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La présente thèse s’appuie sur les correspondances adressées par le compositeur Henri Tomasi, entre 1916 et 1940, à Joséphine et Xavier Tomasi, ses parents, puis de 1954 à 1971, à Jean Molinetti, son ami le plus proche. Il s’agit d’un ensemble de 533 lettres inédites, qui ont été transcrites, classées, et annotées. Cet unique témoignage écrit du musicien nous permet de comprendre les répercussions qu’eurent sur son œuvre créatrice les événements qui ponctuèrent sa vie et dont ses courriers se font l’écho. Nous étudions ainsi tour à tour l’environnement familial d’Henri Tomasi, au travers notamment du rôle fondamental que joua son père tant dans son éducation que dans le cadre de ses recherches sur la musique traditionnelle corse ; nous voyons la façon dont le jeune musicien conduisit ses études musicales, les rapports qu’il entretint avec les institutions de son temps, mais aussi le rôle que purent jouer les différentes activités de chef d’orchestre qu’il exerça à certaines périodes de son existence. Nous assistons également à l’évolution progressive de sa pensée et à sa transposition dans son œuvre musicale. Tout au long de ces années, cette correspondance au cours de laquelle le musicien passe successivement d’une écriture contrainte à une écriture choisie, nous livre des informations capitales et nous séduit par la vivacité de son ton et le mordant de son style. / The present thesis is based on all the written correspondence from the composer Henri Tomasi to Joséphine and Xavier Tomasi, his parents, between 1916 and 1940.Then, from 1954 to 1971 to Jean Molinetti, his closest friend. This correspondence includes 533 unpublished letters which have been transcribed, classified and annotated. This musician's unique written testimony allows us to understand how the events which punctuated his life, echoed in his letters, had repercussions on his creative work. Thus in turn, we will study Henri Tomasi's family environment considering notably the fundamental role played by his father in his education as well as in the field of his research on traditional Corsican music ; we'll see the way the young musician conducted his musical studies, his relationship with the institutions of his time but also the role his various activities as a conductor were to play at certain periods of his life. We will also follow the progressive evolution of his thought and its transposition in his musical work. In this correspondence, throughout all those years, the musician's constrained writing style gradually evolved into a more personal one. It gives us essential information and Tomasi seduces us by the incisiveness of his style and by the liveliness of his tone.

The "Concerto for Trumpet" by Henri Tomasi is a work which has enjoyed increasing popularity in recent years. Two recordings of the concerto have been made by the French performers, André and Thibaud, and while it has been a part of the standard repetoire in France for a number of years, its popularity in the United States has been fairly recent. This concerto has gained a secure place in the trumpet repetoire for American performers, and it has been performed with some frequency at the conventions of the International Trumpet Guild. In spite of the recent interest in this work, very little has been written about the Concerto, and information in the English language on Tomasi's life and musical works is very limited. It is the intention of this study, therefore, to provide a better understanding of the Concerto for Trumpet by Henri Tomasi with the goal of directing the performer toward a more informed and authentic performance of this important work for trumpet. In order to provide a thorough understanding of Tomasi's Concerto, this study will first examine the area of French trumpet music, both orchestral and solo, and its relationship to the work. The second section of this project deals with the life and work of the composer which is followed by an analysis of the Concerto.

Dissertation--Mainz--Johannes-Gutenberg-Universität, 2006. / Contient le texte en danois de Hans Christian Andersen, ainsi que sa traduction allemande : "Den standhaftige Tinsoldat = Der standhafte Zinnsoldat" Bibliogr. p. 202-209.

Lo scopo della tesina è comparare, alla luce della cornice teorica che esiste nel campo della ritraduzione, le due traduzioni in lingua svedese del romanzo Il Gattopardo di Giuseppe Tomasi di Lampedusa. I metatesti svedesi sono la prima traduzione del 1960 di Eva Alexandersson e quella del 2016 di Viveca Melander. Le due traduttrici svedesi usano due versioni differenti del prototesto: la versione d'origine del 1958 e la versione riveduta del 1969. Quindi, all'inizio di questo lavoro. è stata in primo luogo fatta un'analisi comparativa di un estratto delle due versioni del prototesto. L'analisi dimostra differenze più frequenti tra le due versioni di quanto fosse precedentemente indicato nella bibliogafia a riguardo. In secondo luogo. viene condotta un'analisi del lessico della traduzione della Alexandersson per indagnare in che modo un invecchiamento del lessico di quella traduzione possa motivare una ritraduzione del romanzo. Vengono esaminati 18 lemmi del primo capitolo della traduzione della Alexandersson ed è esplorata la presenza di questi lemmi in due versioni della Svenska Akadmiens Ordlista: la versione 9 (del 1950) e la versione 14 (del 2015). Usando questo metodo non è risultato possibile dimostrare in maniera conclusiva un invecchiamento del lessico. In terzo luogo, è analizzato in che modo la teoria proposta da Antoine Berman sul carattere della ritraduzione, quella di avere lo scopo di essere più fedele della prima traduzione al testo di origine, possa applicarsi alle traduzioni svedesi di Il Gattopardo. Sono paragonate dal punto di vista lessicale e sintattico 14 frasi dei prototesti e delle due traduzioni in lingua svedese. Viene mostrato che la seconda traduzione è più prossima al prototesto. Queste osservazioni danno quindi appoggio alla teoria di Berman. / The aim of this thesis is to compare, considering the theoretical framework that exists in the field of retranslation, the two translations into Swedish of Giuseppe Tomasi di Lampedusa's novel Il Gattopardo (The Leopard). The Swedish texts are the first translation from 1960 by Eva Alexandersson and the one from 2016 by Viveca Melander. The two Swedish translators use different versions of the source text: the original version from 1958 and the revised version from 1969. Therefore, at the outset of this work, a comparative analysis is made of an excerpt of these two versions of the source text. The analysis shows that there are more differences between the versions than has previously been reported in the literature. Secondly, an analysis of the translation by Alexandersson is made in order to examine to which extent an ageing of the vocabulary of this translation could justify a retranslation of the novel. 18 headwords from the first chapter of Alexandersson's translation of the novel are investigated, and their existence in two editions of Svenska Akademiens Ordlista: version 9 (1950) and 14 (2015) is examined. Using this method, it was not possible to conclusively prove an ageing of the vocabulary. Thirdly, it i investigated to which extent the theory proposed by Anoine Berman on the character of retranslation, i.e. to have the tendency and function to get closer to the source text, is applicable to the Swedish translations of Il Gattopardo. 14 sentences from the source text and the two translations are compared from lexical and syntactic points of view. It can be shown that the second translation is closer to the source text. These observations thus give support to Berman's theory.

In the semestral thesis is given basic methods of non-contact measurement heart rate. There is explained Eulerian video magnification method deals with the visualization of the pulse in the videosequence of face. The semestral thesis describes algorithm Viola-Jones face detection in images and algorithm Kanade-Lucas-Tomasi for tracking faces in the videosequence. Part of the work includes design and realization of measurement. There is explained realization of the program and documented execution results, which are discussed. From the results it is designed to guide for optimal recording.

This paper presents a critique of John Tomasi’s free market fairness: a theory that seeks to combine a robust conception of social justice with a thick conception of economic liberty. The main difference, according to Tomasi, between free market fairness and justice as fairness is that the former emphasizes the value of citizens’ agency, whereas the latter emphasizes the equal status of citizens. Focusing on the labor market and workplace governance, I argue that an argument for free market fairness cannot be made on agency grounds, and furthermore, that the theory is in fact damaging to the agency of workers. I do this by interpreting Elizabeth Anderson’s theory private government through the lens of agency, whereby I show how free market fairness fails to consider the agency – or lack of – after an employment contract has been entered. Moreover, I show how some of its principles conflict with strategies that are important for securing the agency of workers.

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Submitted by Edisangela Bastos (edisangela@ufpa.br) on 2012-05-21T15:29:57Z No. of bitstreams: 2 Dissertacao_DiscursoLiterarioCinematografico.pdf: 3853366 bytes, checksum: d50e945e52abf5ae91e85bda22c91b05 (MD5) license_rdf: 23898 bytes, checksum: e363e809996cf46ada20da1accfcd9c7 (MD5) / Approved for entry into archive by Edisangela Bastos(edisangela@ufpa.br) on 2012-05-21T15:30:15Z (GMT) No. of bitstreams: 2 Dissertacao_DiscursoLiterarioCinematografico.pdf: 3853366 bytes, checksum: d50e945e52abf5ae91e85bda22c91b05 (MD5) license_rdf: 23898 bytes, checksum: e363e809996cf46ada20da1accfcd9c7 (MD5) / Made available in DSpace on 2012-05-21T15:30:15Z (GMT). No. of bitstreams: 2 Dissertacao_DiscursoLiterarioCinematografico.pdf: 3853366 bytes, checksum: d50e945e52abf5ae91e85bda22c91b05 (MD5) license_rdf: 23898 bytes, checksum: e363e809996cf46ada20da1accfcd9c7 (MD5) Previous issue date: 2008 / Cet travail traite de deux arts, la Littérature et le Cinéma. C‟est que, bien les textes autonomes et spécífiques, son convertis en rapports distincts a identifier et, dans le même temps, le temps hors travail par rapport à l‟outre. Notre abroche, comme point de départ, le texte littéraire “Le Guépard”, l‟ écrivain italien Giuseppe Tomasi di Lampedusa et, comme un point d‟arrivée, le travail du réalisateur cinematographique homonyme, également italien, Luchino Viscontii. Lampedusa a produit un‟oeuvre que serait reconnue à titre posthume. Il a creé un récit à travers lequel met en évidence l‟histoire et la répresentation de la societé. Bien qu‟il nous a laissé un peu travail caracterisée par la présentation de leurs propre style, marqué par des touches de liberté et de loisirs de la parole. Luchino Visconti, créateur des plus belles ouvres du cinéma de son temps, mis un travail avec vigueur à l‟écran, d‟importants travaux décrivains de renom. Ses films reflètent un point de vue historique précis, et aussi de la désintegration sociale aristocratique. Son film narratif est un mélange constant de l‟audace et la créativité stimulant l‟acte à l‟architecte qu‟il en images magnifiques, en conformité avec la fidelité (ou presque) à l‟ordre de l‟abstraction de l‟imagerie. / Este trabalho trata de duas artes, Literatura e Cinema. Embora autônomas e específicas, traduzem-se em textos distintos, relações de identificação e ao mesmo tempo afastamento de uma obra em relação à outra. Nossa abordagem tem, como ponto de partida, o texto literário "O Leopardo", do escritor italiano Giuseppe Tomasi di Lampedusa e, como ponto de chegada, a obra cinematográfica homônima do cineasta, também italiano, Luchino Visconti. Lampedusa produziu uma obra que só ganharia reconhecimento postumamente. Nela, criou um discurso narrativo através do qual põe em destaque a História e a representação da sociedade. Apesar de ter nos legado uma obra pequena, caracteriza-se por apresentar um estilo próprio, marcado por requintes de liberdade e recriação da palavra. Luchino Visconti, o mais requintado criador da sétima arte de seu tempo, transpôs, com rigor, para a tela, importantes obras de renomados escritores. Seus filmes traduzem uma precisa visão histórica e aristocrática. A narrativa cinematográfica mescla ousadia e criatividade, desafiando a escritura ao arquitetá-la em magníficas imagens, cumprindo com o (quase) intuito da fidelidade a abstração da imagem literária.