The purpose of this thesis is to consider Camus's use of the death metaphor and its probable meaning for him.

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In the nineteenth century, Tchaikovsky was an important, representative composer in Russia and succeeds the prior previous musical development of Russia. Back then, I think this what was mean type of works were quite fundamental. In 1876, he had written the cello piece, ¡§Variation on a Theme Rococo,¡¨ and dedicated to a cellist, Fitzenhagen. Fitzenhagen changed the sequence for the variations, deleted and rewrote some segments. As a result, it made the version different from the one that was composed by Tchaikovsky. The version edited by Fitzenhagen was published, and it has been played until now. This lecture-recital document contains the following two main sections. First, it describes the biographical information about Tchaikovsky, his works accompanied by orchestra, and the friendship between Tchaikovsky and Fitzenhaen. The second part, compares the changes in the sequence of the variations between Fitzenhagen version and Tchaikovsky¡¦s Original version that examines the terminology, the role and the decoration of the bridge section ,and it offers some ways for practicing skills for Fitzenhagen¡¦s version.

The present study will be concerned primarily with an interpretation of Lowell's derivation of Prometheus Bound as he adapted that play from the Greek playwright Aeschylus' version, with a study of the development of his themes in that play, and with consideration of some of the sources upon which those themes are dependent.

MA (Xitsonga) / Senthara ya M.E.R Mathivha ya Tindzimi ta Afrika, Vutshila na Ndhavuko / See the attached abstract below

This thesis examines time, death, and choice in Philip Larkin's poetry, arguing that his approach to these themes is not deterministic, but existential. The argument is based on the similarity between Larkin's views and those of three existential philosophers. Larkin's view of time, like Heidegger's, is that men live not in long stretches of time, but in processions of unconnected yet similar moments. A constant underlying sadness, like Kierkegaard's despair, makes each moment reminiscent of death. Like Sartre, Larkin finds meaning in his choices, and struggles to live authentically without expectation. Although Thomas Hardy influenced Larkin, given these similarities, Larkin's poetry cannot rightly be called deterministic. It is an attempt to preserve experience for its own sake.

Magister Artium (Psychology) - MA(Psych) / Violence against women is a profound social problem which has received much attention from feminists, academics, activists, media, and also government. One such form of violence is interracial rape. In South Africa, little is known about interracial rape (rape across race groups). The main aim of this study is to examine students' perceptions of power, gender and race in interracial rape. This thesis also explores what White male and female students said, and what Black male and female students said about power, race and gender when examining interracial rape. This study is based within an interpretive-hermeneutical paradigm, using qualitative methodology. Data was collected in six focus groups, three of which were held at a historically Black university and three at a historically White university. Both men and women participated in these groups. The data was analysed thematically with the aid of a computerised software package, Atlasti. The analysed text identified dominant and minor themes. The main themes that emerged were as follows: 1) a power and domination theme, 2) a justification of rape theme, 3) a race, racism and apartheid theme. The results indicate that power plays an important role in interracial rape. Power underpins both gendered and racial oppression. In interracial rape, racial oppression becomes dominant and takes on more prominence than gender oppression. It is thus fore mostly perceived as a racial issue

Messiaen studied many special compositional traits in his life. Modes of limited transpositions, rhythm, and birdsong are the most special and important. Catholicism is the first thought of Messiaen¡¦s works. The inspiration of Messiaen¡¦s creation, the structure of works, and the picture of music are all closed related to Catholicism. Vingt Regards sur L¡¦Enfant-Jesus is the only one piano solo work of Messiaen¡¦s religious works. This thesis mainly discuss the three principle themes¡XTheme de Dieu, Theme de L¡¦Etoile et de la Croix, and Theme D¡¦Accords¡X to realize the specific application that Messiaen use modes of limited transpositions, rhythm, birdsong, and Catholicism religious concept in his works. This thesis divided into two chapters. The first chapter presents briefly the life and the compositional traits of Messiaen. In second chapter, it discusses the development of the three themes, including modes, rhythm, shape of phrase, dynamic, and speed.

This report investigates the theme of supplication in both the Iliad and Odyssey especially in regards to the role of Zeus as protector of suppliants in each of the poems. Although Zeus is never given the epithet Hikesios in the Iliad as is the case in the Odyssey, he nevertheless acts as such in the Iliad’s final scenes of supplication. The scenes discussed in this paper include the supplication between Thetis and Zeus, Adrastos and Menelaus, Hektor and Achilles, Priam and Achilles, Odysseus and the Cyclops, and Odysseus and Arete. While Zeus appears indifferent to the battlefield suppliants in the Iliad such as Adrastos in the beginning of the Iliad, his own interest in justice as well as an increasing value of the suppliant draw Zeus into a more active role in supplications. This phenomenon is further supported by supplication scenes in the Odyssey that refer to events of the Iliad and in which Zeus is explicitly called “protector of suppliants.” / text

This research aims to show the relationships between the museum and the department store and the visitor who engages with both institutions. The visitor to these spaces is the focus for the development of meaning, and reaction, to the objects on display in both spaces. The methods of interior and exterior design, planning and circulation, and object display, are discussed in relation to the vital context of the viewer, and the consequent construction of meaning and value. Value itself, becomes a recurring theme in these discussions since design and display within both institutions can perpetuate value, desire, and fetishism for the object. These concepts are further related to the appropriation of Minimalist aesthetics in boutiques. This analysis is applied to the critique of two exhibitions: 'Islands: Contemporay Installations' at the National Gallery of Australia, and, 'The Second Asia-Pacific Triennial of Contemporary Art' at the Queensland Art Gallery. These exhibitions which predominantly involve installation art are discussed as examples relating to the phenomena of viewing, and the impact of design and display / Master of Arts (Hons) Visual Arts