This thesis provides the historiographical background and historical context necessary to undertake an examination of Savonarola's Compendium of Revelations and evaluate it as a work of the Italian Renaissance. It conducts such an examination and reaches the conclusion that Savonarola should be used as an example of a figure who, like the age of the Renaissance itself, represented a significant break with the medieval world while still being influenced by it. His political, social, and religious views all show both the influence of the medieval world and the underpinnings of the modern. The analysis is influenced by intellectual, religious, and micro history.

The present work aims to analyze the potential value of anthroponyms within the didac-tics of Spanish as a Foreign Language. With that purpose, theoretical basis concerning anthroponyms is provided in favor of a solid formal background that will support the following didactic proposal. Likewise, the actual presence of anthroponyms in the Curricular Plan of the Instituto Cervantes is analyzed, as well as other ways of use that it doesn't consider, but that will also inspire the activities presented at the end of this work. We will examine with more depth those anthroponyms integrated in phraseological units (Como Pedro por su casa; En tiempos de Maricasta?a; etc) for what a classification of the different existing phraseological units will be described. This classification will lead to the design of a compendium of phraseological units with these characteristics that will serve as a reference for the didactic proposal.

Descartes’ Compendium musicae and Lamy’s La Rhétorique ou l’art de parler, both published in English translation in London in the late seventeenth century, suggest approaches to period performance practice that support expressive intonation as a rhetorical device. Descartes’ unique perspective on musical pitch and intervals provides a methodology for understanding inflected intonation in performance. Closely aligned with Descartes’ epistemological perspective, Lamy’s treatise provides an understanding of expressive intention as essential to effective rhetorical delivery. These approaches are applied to musical examples from trio sonatas of Arcangelo Corelli, John Ravenscroft and Henry Purcell, demonstrating that expressive intonation using subtle pitch inflection can be explained as a rhetorical practice. These subtle pitch inflections, related as they are to both rhetorical delivery and intonation systems, are not reflected in notation but realized only as music is heard in time. It is in performance contexts that pitch inflection can be realized as an expressive device. A supplemental audio file contains five short examples demonstrating pitch deviation applied to selected intervals.

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Als im Jahr 1485 mit Heinrich VII. der erste Tudorkönig den englischen Thron bestieg, galt Irland als unbedeutendes, von gälischen Barbaren beherrschtes Randgebiet. Auf der politischen Agenda der jungen Dynastie gewann die Insel nur langsam an Bedeutung. Irland, so die zentrale Überlegung der beiden Autoren Christopher Maginn und Stephen G. Ellis, war also ein weißer Fleck auf der englischen Landkarte, der in der frühen Tudorzeit erst noch besucht, beschrieben und entdeckt werden musste. Belastbare Informationen wurden in London erst nach und nach verfügbar, zumeist auf der Grundlage schriftlicher Berichte und Traktate. Wie dieses Wissen über Irland gewonnen und in der höfischen Gesellschaft in politisches Kapital umgemünzt wurde, wollen Maginn und Ellis in ihrer 2015 erschienenen Untersuchung zeigen.

Although there has been a rise in the use of recycled materials in highway and geotechnical systems, many tons of potentially useful industrial and domestic by-products are still being discarded in the United States each year. While extensive research has been conducted to investigate the use of recycled materials in engineering applications, the dissemination of the findings is often limited. The problem is compounded by the lack of a single resource containing relevant engineering and environmental characteristics of each material; the tendency of the researchers to publish their findings in technical reports rather than archived publications; and the wide discrepancies among local and state environmental regulations and acceptability. A relational database is proposed as a method to improve implementation of recycled material research. A comprehensive review is conducted on data available for a wide variety of recycled materials and their usage in highway and geotechnical applications. Mechanical and environmental data and information from case histories are organized into approximately 10 tables in a relational database management system. More than 30 parameters, including engineering properties, availability and cost, are recorded for 23 materials in a highly-organized compendium. Through a simple user interface, a vast amount of data can be sorted to implement a recycled material program based on historic and current data. The DBMS is updatable and the design is amendable to account for future expansion.

Habilitationsschrift--Universität Würzburg, 1975. / Includes excerpts in Middle High German and Latin. Includes indexes. Includes bibliographical references (p. 627-638).

Submitted by Maike Costa (maiksebas@gmail.com) on 2016-07-01T11:15:43Z No. of bitstreams: 1 arquivo total.pdf: 1798555 bytes, checksum: 0269feddeaf52e8b76ac94c2d71e8966 (MD5) / Made available in DSpace on 2016-07-01T11:15:43Z (GMT). No. of bitstreams: 1 arquivo total.pdf: 1798555 bytes, checksum: 0269feddeaf52e8b76ac94c2d71e8966 (MD5) Previous issue date: 2015-10-29 / This work focuses on the study of "Compendium Musicae" from the philosopher René Descartes. Translation ipsis literis with the explanations and notes is necessary for a brief analysis of short excerpts of the book. In addition to the translation, our goal is to provide some comments, since the text is unfamiliar and it is also of difficult comprehension, and for satisfactory understanding it is necessary that the reader knows a minimum of theory, rules and musical concepts, and also a minimum about the history that permeates the time when the text was written. Therefore, the unique research focus is Descartes‟ text itself, supported by books that are listed in the research bibliography for further development and understanding of the "Compendium Musicae". In this work, we can see how René Descartes understood music, sound and their interrelationships, therefore formatting a very particular musical aesthetic concept, which appears later at certain times of his life, through his correspondences. We intend that this work can put some light in a work that is still little studied, which presents us the philosopher in his early career, the philosopher that throughout its existence became known and labeled for the strong mathematical appeal, but one day, still young, wrote his first work in which, despite its mathematical trends, brings to the surface his human side. / O presente trabalho tem como foco de seu estudo o “Compendium Musicae” do filñsofo René Descartes. A tradução ipsis literis com as anotações e notas de esclarecimentos faz-se necessária para uma breve análise de pequenos trechos do livro. Além da tradução, nosso objetivo é apresentar pequenos trechos comentados, uma vez que, por conta do desconhecimento do texto e pela dificuldade de acesso às suas nuances, e, para um satisfatñrio entendimento é necessário que o leitor saiba um mínimo sobre teoria, regras e conceitos musicais, e também sobre a histñria que permeia a época em que o texto foi escrito. Portanto, teremos como foco de pesquisa única e exclusivamente o prñprio texto de Descartes, amparado por livros que estarão, por sua vez, listados na bibliografia de pesquisa para um maior aprofundamento e entendimento do “Compendium Musicae”. Neste trabalho, poderemos minimamente observar como René Descartes entendia a música, o som e suas inter-relações, formatando assim um conceito estético musical muito particular, que encontraremos em determinados momentos de sua vida, em suas correspondências. Pretendemos, que este trabalho lance luz numa obra de Descartes ainda pouco estudada, que nos apresenta um filñsofo em início de carreira que, durante toda sua existência, ficou marcado e rotulado por seu conjunto de obras com forte apelo matemático, mas que um dia, ainda jovem, escreveu sua primeira obra na qual, apesar de suas tendências matemáticas, explicita, dentro de seu conteúdo, além da matemática, o seu lado mais humano.

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Esta dissertação tem como objeto de estudo a elaboração do conceito, \"movimento-imagem-ideia\", desenvolvido no percurso de uma prática de improvisação. Iniciada no teatro, por meio dos aprendizados do jogo teatral, do jogo das máscaras, como a commedia dell\'arte e o palhaço, encontra a dança e as abordagens somáticas, ampliando-se e oferecendo estrutura à autonomia do intérprete improvisacional. As pesquisas cênicas que constituíram caminho e estabelecimento dessa conceituação, analisadas neste trabalho, têm por foco a improvisação e a máscara de A Troupe de Atmosfera Nômade; as improvisações em tempo real, diante do público, da Cia. Nova Dança 4; e a estrutura pré-fixada na dança, em Ladies, da inocência à crueldade, com possibilidades de rupturas improvisacionais. / This dissertation investigates the elaboration of a concept, \"movementimage- idea\", developed during an improvisation practice. When this improvisation - which started in the theatre with the use of theatre games, mask games, such as commedia dell\'arte and clowns - meets dance and somatic approaches, it is amplified, now offering structure to the autonomy of the improvisational actor. Previous research on performing arts that have paved a path to the establishment of the concept analyzed here focus on A Troupe de Atmosfera Nômade\'s use of improvisation and masks; Cia Nova Dança 4\'s real time improvisation in front of an audience; and the structure prefixed on dancing, in Ladies, from innocence to cruelty, with possible improvisational ruptures.