Este trabalho desenvolve algumas reflexões sobre o bucolismo de Virgílio e sua originalidade. Discorreremos sobre a origem deste gênero, como também sobre os temas característicos da poesia bucólica que são o cenário bucólico, o amor heterossexual, homossexual e o amor-veneração e os elementos mitológicos. Dividimos o estudo sobre o estilo virgiliano em três partes. Na primeira, mostraremos a presença dos helenismos nas Bucólicas. Na segunda, veremos as estruturas sintáticas que mais aparecem em sua poesia: o paralelismo sintático, o uso do vocativo, o uso do imperativo e a presença de elipses e zeugmas. Num último momento, focalizaremos o ritmo, a musicalidade e as figuras de harmonia, de construção, de repetição e quiasmo, de pensamento e os tropos. As alusões políticas em Virgílio também serão registradas e exemplificadas nesta dissertação. Na conclusão, focalizaremos dois gêneros literários especiais que estão presentes nas Bucólicas - o canto amebeu e o epigrama - gêneros esses que contribuem para acentuar o hibridismo no poema de Virgílio. Outrossim, podemos afirmar que As Bucólicas de Virgílio serviram de paradigma para as literaturas posteriores das civilizações contemporâneas de ascendência greco-latina. / This research introduces some reflections about Virgil\'s bucolic poetry and his originality. Considerations are made about the origins of this genre, as well as about the themes which are recurrent in bucolic poetry, such as bucolic landscape, heterosexual and homosexual love, love-admiration, and mythological elements. We have divided the study of Virgilian style in three parts. In the first part, the presence of Hellenic traits in the work Bucolics is suggested. In the second part, recurrent syntactic structures in his poetry are explored: syntactic parallelism, the use of the vocative, the use of the imperative form, ellipsis and zeugma. Finally, focus is given to rhythm, musicality and figures of harmony, repetition and chiasm, of thinking and tropes. Political allusions in Virgil are also discussed and exemplified in this dissertation. In the conclusion, two special literary genres are introduced, which feature in Bucolics - the amebeu chant and the epigram, which contribute to Virgil\'s poem being a text in which one can notice hybridism, in generic terms. Virgil\'s Bucolics became a paradigmatic work to literature in civilizations of both Greek and Latin ascent.

In response to the economic and political upheaval of World War I, Scottish Modernism explored the cultural and linguistic changes of a nation trying to identify itself amidst a world-wide conflict. Scholars and critics have considered Nan Shepherd's fiction in this context—focusing on issues of gender, female identity, language, and land—but have yet to look seriously at her work The Living Mountain and its contributions to the Modernist movement. More recently, critics like Louisa Gairn and Robert MacFarlane have called attention to Shepherd's small but powerful text in an ecocritical and philosophical light, reframing her contribution to issues of Scottish identity from the Modernist era. Ecocriticism is concerned with the importance of place in relation to human conceptions of identity and explores how landscapes, even a mountain, can elucidate understanding of human being. Ontological questions of being have been explored in relation to place and landscape for several centuries and require, or invite, new narratives of the experience of these encounters, which makes present ecocritical studies an ideal place to do so. This thesis examines Nan Shepherd's work in the intersection of ecocriticism and ontology. To understand a mountain as living, a new language and a new ontology of place is required. The work of Gilles Deleuze on immanence becomes crucial to an understanding of why local place and a connection to it creates a deeper understanding of being and of a language that offers a desubjectivized perspective of a shared awareness between matter. In Shepherd's encounters with the organic and the inorganic her language of experience explores an interaction between her own senses and their perception of the mountain's body of elementals, or the means of apprehending the vitality of the mountain as a living thing. An intriguing twenty-first-century conception of place emerges from Shepherd's modernist perspective and reframes how a landscape and inorganic matter can elucidate human being.

The Evening Shadow, a six-minute work for symphony orchestra, is a short symphonic poem composed with the intent of evoking a sensation of lament and eventual deliverance. Drawing from the “Neapolitan Complex” found in Beethoven’s string quartet in C-sharp minor, op. 131 (exploitation of the semitone between C#-D), I attempted to create a dramatic “storyline” utilizing the semitone relation between E and F. From a programmatic standpoint, upward motion from E to F is meant to represent yearning (mm. 5-6, violins, mm. 14-15, violin/vibraphone, m. 18, cello, embedded in m. 20, flute 2) while downward motion from F to E (mm. 110-113, brass) symbolizes rescue and redemption. Motivic transformation was paramount to the construction of The Evening Shadow. Five primary motives are stated and developed. The first appears in the solo violin from mm. 3-4 and is transformed at m. 44 in the oboe and 2nd violins. The second motive is stated in mm. 9-12 in the 1st violins, and returns in canon from mm. 96-106. The third motive appears in the oboe in mm. 29-30 and is developed extensively (mm. 41-42, 47-48, 110-113). The fourth motive is stated in the 1st violins at m. 33 and returns in m. 52 in the 2nd violins. The final motive is first heard in the horns in mm. 39-40 and ends the piece from mm. 127-129. The motivic transformations make use of transposition, modal “adjustment,” and built in rubato effects, as well a large degree of fragmentation and recombination. Traditional contrapuntal technique was utilized throughout the work. Global harmonic motion of the piece, which makes use of skeletal tonic/dominant relations, can be heard as a progression through the following “tonicizations” and respective modalities: E/F (pitch-centric, no modality, mm. 1-33), D (Dorian, mm. 34-55), A (Dorian, mm. 52-54), E (pseudo-Phrygian, mm. 65-87), C (Mixolydian, mm. 108-121), G (Mixolydian, mm. 127-132), and E/F (pitch-centric, no modality, mm. 133-137). Atonal pitch-class set sonorities were used as structural rhetoric throughout. The aggregate collection, drawing from dodecaphonic theory, is used sparingly both melodically (mm. 16-17, violins and violas), and harmonically (mm. 2-3, 64, 66, 69, 137). Conceptual difficulties arise from orchestrational considerations in a contemporary work due to the broad array of possibilities demonstrated in the scores that span the history of orchestral music. I sought to create a hybrid of advanced traditional orchestration (Mahler, Strauss) and texturalist practices (Lutoslawski, Ligeti).

As our long-term companions, dogs’ communication with us is perhaps the most developed of all human- animal ones. This study was aimed to investigate breed differences of German Shepherds and Labradors in dog-human communication. This was obtained through two tests: a problem-solving task and a pointing test. These two tests target both directions of communication: how much dogs understand and respond to the pointing and how they communicate with humans when facing a problem. Additionally, hair cortisol was measured in the dogs and dog owners filled a behavioural questionnaire (C-BARQ). The main breed difference I found was that Labradors performed better in both tests. I also found that the latency of the dogs’ choices in the pointing test correlated with many factors, e.g. they chose quicker when: choosing correctly, when they had many physical contacts with the experimenter in the problem-solving task, when they were more intense, energetic dogs, when they had higher hair cortisol levels and when they had a confident body posture. This indicates that the latency of choice could depend on the confidence of the dog and on the trust in the experimenter as well as on energy level and focus ability. Overall, this study revealed a limited amount of breed differences, compared to a parallel study on Labrador types (hunting and show dogs), showing that intra-breed differences can be more important than inter-breed ones on a behavioural level.

Thesis (D. Min.)--Erskine Theological Seminary, 2007. / Abstract. Description based on Microfiche version record. Includes bibliographical references.

Thesis (D.Min.) -- Reformed Theological Seminary, Charlotte, NC, 2008. / Includes bibliographical references and abstract.

Thesis (Th. M.)--Westminster Theological Seminary, Philadelphia, 1986. / This is an electronic reproduction of TREN, #036-0018. Includes bibliographical references (leaves 105-112).

Thesis (Th. M.)--Westminster Theological Seminary, Philadelphia, 1986. / Includes bibliographical references (leaves 105-112).

This thesis is a qualitative, historical study of The Good Shepherd School in Huntly Street, Grahamstown, South Africa. It is one of the oldest school buildings in South Africa that remains in use as a school. There are two main threads to understanding The Good Shepherd School in context. The first of these threads, the colonial root of the school, is explained in a discussion of the Grammar School, attached to the Cathedral of St. Michael and St. George, that utilised the Huntly Street facilities from 1851 to 1902. The second thread is the strong tradition of caring for the underprivileged. This is traced through following the development of the educational works of The Community of the Resurrection which involves the discussion of various schools at different locations in Grahamstown. The current school on the Huntly Street premises, The Good Shepherd School, forms, however, the focus of this study, which draws on all the histories of its forerunners and their historical locations. Historical social science methods and procedures were used in the research. This was done through documentary analysis of evidence as well as through semi-structured interviews, creating an interpretative account of how the school has affected people's lives. The conclusion reached is that The Good Shepherd School has contributed greatly to the education of underprivileged people in the Grahamstown area. It appears to be an outstanding example of a school offering a well-rounded, caring education when this was historically denied to many people in South Africa.

A partir du XIXe siècle, la fondation du Bon Pasteur est créée par Mère Marie-Euphrasie. La mission spécifique decet ordre est de s'occuper de la population dans la misère et tout particulièrement des femmes et des enfants, afin desoulager leur détresse, de leur apporter du soutien et de les encourager à se réinsérer dans la société. Au Royaume-Uni les institutions du Bon Pasteur prennent le nom de couvents Madeleine, se référant ainsi à la figure biblique de Marie-Madeleine pécheresse repentie qui devient une fidèle du Christ. La vocation de ces établissements Madeleine est d'accueillir les prostituées et les mères célibataires. Ils se spécialisent rapidement dans le travail de blanchisserie, tâche éminemment symbolique car ces femmes doivent avant tout se laver de leurs péchés. Sous le règne de Victoria la morale puritaine se durcit, la figure de Madeleine incarne désormais «la catin», la femme de «mauvaise vie». Trois décrets sont alors promulgués afin de freiner l'extension de la prostitution et des maladies sexuellement transmissibles. Ce n'est que dans les années 1990 que des voix s'élèvent pour dénoncer les abus et les maltraitances commis dans certaines de ces institutions, voix bientôt relayées et amplifiées par plusieurs œuvres cinématographiques, en particulier par le film de Peter Mullan The Magdalena Sisters. Ce travail vise à comprendre pourquoi de tels faits se sont produits, à étudier le rôle des médias dans le processus de dénonciation et dans quelle mesure nous pouvons considérer qu'ils contribuent à faire l'Histoire. / The Foundation of the Good Shepherd was set up by Mother Marie-Euphrasie in the XIX!h century. The specificmission of the order was to take care of the poor, and particularly of women and children, to ease their distress, givethem support and encourage them to make their way back into society. ln the UK, the Good Shepherd institutes were known as Magdalen Asylums, for the biblical figure of Mary Magdalene, a repentant sinner who became a disciple of Christ; the vocation of these Magdalen institutions was to shelter prostitutes and single mothers. They quickly came to specialise in laundry work- a symbolic task, as these women had above all to wash away their sins. During the reign of Queen Victoria, puritanism became more severe, and the figure of Mary Magdalena came to embody the "whore", the "fallen" woman. Three Acts of Parliament were passed to curb the expansion of prostitution and venereal diseases. Il was only in the late 1990s that voices were raised to denounce the abuse and ill-treatment committed in some of these institutions, voices that were soon picked up and amplified in a number of films, and in particular Peter Mullan's The Magdalena Sisters. The aim of this study is to understand why such things happened, and to study the role played by the media in the process of their exposure and to what extent they can be said to make History.