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Makala haya yanalenga kuchambua fani na maudhui, muundo na dhamira za tamthilia za Kiswahili zihusuzo VVU/UKIMWI, hasa tamthilia kutoka Tanzania, na uhusiano baina ya VVU/UKIMWI na mila za jadi kama sherehe za jando na unyago. Dhamira muhimu ya kujadili ugonjwa katika kazi za fasihi barani Afrika ilichimbuka katika sanaa za maonyesho ya jadi ya Kiafrika yaani katika shughuli za ngoma na miviga ya kidini kama matambiko kwa miungu, kumtolea Mungu kafara ili mgonjwa apate dawa au kupona. Maudhui yanayohusu ugonjwa yameingia katika tamthilia mamboleo kwa nia ya kuoanisha tamthilia ya kigeni na ngoma ya kijadi, hasa baada ya miaka ya 1980 (ling. Mlama 1983; Hussein 1983). Katika tamthilia za Tanzania za kisasa magonjwa yanayozungumziwa ni mengi, lakini kuanzia miaka ya themanini ugonjwa mpya, yaani VVU/UKIMWI, unachukua nafasi ya dhamira kuu katika kazi nyingi. Lengo kuu la makala haya ni kuchambua na kuhakiki tamthilia teule sita zihusuzo VVU/UKIMWI na kuandikwa zote na waandishi wa kutoka Tanzania. Ninachambua vipengele mbalimbali vya fani na maudhui nikiangalia uhusiano baina ya sifa za kimapokeo na za mamboleo. Ninafafanua pia athari za kimagharibi kutoka tamthilia ya Wayunani yaani vigezo vya Aristotle na dhana ya tanzia. Kwa kuunganisha nadharia za kale za Kimagharibi na za kisasa kutoka Afrika Mashariki, nitatumia pia nadharia ya korasi (Mutembei 2012), na vilevile kuchambua athari za ki-Brecht yaani ukengeushi ambazo zimekuwa na umuhimu mkubwa kwa tamthilia ya kutoka nchini kwingi Afrika na ulimwenguni kote.

Black-and-white colobus monkeys are renowned for their impressive vocal behaviour, but up to date there have been only very few systematic efforts to study this. These monkeys are able to produce loud and low-pitched roars that transmit over long distances, which has lead to the assumption that these calls function in inter-group spacing and male-male competition. The fact that the monkeys sometimes produce the same calls to predators as well, has not received much attention so far. This thesis presents a detailed description of the form and function of the anti-predator behaviour of one species of black-and-white colobus monkeys, the Guereza (Colobus guereza), with a specific focus on their alarm calling behaviour. A second aim was to determine the effects of predator experience on their anti-predator behaviour, with a specific focus on call comprehension and production. Data were collected from two populations of Guereza monkeys in the Budongo Forest Reserve, Uganda, that differ in predation pressures experienced by their main predators: leopards, eagles and chimpanzees. Results showed that Guerezas use a basic form of zoo-syntax in order to compose predator-specific call sequences that vary in the number of roaring phrases and snorts. These sequences are meaningful to recipients, at least at the level of the predator class, but there were also indications for additional levels of encoded information: Guerezas appear to have evolved a second system, based on acoustic variants of individual phrases, which allows them to narrow down the information content of call sequences, generating the potential to communicate highly specific information by using a mix of syntactic and semantic cues. The monkeys’ vocal behaviour was influenced by predator experience, but not strongly so. Monkeys without prior experience with leopards lacked some of the behavioural nuances seen in leopard-experienced monkeys, but they nevertheless responded appropriately to visual and acoustic leopard models, suggesting they had retained the basic capacities to recognise this predator type as relevant and dangerous. Results are discussed in light of the comparative approach to the study of human language evolution. Although human language is unique in a number of ways, for example through its use of complex syntax and intentional semantics, some animal communication systems have revealed similar features, and Guerezas, the first member of the colobine family to be studied in this respect, are no exception. The Guerezas’ alarm calling behaviour is complex and flexible, and these monkeys have provided another piece of empirical evidence that is directly relevant for the comparative approach to human language evolution.

À travers une étude sur le renouveau de la chanson polyphonique française au début du XXe siècle, cette thèse tente de mettre en évidence l’émergence d’un nouveau modèle vocal, lui-même influencé par des styles d’écriture d’époques différentes (musique médiévale, Bach, Bizet, Wagner, etc.). Le corpus analysé comprend les cycles de chansons de Debussy (1908), Ravel, Poulenc (1936) mais aussi ceux de René de Castéra, Albert Doyen, Paul Ladmirault, Jean Langlais ou encore Jacques Pillois, composés sur des poèmes anciens (Charles d’Orléans, Clément Marot, Jean-Antoine de Baïf) ou modernes (Guillaume Apollinaire, Paul Éluard, Paul Fort), précisément à une époque où les chansons de la Renaissance et les chants traditionnels populaires arrangés pour chœur connaissent un immense succès. Ainsi, cette étude se propose-t-elle successivement de s’intéresser aux principales caractéristiques de ce modèle vocal, aux facteurs puis aux enjeux de l’émergence de ce modèle. Ce travail permettra de souligner les points communs entre les cycles intitulés chansons et d’autres pièces composées à la même époque par Darius Milhaud, Jacques Chailley, Angèle Ravizé et bien autres et de déterminer les spécificités de ce répertoire moderne par rapport aux polyphonies profanes de la Renaissance ou même par rapport à des œuvres orphéoniques. / Through a study on the revival of the French polyphonic song at the beginning of the XXth century, this thesis attempts to highlight the rise a new vocal model, influenced by several compositions from différent periods (medieval music, Bach, Bizet, Wagner, etc.). This study is about songs cycles of Debussy (1908), Ravel, Poulenc (1936) but also those of René de Castera, Albert Doyen, Paul Ladmirault, Jean Langlais or Jacques Pillois, composed on ancient (Charles d'Orléans, Clement Marot, Jean-Antoine de Baïf) or modern poems (Guillaume Apollinaire, Paul Eluard, Paul Fort), exactly in a time when the songs of the Renaissance and the traditional folk songs arranged for choir were hugely successful. This study successively focuses on the main features of this vocal model, on the factors and the issues of the rise of this model. This work emphasizes the similarities between the song cycles and pieces composed by Darius Milhaud, Jacques Chailley, Angèle Ravizé and many others, and determines the specifics of this modern repertoire compared to the Renaissance partsongs or even compared to orpheonic works.

Etude des systèmes d'exploitation de quelques systèmes repartis universitaires ou industriels et comparaison à CHORUS. Exposé des principes généraux d'implantation du système d'exploitation CHORUS, de l'architecture du système d'exploitation et ses relations avec les applications. Présentation d'une implantation réelle écrite en Pascal sur des microprocesseurs Intel 8086; étude des principales difficultés rencontrées d'une part avec le système de développement choisi, d'autre part avec le langage; l'aspect spécifiquement matériel n'est pas abordé. Bilan de cette expérience

The Heart's Portrait is a twelve movement composition for SATB choir and string quartet. The eight poems selected as the text for this work were penned by the eminent American poet Emily Dickinson. The text for the first movement, Dickinson's poem "If I can stop one Heart from breaking," succinctly describes the themes she commonly expounded upon in her writings: life, love, aching, pain, and purpose through faith. The remaining seven poems were chosen because they also explore these elemental themes. The main poem returns in variation throughout the piece, resulting in a modified rondo. To complement the four-part consort of voices, I selected a consort of strings in the form of a string quartet. The role of the quartet varies throughout the work from subservient to the vocal part, to dominant of the entire texture, to an equal partnership with the voices; these relationships are dictated by the text. Throughout the movements, I was able to explore a range of compositional techniques, both traditional and contemporary, while maintaining the primary purpose of unifying the text and music. This paper illustrates the initial compositional decisions made to begin the piece, the texts chosen and their placement within the work, the poet's history as it relates to the composition, a brief discussion on composers who have set Dickinson's words, and a thorough analysis of the work itself.

Many prey species lack innate recognition of their potential predators. Hence, learning is required for them to recognize and respond to predation threats. When wild-caught, these same species may show amazing sophistication in their responses to predator cues. They are able to adjust the intensity of their antipredator responses to a particular predator according to the degree of threat posed by that predator. This ability is therefore acquired through learning. While many studies have shown that prey can learn to respond to predator cues through different learning modes, little is known about what the prey are actually learning. The results presented in this thesis show that learned predator recognition goes beyond the simple labelling of predators as dangerous. Using fathead minnows (Pimephales promelas), woodfrog (Rana sylvatica) tadpoles and boreal chorus frog (Pseudacris maculata) tadpoles, I demonstrated that a one time learning event, either through pairing with alarm cues or through social learning, was enough for prey to learn the level of threat associated with the novel predator cues. I showed that the level of danger associated with the predator cues was determined by the concentration of alarm cues when learning through pairing of alarm cues, or by the intensity of antipredator response displayed by the tutors and by the tutor-to-observer ratio when learning occurred through cultural transmission. Moreover, when subsequently exposed to predator cues, prey adjusted their antipredator responses according to the change in concentration of predator cues between the learning event and the subsequent exposure. Prey displayed stronger antipredator responses when exposed to higher concentrations of predator cues and vice versa. When minnows were provided with conflicting information about the danger level associated with a predator, they displayed a safety strategy and used the most recent information available to respond to predation threats. On a longer time scale, the data also suggest that woodfrog tadpoles are able to learn to respond to predation threats according to the risk posed by the predator at different times of day. Finally, I showed that prey learn to recognize particular characteristics of predators and can generalize their antipredator responses to novel species sharing those characteristics. However, generalization of predator recognition is dependent on the level of risk associated with the predator. Threat-sensitive learning is an extremely complex process shaped by the millions of years of selection imposed by predators on prey.

Many prey species lack innate recognition of their potential predators. Hence, learning is required for them to recognize and respond to predation threats. When wild-caught, these same species may show amazing sophistication in their responses to predator cues. They are able to adjust the intensity of their antipredator responses to a particular predator according to the degree of threat posed by that predator. This ability is therefore acquired through learning. While many studies have shown that prey can learn to respond to predator cues through different learning modes, little is known about what the prey are actually learning. The results presented in this thesis show that learned predator recognition goes beyond the simple labelling of predators as dangerous. Using fathead minnows (Pimephales promelas), woodfrog (Rana sylvatica) tadpoles and boreal chorus frog (Pseudacris maculata) tadpoles, I demonstrated that a one time learning event, either through pairing with alarm cues or through social learning, was enough for prey to learn the level of threat associated with the novel predator cues. I showed that the level of danger associated with the predator cues was determined by the concentration of alarm cues when learning through pairing of alarm cues, or by the intensity of antipredator response displayed by the tutors and by the tutor-to-observer ratio when learning occurred through cultural transmission. Moreover, when subsequently exposed to predator cues, prey adjusted their antipredator responses according to the change in concentration of predator cues between the learning event and the subsequent exposure. Prey displayed stronger antipredator responses when exposed to higher concentrations of predator cues and vice versa. When minnows were provided with conflicting information about the danger level associated with a predator, they displayed a safety strategy and used the most recent information available to respond to predation threats. On a longer time scale, the data also suggest that woodfrog tadpoles are able to learn to respond to predation threats according to the risk posed by the predator at different times of day. Finally, I showed that prey learn to recognize particular characteristics of predators and can generalize their antipredator responses to novel species sharing those characteristics. However, generalization of predator recognition is dependent on the level of risk associated with the predator. Threat-sensitive learning is an extremely complex process shaped by the millions of years of selection imposed by predators on prey.

À partir des mises en scène de L’Orestie d’Eschyle, d’Œdipe roi de Sophocle et des Bacchantes d’Euripide diffusées dans les institutions nationales en Allemagne, en France et au Royaume-Uni entre 1973 et 2010, la thèse procède à une archéologie du commun, en explorant, d’une part, le concept de commun, et en particulier ses enjeux politiques, à travers une analyse des mises en scène contemporaines du chœur tragique et en étudiant, d’autre part, ces mises en scène à travers l’expression du commun. Ce travail propose donc de mettre au jour la construction et la circulation du discours sur le commun dans et entre ces trois pays. L’analyse des spectacles, d’abord, expose les éléments qui font ou entendent faire du chœur une incarnation du commun et met en perspective ces choix avec la réception de la tragédie grecque. Le discours sur le commun qui se construit ainsi au théâtre est ensuite confronté aux discours philosophiques et anthropologiques du moment mais aussi aux événements économiques, politiques et sociaux afin de faire apparaître les échos, les analogies, les ruptures et les discontinuités. Ainsi, entre 1973 et 1980, la mise en scène du chœur des Bacchantes a donné du commun une représentation utopiste où la communauté est fondée par le rituel. Dès 1980, à partir des Orestie de Peter Stein et Peter Hall qui tiennent lieu de modèles, le chœur devient un collectif où ce que les individus ont en commun est précisément leur singularité. Dans la continuité, jusqu’en 1999, les mises en scène d’Œdipe roi racontent la naissance de l’individu moderne à laquelle le chœur sert de cadre archaïque. Enfin, et malgré les tentatives dans des mises en scène de L’Orestie, au tournant du millénaire, pour refonder la communauté à partir d’une mémoire commune, les tragédies grecques montées dans les années 2000 présentent un désespoir de communautés – au double sens objectif et subjectif de l’expression. Cette archéologie du commun, qui reflète la globalisation à l’œuvre, est donc en creux une archéologie de l’individu. / Analysing productions of Aeschylus’ The Oresteia, Sophocles’ Oedipus the King and Euripides’ The Bacchai in national theatres in France, Germany and the United-Kingdom between 1973 and 2010, this thesis proposes an archaeology of the common (in the sense of « what we have in common ») both exploring the political implications of the concept – thrown into sharp relief by the various ways ancient choruses were staged – and studying the productions themselves through the type of community that they make manifest. This work intends to highlight the construction and the circulation of contemporary discourses about the common within, and between, these three countries. Performance analyses first focus on the elements that make, or intend to make, the chorus into an incarnation of the common and put these choices into perspective through the reception of Greek tragedy. The discourse about the common thus built in theatres, is then confronted with philosophical and anthropological discourses, as well as with economic, political and sociological events in order to call attention to echoes, analogies, disruptions and discontinuities. Thus, between 1973 and 1980, performances of choruses in The Bacchai were built upon rituals, putting forward a utopian conception of the common. From 1980 onward, as Peter Stein’s and Peter Hall’s Oresteia became established models, the chorus morphed into a collective in which individuals had their singularity in common. Following this, until 1999, the performances of Oedipus the King hailed the birth of the modern individual, for whom the chorus acts as archaic backdrop. Lastly, and despite attempts in performances of The Oresteia at the turn of the millennium to rebuild a community out of common memory, Greek tragedies staged in the 2000s show the despair of, and about, communities. This archaeology of the common, reflecting the globalisation of European societies, is therefore indirectly an archaeology of the individual.

The conservation of aquatic-breeding amphibian populations and their habitats is increasingly challenged by urban and rural development, which is occurring more intensively and more rapidly than ever before. Some species are now impacted by development throughout their range. This has forced a re-evaluation of the potential of developed landscapes for providing habitat and contributing to regional conservation strategies. For many amphibians, little is known about the criteria necessary for persistence in a developed landscape. Considerable variation in the physiology, habitat requirements, and movement behaviour of amphibians suggests that responses to habitat loss, alteration, and fragmentation are species-specific. In this thesis, I investigate species-habitat relationships for the northern red-legged frog (Rana aurora) and the Pacific chorus frog (Pseudacris regilla) in a mixed urban-rural landscape in southwestern British Columbia to evaluate the potential for species persistence despite urban and rural development throughout their range. I used repeat auditory surveys of the species’ breeding chorus to determine presence or absence at potential breeding wetlands. I then related species occurrence and abundance to characteristics of the aquatic and terrestrial environment measured at multiple spatial scales. Both species were found to use rural and urban wetlands, though R. aurora were rarely detected while P. regilla were common. Occurrence was best explained by characteristics of the terrestrial environment, rather than within-wetland characteristics, though influential terrestrial characteristics and their scale of impact differed between species. Within the context of the developed landscape, I identify species-specific positive and negative habitat associations and suggest the spatial scales at which management of these habitat characteristics will be most effective. These criteria may help to explain the species’ current distribution, prioritize management strategies, predict the effectiveness of habitat conservation and restoration projects, and inform development in municipalities seeking to maintain or enhance amphibian diversity. / Graduate / 2019-09-11