Researches on interlanguage speech act of apology have been conducted in a variety of cultures and languages, while little attention has been paid to interlanguage apology made by Chinese EFL learners. Therefore, aiming to obtain a better understanding about how Chinese EFL learners differ from English native speakers in their speech act performance of apology, this study compared the apologies made by native speakers of Chinese and English and Chinese EFL learners at two English proficiency levels. Data for analysis in this study consist of 3600 expressions of apology performed by informants including 60 English native speakers, 60 Chinese native speakers, and 60 Chinese EFL learners¡X30 English-major EFL learners and 30 non-English-major EFL learners. As far as the apology strategies used by the four groups are concerned, results showed, as found by Fraser (1981) and Olshtain (1983, 1989), that the four groups of informants exhibited cross-linguistically valid apology strategies and similar patterns of apology strategy selection and preference order, even when contextual factors were involved. However, the frequency with which apology strategies are used reveals some deviations between EFL learners and NS-E for a number of strategies. Furthermore, proficiency effect is found operative in EFL learners¡¦ interlanguage apology production. Results of this study revealed a positive correlation between EFL learners¡¦ English proficiency and their interlanguage pragmatic competence and their linguistic accuracy in apologizing. For future studies, in order to determine how native speakers and EFL learners function in natural face-to-face interactions, the replication of study in an oral mode, a role-play for example, should be conducted, and either the data gathered from DCTs or from role-plays should be compared with the data gathered through the observation of natural language events to arrive at a more accurate analysis of the apologizing behavior of native speakers and EFL learners. Besides, this study focused specifically on the production of the apology speech act by native speakers of Chinese and English and Chinese EFL learners; however, based on Olshtain¡¦s (1989) claim that the understanding of intercultural differences cannot be limited to production features only without considering the perlocutionary aspect of the speech act from the hearer¡¦s point of view, further work should include the analysis of the responses to apologies to gain a better understanding and present a fuller picture of interlanguage speech act of apology.

The interlanguage studies of the speech act of refusals have been conducted in a variety of cultures and languages while little attention has been paid to interlanguage refusals made by Chinese EFL learners in Taiwan. The present study investigated the perception and performance of the speech act of refusals made by Chinese EFL learners at high (EFL-Hs) and low (EFL-Ls) proficiency levels compared with two baseline groups, Chinese L1 (CL1s) and American English L1 (EL1s). Data used for analysis in the study consisted of 3,543 expressions of refusal elicited from Discourse Completion Tasks (DCTs) performed by 180 college students (60 Chinese EFL learners, 60 Chinese native speakers and 60 English native speakers in North America). Based on Beebe et al.¡¦s coding system (1990), the refusal strategies were examined as direct refusals, indirect refusals, and adjuncts to refusals. Results revealed that when refusing, face is the major concern for speakers of the two cultures. However, cross-cultural differences were observed. Chinese L1 participants, under the influence of collectivistic culture value, distinguished ingroups and outgroups clearly. On the other hand, in English L1 group, equality is emphasized under the effect of individualistic cultural value. As to the performance of refusals, though both Chinese and English native speakers showed a preference for indirect refusals than direct refusals and the same range of refusal strategies were available for the four groups, the differences were observed in preference and frequency of use the refusal strategies, and also the content of the actual realization. Moreover, different ways of refusal modification were also favored by Chinese and English native speakers. Furthermore, results revealed a positive correlation between EFL learners¡¦ English proficiency and their interlanguage pragmatic competence. However, there was still a high degree of interlanguage variation in the use of refusal strategies among the EFL groups. It is suggested that in order to perform speech acts appropriately in different cultures, both speakers¡¦ perception and production should be emphasized in the future interlanguage researches, which would supply evidence of cross-cultural differences in social values and other motivating factors that could help interpret the EFL learners¡¦ realization of speech acts and gain a better understanding of interlanguage speech act of refusals.

The thesis for the Doctor of Musical Arts degree in Composition consists of an original musical work, accompanied by an analytical document. “The Piano Teacher” is a chamber opera in one act, based on a libretto by the composer, adapted from the fantastic tale “With the Gypsy Girls” by Mircea Eliade. With a duration of approximately fifty minutes, the work calls for four singers (tenor, soprano, bass-baritone, mezzo-soprano) and fifteen instrumental parts (flute, oboe, clarinet, bassoon, French horn, trumpet, trombone, percussion, piano, harp, two violins, viola, cello, contrabass). The aim was not only to set to music a symbolic story, but also to adopt a personal approach to the operatic genre. This approach proposes a less explicit plot, as well as minimal stage design. In adapting the story, the central character of the teacher receives an extensive music-dramaturgical role, while the other characters are assigned relatively equal supporting roles. The opera comprises a prelude and twelve short scenes, most of which unfold uninterruptedly. A thorough discussion of the nature, influences, and vocabulary of the opera accompanies the musical score. The analytical document concentrates on particular musical ideas, as well as on several cyclical elements, providing detailed exemplification to illustrate their use. Both the score and the analysis suggest possible approaches to the stage production of the opera.

The origins and growth of this world city[Cape Town] parallels that of my family and the myriad of others who constituted its formative population. Its stories of conquest and domination, the pursuit of gain and love found - the ebb and flow of human need and triumph are contained in the life experience of the countless thousands who lived and worked in and who were this city. This thesis started off as a biographical discussion on my association with District One. The narrative of District One is about the topography of the land and people, while the archive of the area reflects a history of punishment, settlement, removal and memory.

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A different analytical approach to that of the standard causal theory to the explanation of action is proposed. It is argued that the most basic kind of explanation of action is teleological explanation in terms of external reasons. what this amounts to is that an action is the result of a causal process which adapts its results to whatever is objectively practically rational. Explanation in terms of psychological states depends on being able to make this externalist sort of explanation. Central to this account is a theory of causal explanation which depends on the notion of a causal process. A causal process is a real entity distinct from an event. A phenomenon is causally explained when a description of the phenomenon is determined by a theoretical structure which represents how a process which results in the phenomenon works. In teleological explanation, the theoretical structure is that of practical rationality. It is argued that this must be regarded as objective practical rationality. Only purposeful activity can be explained in this way. An account of evolutionary function is provided to show why. it differs from this. This account of teleological explanation, because it does not involve internal mental states, may be used to show how we attribute such states. An agent is essentially a teleological machine. Accounts of perception, beliefs and intentions are provided based on this.

The origins and growth of this world city[Cape Town] parallels that of my family and the myriad of others who constituted its formative population. Its stories of conquest and domination, the pursuit of gain and love found - the ebb and flow of human need and triumph are contained in the life experience of the countless thousands who lived and worked in and who were this city. This thesis started off as a biographical discussion on my association with District One. The narrative of District One is about the topography of the land and people, while the archive of the area reflects a history of punishment, settlement, removal and memory.

The thesis for the Doctor of Musical Arts degree in Composition consists of an original musical work, accompanied by an analytical document. “The Piano Teacher” is a chamber opera in one act, based on a libretto by the composer, adapted from the fantastic tale “With the Gypsy Girls” by Mircea Eliade. With a duration of approximately fifty minutes, the work calls for four singers (tenor, soprano, bass-baritone, mezzo-soprano) and fifteen instrumental parts (flute, oboe, clarinet, bassoon, French horn, trumpet, trombone, percussion, piano, harp, two violins, viola, cello, contrabass). The aim was not only to set to music a symbolic story, but also to adopt a personal approach to the operatic genre. This approach proposes a less explicit plot, as well as minimal stage design. In adapting the story, the central character of the teacher receives an extensive music-dramaturgical role, while the other characters are assigned relatively equal supporting roles. The opera comprises a prelude and twelve short scenes, most of which unfold uninterruptedly. A thorough discussion of the nature, influences, and vocabulary of the opera accompanies the musical score. The analytical document concentrates on particular musical ideas, as well as on several cyclical elements, providing detailed exemplification to illustrate their use. Both the score and the analysis suggest possible approaches to the stage production of the opera.