Recent trends in scholarship on Plato’s philosophy have shifted emphasis from an almost exclusive focus on inductive and deductive logical techniques, and even ethics, to the treatment of image, myth and the literary dimension, above all in the work of scholars such as Kahn, Rowe and Gonzalez. In keeping with this trend, recent scholars, like Gill, Notomi and Collobert, have postulated the need for a philosophical image on the basis of a reading of the Sophist and Statesman. This thesis examines the unique significance given to the term ‘paradigm’ in Plato’s Sophist and Statesman. Paradigm is Plato’s term for image. A close reading of these dialogues shows, however, that such an image is “philosophical” or dialectical only insofar as it leads to a proportionate grasp of higher, invisible, ethical realities. This is the connection the specialist work on image in the Sophist and Statesman bears to wider scholarship on the literary dimension of Plato. Plato provides, in the Sophist and Statesman, three ways of making use of paradigms: (1) the use of an analogy, like the city and the soul and the weaving analogy, which is functionally equivalent to the analogy of the city and the soul, (2) an inductively defined universal essence, for example, the universal essence of a human being, like Socrates, and (3) an ethical character, like the Socrates Plato presents in his dramatic composition, or other characters presented in myth. The distancing effect Plato uses in the Sophist and Statesman suggests that Plato, himself, is the philosophical artist or image-maker. This is an important topic for one unifying reason. The question of a philosophical image in Plato remains unanswered or inadequately answered. Although the Sophist and Statesman treat this question, the exceeding technicality of these dialogues has lead commentators, unanimously, to treat the exploration of image and essence in these Eleatic dialogues, as a kind of island, separated from Plato’s work. My study, by leading readers of Plato to a greater awareness of the importance of these works for Plato on image and Plato as artist, turns this island into a peninsula.

The diploma thesis addresses the problem of the beginning of business. In the theoretical part has been given an interpretation of the steps leading to the company establishment, choosing the legal form and creating a business plan. In the practical part was created a business plan for a company engaged in building materials sale. The entire document should serve as a manual for starting entrepreneurs.

Denna uppsats söker svar på frågan: Hur kan arbete med analys av ett stycke påverka den musikaliska tolkningen av musiken? Detta har jag valt att undersöka på första satsen ur solo sonat no 2 i a moll BWV 1003 av J.S Bach. Jag använder mig av traditionella analysmetoder och undersöker främst form, motiv, baslinje och harmonik. I uppsatsen redovisar jag för praktiska tillämpningar av analyserna. Resultatet diskuteras sedan och en diskussion av ämnet förs. / <p>Den klingande delen av arbetet utgörs av följande inspelning: (Ljudfil Gabriel Coxner). Coronavirussituationen vt 2020 har medfört begränsningar i inspelningsmöjligheterna. Inspelningen är arkiverad och kan komma att kompletteras</p>

Uppsatsen syftar till att undersöka hur företag använder sig av narrativ och form i reklamfilmer för att forma en publiks förväntningar och marknadsföra en produkt, med hjälp av frågeställningen “På vilka sätt kan förväntningar för en viss publik skapas genom narrativ och form samt förkunskap och genre i reklamfilmen Bambi (2001), och hur använder sig Sony detta för att sälja en produkt?”. Materialet, en film som gör reklam för spelkonsolen Playstation 2, analyseras genom en visuell analys, kombinerat med en film- samt narrativ analys. Undersökningen resulterade i konstaterandet att filmskaparna har, med hjälp av narrativ, filmtekniska metoder som bild och ljud, samt tidigare erfarenheter av reklamfilmer, försökt forma en viss publiks förväntningar i syftet att sälja en spelkonsol. / The purpose of this thesis is to analyze how companies are using narrative and form in commercials in order to shape an audience's expectations and market a product, with the thesis question “In which ways can expectations for a certain audience be created through narrative and form as well as prior knowledge and genre in commercial Bambi (2001), and how is Sony using this to sell a product?”. The material, a film to market gaming console Playstation 2, is being analyzed through a visual analysis, combined with a film- and narrative analysis. The thesis resulted in the finding that the creators have, with the help of narrative, film technical methods such as picture and sound, as well as prior knowledge of commercials, tried to form a specific audience’s expectations with the purpose of selling a gaming console.

This thesis examines formal organization in ground-bass works. While it is true that many or even most works of the ground-bass repertoire are variation sets over a ground, there also exist many ground-bass works that are not in variation form. The primary goal of this thesis is to elucidate the various ways in which such non-variation formal organizations may be achieved. The first chapter of this work discusses the general properties of ground basses and various ways that individual phrases may be placed in relation to the statements of the ground. The second chapter considers phrases groupings, phrase rhythm, and the larger formal organizations that result. The third chapter concludes this study with complete analyses of Purcell’s “When I am laid in earth” from Dido and Aeneas and Delanade’s “Jerusalem, convertere ad dominum Deum tuum” from his setting of the Leçons de ténèbres.

Through an examination of 402 songs that charted in the top 20 of the Billboard year-end charts between the years 1990 and 2009, this dissertation builds upon previous research in form of popular song by addressing the following questions: 1) How might formal sections be identified through melody, harmony, rhythm, instrumentation, and text? 2) How do these sections function and relate to one another and to the song as a whole? 3) How do these sections, and the resulting formal structures, relate to what has been described by previous theorists as normative? 4) What new norms and trends can be observed in popular song forms since 1990? Although many popular songs since 1990 do follow well-established forms, some songwriters and producers change and vary these forms. AAA strophic form, AABA form, Verse-Chorus form, Verse-Chorus with Prechorus and/or Postchorus sections, Verse-Chorus-Bridge form, “Other, with a Chorus” and “Other, without a Chorus” forms are addressed. An increasing number of the songs in each of the above listed forms are based on a repeating harmonic progression or no harmonic progression at all. In such songs, the traditional method of identifying sections and section-functions through harmonic analysis is less useful as an analytical tool, and other musical elements (melody, rhythm, instrumentation, and text) are as important, if not even more so, in determining the form of songs in the sample.

Over the last quarter-century, scholars have taken a unified approach in discussing form in Italian and French opera of the nineteenth century. This approach centers around the four-part aria and duet form begun by Bellini, codified by Rossini, modified by Verdi, and dissolved by Puccini. A similar trajectory can be seen in French opera in the works of Meyerbeer, Gounod, and Massenet; however, only Meyerbeer and Gounod have received significant critical attention. This is in part due to Massenet's reception as a "composer for the people," a title ill fitting and ripe for reconsideration. This dissertation will examine duet forms in Massenet's oeuvre and will focus on the gradual change in style manifest in his twenty-five operas. Massenet's output can be divided into three distinct periods delineated by his approach to form. Representative works from each period will show how he inherited, interpreted, thwarted, and ultimately rewrote the standard formal conventions of his time and in doing so, created a dramaturgical approach to opera that unified the formerly separate number-based elements. Massenet's longevity and popular appeal make him the quintessential French opera composer of the fin de siècle and the natural choice for examining reconstructed conventions.

In this thesis, we discuss some of the results that were proven by Fabes and Stroock in 1984. Our main purpose is to give a self-contained presentation of the proof of this results. The first result is on the existence of a “reverse H ̈older inequality” for the Green’s function. We utilize the work of Muckenhoupt on the reverse Ho ̈lder inequality and its connection to the A∞ class to establish a comparability property for the Green’s functions. Additionally, we discuss some of the underlying preliminaries. In that, we prove the Alexandrov-Bakelman-Pucci estimate, give a treatment to the Ap and A∞ classes of Muckenhoupt, and establish two intrinsic lemmas on the behavior of Green’s function.

京都大学 / 新制・課程博士 / 博士(理学) / 甲第22982号 / 理博第4659号 / 新制||理||1669(附属図書館) / 京都大学大学院理学研究科数学・数理解析専攻 / (主査)教授 熊谷 隆, 教授 長谷川 真人, 小澤 登高 / 学位規則第4条第1項該当 / Doctor of Science / Kyoto University / DGAM

Controlled-release formulations for pesticide applications act as depot systems that continuously release the active ingredients into the environment over a speci ed period, usually from months to years. However, some applications require fast-dissolving drug delivery. The interest of this research is in fast-release of water-insoluble pesticides into aquatic environments. This study considered the use of dextrin starch and urea eutectics as fast release, solid dosage carrier forms that contain an active ingredient. The chosen active for this study is an acaricide called amitraz (N-methylbis-(2,4-xylyliminomethyl)- methylamine). The focus is on matrix-based dosage forms such as tablets, granules or bres that either disintegrate or dissolve to release a water-insoluble active. These types of dosage forms can be fabricated using processes such as lyophilisation, spray drying, solvent casting, hot melt extrusion, compression moulding, wet granulation, compaction and electrospinning. A simple melt-casting procedure has been discussed in the present work. Dextrin is a water-soluble form of partially hydrolysed starch and is a promising candidate matrix material for dissolving solid dosage forms. The molecular weight of the dextrin was analysed with MALDI-TOF methods and rheological relations. Glycerolplasticized thermoplastic dextrin-based nanocomposites were prepared with a twin-screw extrusion-compounding process. The nano llers included a layered double hydroxide (LDH), cellulose nano bres (CNF) and stearic acid. The time-dependent retrogradation of the compounds was monitored by X-ray di raction (XRD) and dynamic mechanical thermal analysis (DMA). XRD showed that the inclusion of stearic acid in the formulations led to the formation of an amylose-lipid complex and a stable crystallinity during ageing. Dissolution rates in water for samples containing dextrin starch, were characterised using an iodine indicator and UV-visible spectroscopy. High pressure di erential scanning calorimetry (HPDSC) indicated that the addition of stearic acid led to the formation of amylose-lipid complexes (ALC's). An additive system containing stearic acid and CNF was deemed suitable for compounding with amitraz. Compounding at temperatures above the melting point of the latter led, on dissolution in water, to the release of much ner particles of the acaricide, which was con rmed with particle size analysis (PSA). The addition of the acaricide caused an apparent increase in the dissolution rate of the thermoplastic dextrin. Two eutectic urea systems were considered for casting with amitraz. A eutectic system of urea and acetamide was found to display a melting point of 44 C at a 37 wt.% urea composition. The other system consisting of urea and 1,3-dimethylurea displayed a eutectic point at 32 wt.% urea composition which melted at 59 C. Di erential scanning calorimetry (DSC), however, con rmed a melting point depression due to a high moisture content caused by the compounds high hygroscopicity. The endotherm of the sample containing no excess moisture showed a melting point of 70 C. The 1,3-dimethylurea system was deemed suitable for casting with amitraz. XRD of the eutectic composition indicated a small amount of co-crystallisation. The samples were cast as disks of various diameters while keeping the height of the disks constant. The creation of the cast disks showed automatic generation of a nely dispersed form of the active through the process of melting the deep eutectic solvent, the dissolution of the active and its phase separation on cooling and solidi cation of the eutectic. This implies that ne grinding of the actives might not be necessary. Eutectic casts containing 20 wt.% amitraz dissolved at a slower rate than casts not containing the hydrophobic active ingredient. The advantageous features of these casts were exempli ed using the acaricide incorporated into the urea & 1,3-dimethylurea eutectic. This work provides two safe, biodegradable and water soluble materials for use as a matrix to contain active ingredients. One material, the eutectic organic salt casts, can be produced at low temperatures (<100 C) and can be directly cast into storage containers. The complete dissolution of the cast compounded with a hydrophilic active is rapid (4-6 min). The second material, a thermoplastic dextrin, was melt compounded in an extruder at temperatures not exceeding 120 C. This compound containing 20 wt.% of the active dissolved over a 12 hour period. Dextrin, known to be widely used as an adhesive, will aid in the adhesion of the active ingredient to the surface where it must be used. / Dissertation (MEng (Chemical Engineering))--University of Pretoria, 2020. / PAMSA / Department of Science and Innovation under Grant DST/CON 0004/2019 / Chemical Engineering / MEng (Chemical Engineering) / Unrestricted