This study consists of three main parts. Part I contains introductory matter and a presentation of the manuscript material which contains stories about Kavikumāra, one of the Buddha’s earlier lives, and a rough classification of the material. Part II contains editions and translations of some of the texts containing this story and in addition one text which is the source of a part of one text. Part III contains summaries and analyses of the main texts. Part I begins with a characterization of the avadāna literature genre followed by definitions of some terms used and a characterization of the texts treated in this study. All the known texts containing a story about Kavikumāra and their manuscript sources are enumerated. In Part II editions of some of the texts mentioned in Part I are found. Different types of editions and the relations of those types with my editions are treated. The characteristics of some of the manuscripts are described. The edition of the Tibetan translation of a part of the Sanghabhedavastu of the Mūlasarvāstivādavinaya is used as a check on Gnoli’s edition of the Sanskrit text, which is translated. The central part of this study is the synoptic editions of chapter 26 of Kalpadrumāvadānamālā and a prose paraphrase of the text and their translations. Critical editions of two more Tibetan texts and a diplomatic edition of two Sanskrit texts are also given. In Part III summaries of and comparisons between three of the main texts containing stories about Kavikumāra are made. The structure of the text in Kalpadrumāvadānamālā is described and the sources for the different parts are indicated. This text has been chosen for analysis because it is the earliest text which incorporates all the parts which are found in later texts containing the story. The relations of an extremely fragmentary text with the other texts are treated. A comparison of the stories about Kavikumāra and the Hero Story is made. The conclusion summarizes the main findings.

This dissertation examines Byron's Don Juan and his attitude towards profits from the copyright money for publishing his poems. Recent studies on Don Juan and Byron have paid great attention to the poem especially in terms of the author's status as an unprecedented noble literary celebrity. Thus the hermeneutics of the poem has very often had a tendency to bind itself within the biographical understanding of the poet's socio-political practices. It is true that these studies are meaningful in that they highlighted and reconsidered the significance of the author's unique life so as to illustrate biographical and historical contexts of this Romantic text. Admitting the significance of the biographical approach, however, the current dissertation also argues that an interpretation of a literary work should consider a number of outside influences that affect the meaning of a text, which is in and of itself a creation of historical, political, economic, and material aspects of a specific time and place, not merely of an individual author. After the theoretical background suggested in Chapter I, Chapter II emphasizes the history of the publication of the first two cantos and investigates John Murray's publishing practices. Chapter III addresses some of the external influences on the reading of Don Juan to show that non-political content of the early five cantos came to be treated as politically radical by the voluntary and involuntary association of Byron and his work with radical publishers such as Leigh Hunt and William Hone. Chapter IV is a study of the new cantos of Don Juan (from the sixth canto). Focusing on Byron's political stance which gradually developed from his early liberalism into a more radical activism, this chapter explores Percy Shelley's influence on Byron's political ideas, the new cantos of Don Juan, and Byron's use of radical satire to instigate the fight against tyranny. Chapter V investigates Byron's attitude towards the profits he earned from the copyright of his poems to argue that Byron?s attitude towards his brain-money gradually changed from an ambiguous position to a strong insistence on obtaining what he perceived to be fair payments for his poems.

There is no abstract available for this dissertation.

Thèses (Ph.D.)--Université de Sherbrooke (Canada), 2001. / Titre de l'écran-titre (visionné le 20 juin 2006). Publié aussi en version papier.

Submitted by Valquíria Barbieri (kikibarbi@hotmail.com) on 2017-05-31T17:39:10Z No. of bitstreams: 1 DISS_2014_Grasiela Veloso dos Santos.pdf: 35509097 bytes, checksum: 1bd17efa8d5d4ac75f526b06468e8389 (MD5) / Approved for entry into archive by Jordan (jordanbiblio@gmail.com) on 2017-06-07T13:34:22Z (GMT) No. of bitstreams: 1 DISS_2014_Grasiela Veloso dos Santos.pdf: 35509097 bytes, checksum: 1bd17efa8d5d4ac75f526b06468e8389 (MD5) / Made available in DSpace on 2017-06-07T13:34:22Z (GMT). No. of bitstreams: 1 DISS_2014_Grasiela Veloso dos Santos.pdf: 35509097 bytes, checksum: 1bd17efa8d5d4ac75f526b06468e8389 (MD5) Previous issue date: 2014-03-25 / CAPES / Uma das motivações para o estudo filológico é a preocupação em manter viva a memória documental escrita de uma civilização. Além disso, estudar os textos antigos, editando-os e preparando-os para a análise por profissionais da linguística e de áreas afins corrobora este objetivo. Este trabalho pretende: (i) editar, através das edições fac-similar e semidiplomática, de forma justalinear, manuscritos pertencentes aos séculos XVIII e XIX, exemplares do gênero carta, produzidos em sua maioria na Capitania de Mato Grosso; (ii) descrever aspectos históricos a partir de fatos presentes nos documentos; e (iii) descrever e analisar o uso, nesse corpus, dos itens ainda, assim e logo a partir da perspectiva teórica da gramaticalização. A primeira parte consiste nas edições dos textos fac-similar e semidiplomática justapostas neste trabalho. Além do referencial teórico-metodológico dos estudos filológicos, adota-se também o da crítica textual, de acordo com Acioli (2003), Azevedo Filho (1987), Cambraia (2005) e Spina (1977). A abordagem da gramaticalização (GR) ampara-se em Neves (2011, 2006), Gonçalves et al., (2007), Braga (2001), Chiarelli (2010), Longhin-Thomazi (2011, 2008, 2006, 2005, 2004a, 2004b) e Martelotta (2008), para a descrição e análise dos itens focalizados, dentre outros autores que se fizeram necessários à pesquisa. O estudo pretende divulgar e incentivar os estudos filológicos em Mato Grosso e trazer à tona aspectos sintáticos, semânticos e pragmáticos de usos linguísticos específicos realizados nessa variedade de português brasileiro, em perspectiva diacrônica. Este trabalho está vinculado aos Projetos de Pesquisa: “Estudo do Português em manuscritos produzidos em Mato Grosso a partir do século XVIII”—MeEL/IL/UFMT, e “Para a História do Português Brasileiro-MT”— PHPB-MT. / One purpose of philological study is the concern to keep alive the documentary written memory of a civilization. Moreover, studying the ancient texts, editing them and preparing them for professional linguistic analysis and related areas supports this goal. This paper aims to: (i) edit via facsimile and semidiplomatic editions of justlinear way, manuscripts belonging to the Eighteenth and Nineteenth Centuries, copies of the letter genre produced mostly in the Captaincy of Mato Grosso; (ii) describe historical aspects from facts found in the documents, and (iii) describe and analyze in this corpus the use of the items ainda, assim and logo (still, so and soon) from the theoretical perspective of grammaticalization. The first part consists in the editions of texts, facsimile and semidiplomatic which are juxtaposed in this work. In addition to the theoretical and methodological framework of philological studies, we adopted also the textual criticism, according to Acioli (2003), Azevedo Filho (1987), Batiste (2005) and Spina (1977). The approach to grammaticalization (GR) is based on Neves (2011, 2006), Gonçalves et al., (2007), Braga (2001), Chiarelli (2010), Longhin-Thomazi (2011, 2008, 2006, 2005, 2004a, 2004b) and Martelotta (2008), for the description and analysis of targeted items, among other authors that were needed to develop this research. The study aims to promote and encourage philological studies in the state of Mato Grosso, Brazil and brings up syntactic, semantic and pragmatic aspects specific linguistic usages performed in this variety of Brazilian Portuguese in a diachronic perspective. This work is linked to the following Research Project: "Study of the Portuguese in Manuscripts Produced in Mato Grosso from the Eighteenth Century"—MeEL/IL/UFMT, and "For the History of the Brazilian- Portuguese -MT" - PHPB-MT.

Etude des conceptions et pratiques d'édition de la littérature dont témoignent les parcours de Jean Cayrol et de la collection Ecrire,confirmant l'hypothèse d'une écriture éditoriale dont l'édition française reste durablement marquée. Dans l'histoire de l'édition française, la période de l'après-guerre figure un renouvellement du paysage littéraire. Une jeune littérature advient promue par les éditeurs. Parmi plusieurs nouvelles structures, les éditions du Seuil se distinguent par leur volonté de rejoindre le camp des grandes maisons généralistes. Un éditeur, qui est aussi auteur au Seuil, prend en main l'avenir littéraire de la maison d'édition, il s'agit de Jean Cayrol. Résistant, ayant séjourné dans un camp de concentration et solidement attaché à la littérature. Cayrol invente le romanesque lazaréen. Manière d'écrire, de publier, qui tient compte de l'expérience concentrationnaire sans la citer nommément. En 1956, Jean Cayrol fonde la collection Écrire. Les auteurs n'y sont publics qu'une seule fois, pour de courts textes qui, habituellement, échappent au regard de l'éditeur. La critique remarque les auteurs sélectionnés par Cayrol. Leur singularité reflète l'éclectisme de leur éditeur qui développe une technique éditoriale propre, une manière de lire, de choisir et de bâtir un édifice littéraire. À sa suite, douze auteurs deviennent éditeurs. Chacun, singulièrement, perpétue le style de Jean Cayrol, apporte sa marque à l'édition littéraire française. Des collections témoignent d'une attention accrue aux jeunes auteurs dans la période 1950-1965, aucune n'a poussé l'expérience éditoriale autant qu'Écrire. / Study of the works of Jean Cayrol in his collection "Ecrire" that will illuminate into the study of conceptions and practic of publication of literature. The study will confirm the hypothesis of a form editorial writing, which strongly influenced French publication. The period after the war is representative of a renewal in the landscape of literature, which saw the promotion of a fresh form of literature. Among these new structures, the publishing house "Edition du Seuil" set itself apart by its willingness to join the bigger, well known, general publishing houses. Jean Cayrol who was both an author and editor in "Edition du Seuil" took charge of its literary future. Having spent time in a concentration camp as a consequence of his resistance, Cayrol was solidly attached to literature. He invented the "Lazareen" which is a type of novel writing associated with biblical Lazarus's story. This form of writing acknowledges the experience without explicitly citing it. In 1956 Jean Cayrol crea ted "Ecrire" a collection of short texts, which would ordinarily not have caught the eyes of publishers. Authors were published only once in this collection and we fortunate to be recognized by the critics. The assortment of the author's diverse works in this collection projected the publisher's uniqueness to develop a spécifie editorial technique, a way of reading and a path of choice to a lïterary edifice. Consequently, 12 authors in his collection became publishers each perpetuating Jean Cayrol's style in French literature publications. In the period 1950-1965, no collection was able to promote young authors and impact publication as much as "Ecrire".

West, Matthew Ellis. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2006. / Includes bibliographical references (leaves 250-260). / Abstracts in English and Chinese. / Abstract (in English and Chinese) --- p.ii / Acknowledgments --- p.iv / Table of Contents --- p.vi / Chapter Chapter 1: --- Introduction ´ؤ China and Intellectual Property --- p.1 / Introduction / What is Intellectual Property? / Chenggong Music and Movies / Lost in Translation / Piracy / Copying / An Historical Perspective / "The Past, Sharing, and Censorship" / Methodology and Xi'an's Disc Market / Chapter Breakdown / Chapter Chapter 2: --- Literature Review 一 An Anthropological Approach to IP --- p.37 / The Anthropology of Property / Human Rights Discourses / Economic Pragmatism? / The Return of Power / Toward a Theory of IP / Metaphorical Framing / Stages of IP Advocacy / Local Contextualization / China: Global Pressure and Local Response / Chapter Chapter 3: --- Daoban as a Moral Business --- p.60 / The Commoditization of IP / Price is all that Matters! / Pricing Practices within Stores / Pricing Determinants / Moving Beyond Price and Quality / Consumer Fraud and Fakes: The Breakdown of Price and Quality / Competition and the Disc Business / Is it Zhengban or Daoban? / Doubting the Difference / Relative Morality: Guilt and Stealing / The Ambivalent Position of Chinese Retail Business / Conclusion: Passive Contestation and the Moral Sphere / Chapter Chapter 4: --- Daoban as an Illegal Commodity --- p.104 / Petty Economic Crime / "Cheating, Plagiarism, and Painting" / Petty Economic Illegality / Illegality in China's Context: The Government Connection / Backing (beijing) / Corruption / Structural Issues: Officials and Enforcement / Policing Norms / Norms of Copyright Enforcement / Social Consequences of Enforcement / Action Against Vendors / Action Against Pornography / Justifications and Responses / Conclusion: Daoban and Illegality / Chapter Chapter 5: --- Daoban and Intangible Property --- p.155 / What is Daoban? / Dowloading and the Law / Exceptions: Imported and Destroyed Titles / Blurring the Line: Tom and Jerry / Real or Fake / The Symbolic Importance of Zhengban / A Wider View? New Generations and Smalltime Creators / Conceptions of Intangible Property / The Centrality of Performance / The Nation / Conclusion: A Chinese Conception? / Chapter Chapter 6: --- "Conclusion ´ؤ Cultural Conceptions, Structures, and Agency" --- p.207 / "Structures, Agency, and Daoban" / Practice Theory: Structure and Agency / An Actor-Oriented Approach / Structures and Daoban / Creation / Commoditization / Passive Contestation / The Law as a Tool for Change / Final Thoughts / Bibliography --- p.238 / Appendix I: Chinese Characters Index --- p.248

For many, contemporary theatre is represented by the musical. The form remains, however, virtually unstudied by literary scholars. In part, this may be a result of the difficulty of accessing the texts. Reading a musical from a traditional codex is no easy matter. The integration of text and music in a musical make it inappropriate to separate the two. One can try to follow along with a cast recording. In most cases, though, this is awkward. Many cast albums record a significantly modified version of the score and lyrics and few include the entire work. Further, musical theatre texts often exist in many different versions. This work begins with a summary of the problems one encounters when editing a multi-authored text (musicals often have a lyricist, librettist, and composer) which may be revised for practical (rather than aesthetic) reasons. The merits of restoring the material changed during the production process are debated. In this discussion some attempt is made to identify who should be considered the dominating collaborator (or auteur) of a musical. Ultimately, this dissertation argues that the notion of trying to restore an "authorial Ur-Text" makes little sense given the multitude of collaborators involved in the process of making musicals. Instead, an electronic variorum edition is presented as an alternative means of studying and teaching musical theatre texts. The study concludes with a narrative of the authors own work on an electronic edition of the 1998 Broadway musical Parade and ends with a critical introduction to this text.

The purpose of this study was to design and develop instructional units for teaching jazz piano comping to collegiate music students possessing basic piano skills but limited experience in jazz performance. In establishing bases and rationale for the instructional units, a number of issues were considered. These issues were (1) the need for teaching jazz piano comping, (2) a definition and explanation of the musical elements and characteristics of jazz and jazz comping, (3) an understanding of the African and European transmission traditions and musical characteristics that contributed to the development of jazz, (4) a review of literature relating to jazz piano comping, including jazz, music teaching and learning, and learning theory literature, and (5) a review of jazz piano comping practice from the swing era to the present, as reflected in the work of selected central jazz pianists. The twenty-four instructional units present basic harmonic and rhythmic materials of jazz piano comping. Harmonic materials include seven basic chord structures, harmonic extensions and alterations, upper-structure triads, II-V-I cadences, tritone substitution, chord successions, and typical chord progressions. Rhythmic materials include typical jazz rhythms. Each instructional unit is comprised of (A) presentation of a theoretical concept, (B) exercises for learning the particular concept, (C) a chord progression containing the particular concept, (D) a list of recorded examples of the chord progression for examination, and (E) suggested song titles for realization by the student. The instructional units are organized into four chapters of six units each. Instructional Units I through VI focus on individual voicings, organized into cycles of descending fifths. Units VII through XII focus on the II-V-I cadence and tritone substitution. Units XIII through XVIII focus on short chord successions. Units XIX through XXIV serves as a "summing up" of material presented in the first eighteen units. Overall, this work is designed to guide the student to technical proficiency, theoretical understanding, idiomatic fluency, and a creative approach to jazz piano comping. / School of Music

The reception of the works written by Roland Barthes in North America can be appreciated by examining editions, rééditions, collections of papers, commentaries and critical approaches. The thesis presents a bibliography of editions and translations in the United States and Canada. It provides an analysis of the portrait drawn by selection and interpretation of the foremost French critic, dead in 1980.