hannah More. With the exception of excerpts in Chapter V, comments made by others will be used only as substantiating evidence. In Chapter V, I have found it necessary to draw heavily on comments made by others simply because Johnson passed few remarks about anyone he knew — man or woman. Chapter I sets forth eighteenth-century views on women from the viewpoint of society and from that of such men of letters as Addison, Steele, Pope, Defoe, Swift, and Johnson. The next two chapters will follow a chronological order; the discussion of Johnson’s views on the education of women will precede his views on marriage and the woman's role in the home. The fourth chapter, a discussion of Johnson's figure of womanhood from Irene and Rasselas can be considered as a summation of Chapters II and III, for these two works are really, a comprehensive study of what Johnson had said about the education of women and their role in society in his Rambler, Idler, and Adventurer. This chapter will also include an analysis of Johnson's female characters as women. The purpose of the concluding chapter is to show that Johnson's estimation of womankind and his views on the education of women and their role in society are not to be taken lightly. Many men express one opinion about women but really believe something quite different. But not Johnson. He chose his female friends for those same qualities he said in his works were becoming womanhood. In life he treated them as he had written of them — with respect and without condescension. / Arts, Faculty of / English, Department of / Graduate