Texte remanié de: Th. Ph. D.--Faculty of Yale university, 1966.

Η παρούσα εργασία επικεντρώνει το ενδιαφέρον της στην προσέγγιση των διηγημάτων που περιέχονται στα Κείμενα Νεοελληνικής Λογοτεχνίας της Α΄ τάξης του Γυμνασίου. Η προσέγγιση αυτή γίνεται με βάση τη «στρουκτουραλιστική εκδοχή» της Αναγνωστικής Θεωρίας και συγκεκριμένα τη θεωρία του Γάλλου σημειολόγου/αφηγηματολόγου Claude Bremond. Γίνεται μια προσπάθεια ανάδειξης της σύνδεσης ανάμεσα στην Αφηγηματολογία και στην ερμηνεία κειμένων που διδάσκονται στο Γυμνάσιο. Η εργασία οργανώνεται σε δύο μέρη. Στο πρώτο κεφάλαιο του πρώτου μέρους εκτίθεται η προβληματική της έρευνας, οι στόχοι και η μέθοδος που ακολουθείται. Στο δεύτερο κεφάλαιο εκτίθεται αναλυτικά το θεωρητικό μοντέλο που προτείνει ο Bremond για την ανάλυση κάθε είδους αφηγηματικών κειμένων. Βασικές έννοιες του μοντέλου του είναι οι ρόλοι δρώντων και πασχόντων υποκειμένων και οι διαδικασίες, οι οποίες συνδέονται μεταξύ τους αλλά και με τους ρόλους. Στο δεύτερο μέρος γίνεται η ανάλυση του λογοτεχνικού υλικού, το οποίο περιλαμβάνει δέκα διηγήματα, σύμφωνα με το θεωρητικό μας εργαλείο. Τέλος, με αφορμή τα συγκεκριμένα διηγήματα γίνονται κάποιες προτάσεις για τη διδακτική αξιοποίηση του μοντέλου του Bremond στο Γυμνάσιο. / The present work focuses on the approach of short stories contained in the Texts of Modern Greek Literature taught at the first class of the Greek High School. This approach is based on the “structuralist version” of the Reader-Response Theory and, specifically, on the theory of the French semiologist/narratologist Claude Bremond. An effort has been made to show the connection between Narratology and the interpretation of texts taught at the Greek High School. The work consists of two parts. In the first chapter of the first part the research problems, the objectives and the used methodology are analyzed. In the second chapter, Bremond’s theoretical model for the analysis of all kinds of narrating texts is examined thoroughly. The basic concepts of his model are the roles of the agents, the roles of the patients and the processes, which are connected with each other as well as with the roles. The second part includes the analysis of the Literature material, which consists of ten short stories, using the theoretical tool. Finally, having in mind these particular short stories, certain suggestions for the educational use of Bremond’s model at the Greek High School are made.

Émile Zola rend compte de sa vision du progrès scientifique établie en concordance avec la doctrine littéraire du naturalisme et le contexte historico-scientifique du Second Empire français, dans le contexte sociologique d’exode rural de cette fin du XIXe siècle caractérisant les campagnes françaises. En alliant ces trois données déterminantes, Zola est parvenu à nous livrer une oeuvre forte recélant un certain type de scientificité, non conforme aux canons idéaux littéraires et sociaux de l’époque. Il s’appuie sur les doctrines de la méthode expérimentale de Claude Bernard et de l’hérédité de Prosper Lucas et d’autres médecins. La prédominance des champs sémantiques scientifique, héréditaire, alcoolique et violent détermine l’emploi d’un vocabulaire général basé sur des thématiques et des réseaux lexicaux particuliers. Le paysan est dépeint comme violent, ignorant, inéduqué, païen, alcoolique, animalesque, ayant l’esprit de clan et porté au lucre. Zola oppose la science et la religion pour la promotion de ses idées progressistes. / Émile Zola tells his vision about the scientific progress in concordance with the literary doctrine of naturalism and the historical and scientific context of the Second French Empire, in the sociological context of the rural exodus of the end of the nineteenth century characterizing the French contryside. Combining these three decisive facts, Zola manages to deliver a strong masterpiece containing a type of scientificity non conforming to the ideal literary and social canons of the time. He relies on Claude Bernard’s doctrines of experimental method and Prosper Lucas’heredity and the others medical practitioners. The predominance of scientific, hereditary, alcoholic and violent semantic fields defines the use of common vocabulary based on thematics and specific lexical networks. The peasant is depicted as a violent, ignorant, non educated, pagan, alcoholic, brutish, being clannish and attracted by the lucre. Zola oppose the science et the religion for promoting his progressive ideas.

My dissertation project explores the ways in which the banana exposes Americans’ interconnected imaginings of exotic food, gender, and race. Since the late nineteenth century, The United Fruit Company’s continuous supply of bananas to US retail markets has veiled the fruit’s production history, and the company’s marketing strategies and campaigns have turned the banana into an American staple food. By the time Josephine Baker and Carmen Miranda were using the banana as part of their stage and screen costumes between the 1920s and the 1940s, this imported fruit had come to represent foreignness, tropicality, and exoticism. Building upon foodways studies and affect studies, which trace how foodstuffs travel and embody memory and affect, I show how romantic imaginings of bananas have drawn attention away from the exploitative nature of a fruit trade that benefits from and reinforces the imbalanced power relationship between the US and Central America. In this project, I analyze the meaning interwoven into three forms of cultural production: banana cookbooks published by the United Fruit Company for middle-class American housewives; McKay’s dissent poetry; and the costumes and exotic transnational stage performances of Baker, Miranda, and also the United Fruit mascot, Miss Chiquita. / 2021-01-11

The subject of this thesis is to present the cycles of the preludes composed by F. Chopin, A. N. Scriabin and C. Debussy and to compare them with each other. 3 sorts of criteria will be chosen for that: 1) non-musical criteria, 2) music theory criteria and 3) will be researched through the analysis of chosen music pieces from the cycles. Their common features and differences will be summarized at the end of the each chapter.

No description available.

Made available in DSpace on 2014-06-11T19:27:26Z (GMT). No. of bitstreams: 0 Previous issue date: 2004-08-30Bitstream added on 2014-06-13T18:56:14Z : No. of bitstreams: 1 marchetto_lfl_me_ia.pdf: 7290807 bytes, checksum: 97c4d4043c341670b195f82b68942e36 (MD5) / Universidade Estadual Paulista (UNESP) / Este trabalho tem por objetivo estudar a chanson polifônica francesa, em particular as chansons para coral a cappella, escritas por Claude Debussy e Maurice Ravel, esperando que sirva de subsidio aos regentes corais, ajudando-os a compreender os elementos musicais e literários presentes nestas obras. Através de pesquisa na bibliografia, aborda-se a transformação da chanson ao longo do tempo para, em seguida, contextualiza-la dento da produção musical de C. Debussy e M. Ravel, apontando as principais características de suas linguagens musicais e as influências literárias que as inspiraram. Os dois conjuntos de chansons foram analisados, considerando seus elementos musicais e poéticos. Apesar das diferanças existentes no emprego da textura, da harmonia e da linguagem poética entre as chansons aqui analisadas, conclui-se que o fator comum que permeia estas obras é o uso da sonoridade natual das palavras, às quais se agrega de forma harmoniosa, funcionando como reforço expressivo das idéias e imagens sugeridas nos textos. / The dissertation presents the study of the French poliphonic chanson, particularly those composed by Claude Debussy and Maurice Ravel. with the purpose of helping choir conductor to better undestand musical and literay elements present in these songs. The evolution of the chanson throught time is approached based on resarch of bibliography. The two sets of poliphonic chansons by Debussy and Ravel have been analyzed, calling attention to their poetical and musical elements. Besides the differencs in the texture, harmony and poetic language between the chansons here studied, it is possible to conclude that what they have in common is the natural sonority of their lyrics, to which music is added harmoniously, as an expressive reinforcemente to idas and images present in the poetic text.

Orientador: Maria Suely Kofes / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-09T10:20:10Z (GMT). No. of bitstreams: 1 Dias_AdrianaAbreuMagalhaes_M.pdf: 5397738 bytes, checksum: 8753af9a4da3efc95e5b7c1c3b47492d (MD5) Previous issue date: 2007 / Resumo: Esta pesquisa busca apreender o universo simbólico das URLs racistas, revisionistas e neonazistas na Internet. O propósito da investigação é, por meio da observação etnográfica das práticas e representações discursivas expostas em sites, portais, comunidades, fóruns, chats e listas de discussão, que abordam este tema, compreender que tipo de relação se constrói entre o espaço digital e a defesa da idéia de "raça ariana", realizada por meus "nativos". Como foco privilegiei os aspectos simbólicos que melhor evidenciam a interface entre estas duas dimensões, por meio da pesquisa empírica e do exercício teórico. A partir deste recorte, emergiram algumas perspectivas relevantes na construção identitária que o racista desenvolve para si e para o outro, tais como as marcas genômicas e mitológicas evidentes em seu discurso, as redefinições da fronteira entre digitalidade e realidade e a luta política "dos arianos", na WEB. O argumento central resultante da pesquisa é de que o neonazismo interpreta simbolicamente o mundo contemporâneo, nos sites analisados, articulando mitos, narrativas e rituais. Neste processo, evidencia-se a elaboração de uma forma específica de identidade: o ¿teutonismo¿ / Abstract: This research attempts to apprehend the symbolic universe of racist, revisionist and neonazi pages in the Internet. The aim of the investigation is to understand what kind of relationship is built between the digital space and the defense of the idea of an "Aryan race" attempted by my 'natives¿. This is done by means of ethnographic observation of practices and discoursive representations posted at sites, forums, communities, chats and discussion lists. I focus on those symbolics aspects that highlight best the interface between digital space and racism, by means of both empirical research and theoretical exercise. From this vantage point, some features of the identitary construction developed by racists for themselves and for others were made visible, namely, the genomic and mythic marks of their discourse, the redefinition of the frontiers between digital world and reality, and the ¿aryan¿ political struggle in the WEB. The main argument resulting from this research is that the neonazism interprets symbolically the contemporary world by articulating myths, narratives e rituals. Along this process, a specific way of identity is manifested: the ¿teutonicism¿ / Mestrado / Antropologia Social / Mestre em Antropologia Social

Master of Music / Department of Music / Frank C. Tracz / The following report is research and analysis from the comprehensive examination question based on the Graduate Conducting Recital of Andrew D. Feyes. The recital, performed by the Kansas State University Symphony Band, was given in McCain Auditorium on the campus of Kansas State University on March 13, 2007 at 7:30pm. The repertoire included Fanfare for La Peri, by Paul Dukas, Concerto for 23 Winds, by Walter S. Hartley, and Incidental Suite, by Claude T. Smith. This examination contains thorough theoretical and historical analyses of the included literature. The report also includes the procedures of planning and performing the graduate conducting recital.

Claude Le Jeune (born at Valenciennes , ca. 1528; died at Paris, 1600) was a towering figure in French Renaissance music. In spite of this, few biographical details have survived the turmoils of his time , which was marked primarily by the Wars of Religion, the last years of the reign of the Valois, and the struggle of Henry IV for the crown of France. In order, therefore, to attain a more complete picture of Le Jeune's life and work, the general historical and spiritual background, circumstantial evidence, is considered more implicating much intensely than usual. The two dominating beacons in Le Jeune's life are his allegiance to the Reformed Faith , involving close connections to leading Huguenot figures, and his inclination towards Humanism, confirmed by his association, from 1570 onwards, with the Academie de Poesie et de Musique of Jean-Antoine De Baïf. The present study is concerned with the initial years of Claude Le Jeune, covering the thirty- seven years of his life from 1528 (the assumed year of birth) intil 1565. In terms of publications, this period includes his "youthful" works : four early chansons from 1552, the Dix Pseaumes with a dialogue for seven voices , Mais qui es-tu,of 1564, and a single motet à 3, Nigra sum sed formosa, published in 1565. The background of his northern homeland is screened with particular attention to the involvement of the members of the Le Jeune family in the religious affairs of the time. Also the general cultural and musical milieu of the Netherlands is investigated within this and Le Jeune's first published works are considered biographical framework. These works still bear the stodginess and gaucheness of an apprentice. The probability of a sojourn in Italy is explored with positive findings. This visit most likely brought Le Jeune within the circle of the ageing Willaert at Venice, Major focus is placed upon the Dix Pseaumes, the first comprehensive collection to appear entirely under Le Jeunes ' s own name and dominating the initial period of his creative life. Detailed analyses reveal the hand of a now asserted composer. well-versed in technical matters and in possession of a fine perception for both the tenets of Calvinism and the aspirations of musical Humanism . As far as the latter is concerned. pertinent attention is given to its roots in the rhetorical and philosophical traditions. and how Le Jeune accommodated issues which sprouted from these and occupied the theorists of his time. Musical text expression holds. since the Dix Pseaumes. a central place in Le Jeune's works in which he maintains a fresh and subtle approach steering clear of the dogmatism of some contemporary theorists. Using various musical devices (modes, chiavette, melody, rhythm, harmony, texture, and even structure) to serve text expression. Le Jeune' s parlance gradually develops a currency in its own right. often expressing the meaning or implication of a text more comprehensively than can be attained by means of a linguistic medium. Appropriate to this particular trait of development in language. recognition is given Le Jeune's musical language. Included into the discussion are concordances of works by other composers where these exist as well as references to the relevant musical topography. A concluding summary of the moulding forces in the initial years of Claude Le Jeune's life as well as the gradual formulation of his distinct musical language concludes this study which can be regarded as an introduction to a more comprehensive programme of research on the life, times and works of Claude Le Jeune, Huguenot and Musical Humanist. A general bibliography is included while the folling appendices are included. 1 . A Bibliography of the works of Claude Le Jeune (all printed editions from 1552-1775). complete with descriptions . text incipits. sources. and class nubers; 2 . some relevant documents; 3. the literary texts of the works discussed; and 4. the "youthful" works. all of these (except the chanson spirituelle. Mais qui es- tu,as yet not republished . Various portraits. maps and other relevant illustrations are intended to enhance the presentation.