Thesis--Universität Erlangen-Nürnberg, Erlangen. / Vita. Includes Tropen-Katalog with Responsoriums-Register. Includes bibliographical references (v. 2, p. 189-200).

Thesis--Universität Erlangen-Nürnberg, Erlangen. / Vita. Includes Tropen-Katalog with Responsoriums-Register. Includes bibliographical references (v. 2, p. 189-200).

Thesis (Ph. D.)--Princeton University, 1964. / "The second volume of this dissertation consists primarily of a transcription of the trope repertory of Saint-Martial de Limoges as this is preserved in the manuscript Paris, Bibliothèque Nationale, Latin 1121"--V. 2, Introd. Vol. 1, leaf 135 also numbered 136. Index of tropes in Paris, Bibliothèque Nationale, Latin 1121 (v. 2, leaves [137]-145). Bibliography: v. 1, leaves 166-170.

This thesis explores the limited economic, professional, and political opportunities for women in the Victorian era and how these roles are perpetuated through literature. Often, the lack of opportunities confined women to two choices: the angel or the monster. While there has been significant research on this binary, Virginia Woolf’s cry to “kill the angel of the house” has not been rectified. To discuss the binary, I have analyzed Mary Elizabeth Braddon’s Lady Audley’s Secret and Charlotte Perkins Gilman “The Yellow Wallpaper” to discuss how these female writers reflect their authorial anxieties through Gothic tropes and a close identification with their heroines. Additionally, I have analyzed Thomas Hardy’s Tess of D’Urbervilles and Stephen Crane’s Maggie: A Girl of the Streets to discuss how these male authors take a naturalistic approach to critique the fallen woman trope. / Includes bibliography. / Thesis (MA)--Florida Atlantic University, 2021. / FAU Electronic Theses and Dissertations Collection

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Dans ce mémoire il est question d'une position ontologique, la théorie des tropes, et de son application à une question centrale en philosophie de l'esprit : l'efficacité causale du mental. Nous présentons d'abord le problème de l'exclusion causale formulé par Jaegwon Kim afin de mettre en évidence les enjeux liés à cette question. L'argument a la forme d'un ensemble de thèses jugé inconsistant, et l'idée est de comprendre et de résoudre cette inconsistance, en rejetant l'une ou l'autre des thèses ou encore en clarifiant certains concepts mobilisés dans celles-ci. Une fois les thèses présentées et la contradiction expliquée, nous procédons à un tour d'horizon des solutions possibles, et nous nous arrêtons particulièrement sur la famille de solutions qui nous intéresse : le réductionnisme. Dans le second chapitre, nous présentons la théorie de tropes, position ontologique qui propose de désambiguïser le terme « propriété » afin de montrer qu'il est fréquemment utilisé pour désigner deux concepts différents. La propriété comme particulier d'une part, vue comme une entité unique, caractérisant une chose (la forme de cette pomme) ; et la propriété comme universel d'autre part, c'est-à-dire comme élément faisant le lien entre plusieurs choses semblant partager une même caractéristique (la couleur de ces deux livres, par exemple). La théorie des tropes affirme que le premier concept réfère aux tropes, des particuliers abstraits qui constitueraient l'ensemble de la réalité, et le second aux classes de ressemblance - des ensembles de tropes remplissant des rôles causaux identiques. Nous présentons donc ces deux concepts en détail. Enfin, dans le dernier chapitre, nous discutons les succès et les limites de cette approche. Nous commençons par montrer qu'il s'agit d'une position ontologique pertinente et légitime, puisqu'elle répond aux critiques métaphysiques qui lui sont adressées, et qu'elle est compatible avec une position cohérente en philosophie des sciences. Nous montrons ensuite comment David Robb et John Heil proposent d'utiliser la théorie des tropes pour formuler une position réductionniste en philosophie de l'esprit. Il s'agit de clarifier l'utilisation du terme « propriété » au fil de l'argument de l'exclusion, afin de résoudre la contradiction à laquelle il mène. Nous voyons ensuite que la théorie des tropes permet au réductionnisme d'échapper à l'une de ses plus vives critiques (l'argument de la réalisabilité multiple). Finalement, nous répondons à une critique de cette solution, qui suggère un retour du problème de l'exclusion au niveau des classes de ressemblance.

This auto-ethnographic project concerns itself with the processes of how meaning in an organisational setting is created, changed, sustained and 'achieved'. Its contributory value lies in the inductive development of a 'tropological approach' to the investigation of sensemaking processes in organisations. Positioned in an interpretive-hermeneutic tradition, the major research strategy of participant observation and its supplementary techniques (e. g. qualitative interviewing) were activated to explore sense-making processes. This engagement in the field was complemented by the application of three frameworks derived from the discipline of linguistics. These were: a structuralist approach (as based on Saussure, Jakobson, Lodge), speech act theory (Austin, Searle) and discourse analysis (Fairclough). The application of the first framework to data explored the character of signs as well as the relationship between signs. The latter were defined as either metaphorical or metonymical in character. The tropes derived from these relationships, i. e. metaphor and metonymy, provided an early trajectory for further data interpretation. Naturally occurring talk, including organisational stories, talk as recorded in meetings, artifacts including written texts, buildings, equipment and geographical arrangements were analysed in terms of their metaphorical and/or metonymical significance in processes of meaning creation. The interplay of metonymies, i. e. processes on the basis of physical or causal contiguity, and metaphors, translation and interpretation processes were shown to render the experience of the organisation essentially symbolic. A third trope, irony, emerged as an important figure during the research process and was integrated into the tropological approach. Metonymy and irony are undertheorised in organisation studies. Within the second organising framework the performative value of tropes was investigated, i.e. in how far 'talk and action' form a dialectic whole. In particular, the question how organisations become active agents, who "think" and "speak" and "act" was investigated with the help of the voice metaphor, exploring the relationship between individuals, agents and principals. Different voices (new voices, fading and fluctuating voices, dissenting voices, having no voice) were investigated. Meaning, although inchoate and in perpetual flux was shown to be linked to the ability to transcend individual status and claim agency on behalf on a higher principal. Deviant meaning and interpretation were investigated as occurring in the trope irony, but also in the denial of metonymical causal linkages between signs and divergent particularisation processes within metaphorical interpretation. Finally, meaning as derived from a wider discursive environment (Higher Education environment) was investigated from a critical point of view, focusing on hegemonial processes and the manufacture of consent, which "normalised" the hidden assumptions of certain discourses by drawing on metaphorical and metonymical devices inherent in language. Irony, again, was shown to be an expression of divergent meaning interpretation. The exercise of power as well as resistance were shown to be dialectically enacted at the interstices of everyday practice. These transient, elusive processes are expressed in language, in particular the figures of speech. In sum, the suggested tropological approach shows metapho as being both constraining and emancipatory in its performative value, metonymy as being the first and foremost habitus of cultural knowledge and iron as being precariously suspended between conservatism and change. The contributory value of this approach lies in the inclusion of two tropes, metonymy and irony, which have not been sufficiently understood or theorised in organisation studies.

Michael Praetorius was one of the most prolific and innovative Lutheran composers of the early seventeenth century. His Megalynodia Sionia ("The Magnificats of Zion") is a collection of fourteen Magnificats for use in Vespers services. The compositions in the collection present a series of complicated issues that modern editors and performers must unravel to be able to perform this music. The most common method for performing Magnificats at this time was alternatim, in which different musical groups alternated in performing verses. For eleven of the Magnificats in Megalynodia, only six of the twelve verses are supplied by Praetorius. Appropriate sources for the other verses must be identified. Also, there was a tradition in the Lutheran church of inserting chorales between the verses of the Magnificat on feast days. The chorales would be songs associated with the occasion, for example Christmas or Easter. Praetorius gives important instructions to prospective performers as to how these insertions should be chosen and performed. Eleven of the Magnificats are parodies of works by other composers, Orlando di Lasso in particular. Parody technique is the use of polyphonic music by another composer as source material for a new composition. It was a very typical compositional method of the sixteenth century. Lasso started a Continental tradition of using parody technique in the Magnificat; in this collection Praetorius follows in his footsteps. One must take all these issues into account in attempting to create modern performing editions of this music. The study culminates in performing editions of two Magnificats from the collection.

Travelers' experiences in Cyprus and the texts they produce in light of these encounters function rhetorically, informing cultural relations among people of different societies. When the efforts of these travel writers are taken to be rhetorical, critics position themselves to identify how ethics, politics, and aesthetics of narration and self-representation create the tropes that fix other people in ideological space. This analysis examines the production of difference in selected travel narratives set in Cyprus in the later modern era, which coincides with the rise of anti-colonial politics, nationalism, and globalization (1955-2005). To further focus the analysis, I attend mostly to the representation of "the Turk" in this textual genre. An introductory chapter examines the rhetorical situation of the travel text of Cyprus, exploring rhetorical and critical concepts such as ethos, rhetoric as popular culture, and tropology; it also surveys the landscape of Cyprus as a destination of travel and introduces some of the major texts to be considered. Subsequent chapters explore the rhetoric of narrated travel writing set in Cyprus according to its variations in style and historical epoch. The critique examines the ethics of narration and representation in memoirs, travelogues, political journalism, guide books, and ethnographies by a diverse range of writers including Lawrence Durrell, Colin Thubron, and Christopher Hitchens. A concluding chapter considers alternative, rhetorically self-conscious forms of travel and writing that suggest different possibilities for an ethical future of travel, travel narration, and cultural encounters.

The aim of this thesis was to investigate trope usage in videogames, including the emergence of undiscovered ‘videogame’ tropes, and to create a new model for videogame categorisation using these tropes. This model serves to complement genre as a means of distilling videogame contents. The investigative work formed two parts, initially considering how videogames use existing rhetorical tropes such as metaphor as expressive and communicative devices and secondly to analyse videogames as a source of shared literary tropes. Each shared literary trope was validated as a common form of expression (referred to simply as 'common form'), where its presence was proven in a substantial sample of videogames. Common forms were gathered through a wide-ranging investigation of ten mainstream genres one at a time and in isolation to arrive at a pool of genre-specific common forms. The most closely related forms combined, with the help of relationship modelling techniques. A set of common forms capable of representing the contents of any videogame was reached. The result is a powerful hierarchical content model allowing a game to be described in terms of its common form usage profile. Common forms can effectively describe games which span several genres and differentiates between games which appear similar on the surface e.g. within the same genre hence aiding effective classification. Common Forms were proven to exist on a number of different hierarchies ranging from those specific to a particular game, to a game type (genre) and even to those which are universal and hence can be observed within any modern videogame. Finally, it was possible to see the very core or 'heart' of the functioning videogame, the never-ending competition between player resources such as energy, ammunition or shields, the 'player status' and the threats, challenges or obstacles the game's systems throw at the player, the 'game status'. The model does have considerable potential for application in educational settings such as college and university game development or appraisal classes and further development and testing would provide an effective tool for industry use.