Thesis (D. Mus. Arts)--University of Washington, 1994. / Vita. Includes bibliographical references (leaves [108]-110). Also available electronically.

Cette thèse a pour objectif de questionner les raisons de la croissance aiguë des occurrences du mot latin “pauper” dans les capitulaires et les canons conciliaires produits à l’époque carolingienne, surtout entre les années 755 et 840. En alliant les outils technologiques de recherche à la masse des données textuelles importantes, disponible grâce à numérisation des sources, nous avons organisé notre étude autour de trois principes: i) la recherche des occurrences et fréquences d’utilisation de “pauper”, tenant en compte les différentes significations à attribuer à ce terme; ii) la nature de la documentation dont le mot apparaît; et iii) le contexte historique englobant les deux points précédents. En somme, la question essentielle est de découvrir ce que phénomène peut nous dire sur la structure social et les systèmes de représentation de la société carolingienne entre les VIIIe et IXe siècles?Plus que chercher pour les “vrais” pauperes – donc notre choix de ne pas traduire ce mot par son correspondant francophone plus proche, “pauvre” –, nous croyons que lacroissance de l’emploi du terme “pauper” dans les capitulaires et textes conciliaires carolingiens n’est pas seulement un témoin statistique de l'appauvrissement du royaume ou des abus seigneuriaux vus à ce moment-là. En effet, ces mesures normatives en rapport aux pauperes s’inscrivent dans deux logiques complémentaires: une est la pratique chrétienne dela caritas, associée dès les débuts du haut Moyen Âge aux évêques mais incorporées auministerium royale par les carolingiens, principalement en forme d’aumône. L’autre c’est la rationalité politique, où la protection des pauperes contre les oppressions des puissants (laïcs et ecclésiastiques) a servi, pour les rois, à l'établissement d’une rhétorique légitimant leur exercice de pouvoir au regard de l’aristocratie, et pour les évêques, à un discours d’autoritésur les propriétés ecclésiastiques (désignées comme “res pauperum”). Ainsi, au-delà des indications exclusivement socio-économiques et religieuses (en suivant une historiographie traditionnel), nous croyons que le sujet du pauper a été, dans les capitulaires et canons conciliaires des années 755-840, aussi une question politique. / In “The pauperes in the carolingian age, 755-840” we intend to investigate what are the reasons for the expressive occurrences increase of the latin word “pauper” in capitularies and council texts produced during VIII and IX centuries. What does pauper mean? Why does it happen in these two normative documentary groups? What could this phenomenon tell us about the Carolingian society? Combining powerful search technologies with a massive amount of data, available thanks to digitalization, we intended to answer these questions beyond the parameters currently accounted by historiography. Rather than seeking for “real” pauperes – hence the option of not translating the termby his usual english counterpart, “poor” – we believe that the growth of the use of the word “pauper” in the Carolingian capitularies and council texts are not just statistical testimonials of kingdom impoverishment or seigneurial abuses. As a result from Carolingian princes and episcopate interests, the use of word “pauper” in capitularies and council texts represents not only a possible socio-economic transformation but also a shift in the political culture at that period, where the concern for pauper protection stood as a significative example. / Doctorat en Histoire, histoire de l'art et archéologie / info:eu-repo/semantics/nonPublished

<p> The textual corruption found in Malachi 2:10-16 while providing frustration for the modem scholar also presents a unique opportunity to observe how ancient interpreters chose to deal with such difficulties. The Hebrew Leningradensis (L) and the Greek Sinaiticus (N) manuscripts diverge, at least to some degree, in their rendition and subsequent interpretation of Mal 2:10-16. The following thesis examines and compares this difficult corpus within these two manuscript traditions, in their similarities and differences, through an analysis of their various grammatical, syntactical and semantic features. This analysis shows that these two traditions present two variant versions of Mal 2:10-16 but yet still functioned as Scripture within their respective communities of faith. The findings of this analysis are brought into the discussion regarding concepts of biblical canonicity as presented by Brevard S. Childs and James A. Sanders.</p> / Thesis / Master of Arts (MA)

This work in three movements is written for piccolo, flute, alto flute in G, oboe, English horn in F, clarinet in Bb, bass clarinet in Bb, contrabass clarinet in Bb, bassoon, soprano saxophone in Bb, alto saxophine in Bb, horn in F, trumpet in Bb, six percussion, violins, violas, and violoncellos. The approximate duration is thirteen minutes. The rhythm of the piece is notated metrically and spatially. Movements I and III employ both types of notation, while movement II is strictly metric. Most of the percussion instruments used in the first movement are capable of sustaining very lengthy notes. Upon the release of these notes they have equally long, if not longer, decay times. As the aural residue of the envelopes dissipates, the strings and winds are used to extend the decay times. At the same time, the varying timbres provide subtle shifts in color, so that the overall effect is one of a very large instrument able to undergo a kin of internal, timbral metamorphosis. In diametrical contrast, the envelopes of movements II and III are compressed to the point of short, individual attacks.

The work deals with the orders of canons regular that operated or still operate in our country (Canons Regular of St. Augustine, Premonstratensians, Order of St. Anthony). Attention is paid not only to the origin and history of paticular orders in the world and in Bohemian Lands but also to their representatives, saints or regular houses as well as to the works of art we are obliged to mentioned orders for their origin.

No description available.

Étienne Maleu († 1322), chanoine de Saint-Junien (Haute-Vienne), a rédigé une chronique en latin. Il y raconte l’histoire de son église de l’an 500 jusqu’en 1316, date à laquelle il pose sa plume. L’auteur prend soin de consigner dans son « livre de mémoire », les biens et les droits de son chapitre à une époque où celui-ci voit ses horizons s’élargir considérablement à la suite de la nomination comme prévôt d’un membre de la curie pontificale avignonnaise. Étienne Maleu se distingue, parmi les historiens du début du XIVe siècle, par son profil singulier de chanoine de collégiale séculière ainsi que par la vaste érudition qu’il a mise au service d’une œuvre au caractère très local. Comme son contemporain Bernard Gui, auquel il emprunte sa matière et sa méthode historiques, il est un digne représentant de cette histoire « technicienne », selon le terme de Bernard Guenée, qui s’épanouit dans le royaume de France à la fin du Moyen Âge. En effet, le chanoine de Saint-Junien, qui a exploité des sources de natures très diverses (archéologiques notamment, qu’il a la particularité d’étudier dans une perspective liturgique), offre à son lecteur un récit construit et « documenté », y insérant, outre des analyses, la copie de vingt-sept chartes et bulles ainsi que de documents épigraphiques. La présente étude, qui vise à replacer Étienne Maleu dans la communauté des historiens médiévaux, s’accompagne d’une édition critique de sa chronique, réalisée à partir des différentes copies prises par des érudits des XVIIe et XVIIIe siècles, accompagnée de sa traduction commentée. / Étienne Maleu († 1322), canon of Saint-Junien (Haute-Vienne), wrote a Latin chronicle. He related the story of his church from 500 to 1316. Indeed, he completed his work in 1316. The author carefully recorded the possessions and rights of his church. At this time, indeed, the pope appointed to the function of provost a member of his familia : it deeply changed the chapter’s composition and organization. Étienne Maleu was quite different from the other historians of the beginning of the fourteenth century. Indeed, he was a secular canon who belonged to a collegiate church. Furthermore, he demonstrated a vast erudition in the writing of a very local chronicle and wrote a scholarly history, as his contemporary Bernard Gui from whom he borrowed his historical knowledge and method. Indeed, the canon of Saint-Junien used a very large range of sources, that is to say chronicles, vitae sanctorum, necrologies, deeds, epigraphic and monumental sources, oral sources and his own memory. He offered a well-structured story. He transcribed twenty-seven deeds in his work and also inserted in his text the summaries of about thirty other deeds. This study aims to place Étienne Maleu in the community of medieval historians. It also offers a critical edition of his chronicle – which publishes the text of copies made from the original manuscript (which was probably burnt during the French Revolution in 1793) during the seventeenth and eighteenth centuries – and a translation with annotations.

Este trabalho de pesquisa tem por objetivo estudar a singularidade da obra Aventuras de Diófanes, de Theresa Margarida da Silva e Orta, escritora portuguesa de meados do século XVIII. O fato de Theresa Margarida não pertencer aos cânones da literatura portuguesa nem da feminina constitui uma problemática que se buscou explicar neste trabalho. Criadora de um protorromance inspirado em obras clássicas como Odisséia (de Homero) e Télémaque (de Fénelon), Theresa Margarida é vista, nesta tese, como um retratista feminino dos cenários políticos, religiosos, sociais e culturais da época, em um ambiente dominantemente masculino. Como das mulheres letradas só era esperada e permitida a produção poética, a postura da autora portuguesa tem a conotação de transgressora, à luz dos conceitos de Foucault. O Iluminismo, a clandestinidade, os estrangeirados, o imaginário português, todas estas idéias entrelaçadas constituem redes de significantes e de memória que denunciam uma produção pioneira. O olhar pesquisador não se restringiu à poesia portuguesa, buscando também respostas em autoras como a mexicana Sóror Juana Inês de La Cruz, como modelo de cavilação e rebeldia. Por outro lado, há ainda a possibilidade de a obra estar, veladamente, apresentando um teatro familiar, semelhante à própria vida da autora. Sob este aspecto, alguns pontos da Psicanálise foram auxiliares na análise da criação da principal personagem feminina. Com este estudo esperouse contribuir criticamente para uma nova dimensão de conhecimento da Literatura Portuguesa, à luz da História e do sistema literário, na confluência do texto, do discurso e da ideologia / The present work aims to study and research the uniqueness of the novel Aventuras de Diófanes, written by Theresa Margarida da Silva e Orta, Portuguese author and writer from the early 18th Century. The fact that Theresa Margarida was not part of the canons of neither Portuguese nor feminine literature is the main point of this investigation. Inspired by Homers Odyssey and Fénelons Télémaque, Theresa Margarida, who created the protorromance, is faced by this work as a female portraitist of the political, religious, social, and cultural scenarios of her time, within a dominantly male environment. The Portuguese writer can be considered a transgressor of that time, through the thoughts of Foucault, once from the educated women was expected nothing but poetry production. The enlightment, the secrecy, the estrangeirados, the Portuguese subconscious, were all ideas that created a net of meanings and memories leading to a breakthrough literary production. This research is not restricted to the Portuguese poetry, but also tries to find answers within the work of female writers such as the Mexican Sóror Juana Inês de La Cruz, as a rolemodel of being rebel and not mainstream. On the other hand, there is a chance of this work introducing a familybased play, similar to the analyzed authors life. The Psychoanalysis helped us with the task of examining the creation of the main female character. This work intends to critically contribute for a new perspective of studying and understanding Portuguese Literature, within the fields of History and the literary system, and the intersection of text, speech, and ideology.

Este trabalho de pesquisa tem por objetivo estudar a singularidade da obra Aventuras de Diófanes, de Theresa Margarida da Silva e Orta, escritora portuguesa de meados do século XVIII. O fato de Theresa Margarida não pertencer aos cânones da literatura portuguesa nem da feminina constitui uma problemática que se buscou explicar neste trabalho. Criadora de um protorromance inspirado em obras clássicas como Odisséia (de Homero) e Télémaque (de Fénelon), Theresa Margarida é vista, nesta tese, como um retratista feminino dos cenários políticos, religiosos, sociais e culturais da época, em um ambiente dominantemente masculino. Como das mulheres letradas só era esperada e permitida a produção poética, a postura da autora portuguesa tem a conotação de transgressora, à luz dos conceitos de Foucault. O Iluminismo, a clandestinidade, os estrangeirados, o imaginário português, todas estas idéias entrelaçadas constituem redes de significantes e de memória que denunciam uma produção pioneira. O olhar pesquisador não se restringiu à poesia portuguesa, buscando também respostas em autoras como a mexicana Sóror Juana Inês de La Cruz, como modelo de cavilação e rebeldia. Por outro lado, há ainda a possibilidade de a obra estar, veladamente, apresentando um teatro familiar, semelhante à própria vida da autora. Sob este aspecto, alguns pontos da Psicanálise foram auxiliares na análise da criação da principal personagem feminina. Com este estudo esperouse contribuir criticamente para uma nova dimensão de conhecimento da Literatura Portuguesa, à luz da História e do sistema literário, na confluência do texto, do discurso e da ideologia / The present work aims to study and research the uniqueness of the novel Aventuras de Diófanes, written by Theresa Margarida da Silva e Orta, Portuguese author and writer from the early 18th Century. The fact that Theresa Margarida was not part of the canons of neither Portuguese nor feminine literature is the main point of this investigation. Inspired by Homers Odyssey and Fénelons Télémaque, Theresa Margarida, who created the protorromance, is faced by this work as a female portraitist of the political, religious, social, and cultural scenarios of her time, within a dominantly male environment. The Portuguese writer can be considered a transgressor of that time, through the thoughts of Foucault, once from the educated women was expected nothing but poetry production. The enlightment, the secrecy, the estrangeirados, the Portuguese subconscious, were all ideas that created a net of meanings and memories leading to a breakthrough literary production. This research is not restricted to the Portuguese poetry, but also tries to find answers within the work of female writers such as the Mexican Sóror Juana Inês de La Cruz, as a rolemodel of being rebel and not mainstream. On the other hand, there is a chance of this work introducing a familybased play, similar to the analyzed authors life. The Psychoanalysis helped us with the task of examining the creation of the main female character. This work intends to critically contribute for a new perspective of studying and understanding Portuguese Literature, within the fields of History and the literary system, and the intersection of text, speech, and ideology.

Though a relatively new form of communication technology, the podcast serves as a remediated form of the classical orator—merging the classical practices of oration with current methods of production and delivery. This study draws connections from the historical five canons of rhetoric and current usability studies to build a heuristic for developing and evaluating usable podcast design.