Sibelius’ Rezeption im deutschsprachigen Raum wurde lange Zeit von Theodor W. Adornos Glosse über Sibelius geprägt – so wurde Sibelius, ohne eine gründliche Auseinandersetzung mit seinem Werk, oft als zweitrangiger, konservativer Komponist betrachtet. Die analytische Untersuchung seiner Symphonien zeigt uns aber, dass sein Umgang mit Form besonders innovativ ist: Anstatt mehr oder weniger abgegrenzten ›Themen‹, die durch Ein- und Überleitungen miteinander verbunden werden, treten vor allem die ›leitenden‹ Teile in den Vordergrund. Diese Überwindung der traditionellen Formteile durch eine dynamische, ständig fließende Form, gipfelt in seiner siebten Symphonie, in der die einzelnen Sätze der symphonischen Form zu einem großen, einzigen Satz verschmelzen. Eine zentrale Rolle spielen dabei die Überleitungen, die quantitativ und qualitativ den Großteil der Symphonie ausmachen. / Jean Sibelius’s reception in German-speaking lands was for a long time influenced by Theodor W. Adorno’s commentary, such that, without a thorough examination of his work, Sibelius was often viewed as a second-tier, conservative composer. The analysis of his symphonies reveals, however, that his approach to form was especially innovative: instead of more or less clear-cut “themes” connected by introductions and transitions, it is especially the “connective” parts that come to the fore. This surmounting of traditional formal sections through a dynamic, constantly changing form reaches its peak in his Seventh Symphony, in which the individual movements of the symphonic form coalesce into a single, gigantic movement. Here the transitions play a central role, which make up the majority of the symphony, both quantitatively and qualitatively.

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Carl Czernys Anleitung zum Fantasieren (1829) stellt eine nahezu einzigartige Improvisationslehre mit kommentierten Beispielen dar, die eine Systematik für die Gattungen der Salonfantasie einführt sowie ein analytisches Instrumentarium für Repertoire des frühen 19. Jahrhunderts bereitstellt. Das Lehrwerk bedarf allerdings einer sorgfältigen Kontextualisierung, zunächst in Abgrenzung zur grundlegenden Definition der Freien Fantasie durch Carl Philipp Emanuel Bach (1762). Im sechsten Kapitel beschreibt Czerny die Gattung Potpourri und gibt davon ein Beispiel, das den Titel Fantasie als Potpourri trägt und aufgrund der Themenauswahl mit der zuvor gegebenen Definition teilweise im Widerspruch steht. In diesem Beitrag wird nach einem etymologischen Abriss über die Freie Fantasie zwischen C. Ph. E. Bach und der Zeit Czernys zunächst ein kurzer Vergleich zwischen Czernys Systematik und Ferdinand Gotthelf Hands späteren Angaben über die Fantasie im zweiten Band der Ästhetik der Tonkunst (1841) angestellt. Czernys Angaben zum Potpourri im Fließtext und Beispielkommentar werden schließlich durch einige analytische Beobachtungen ergänzt, anhand verschiedener historischer Quellen diskutiert und im Kontext der modernen Quellenkritik betrachtet. Die Untersuchung lässt eine Kehrtwende im Verständnis von Freier Fantasie in ästhetischer, satztechnischer und formaler Hinsicht erkennen, die bisherige Forschungsergebnisse ergänzt. Czernys Systematik der Fantasie erweist sich generell in inhaltlicher und terminologischer Hinsicht als konsistent. Zugleich bildet das Lehrwerk nur ein Moment der fluktuierenden Begriffsgeschichte ab. Es dokumentiert den Wandel von einer unverwechselbaren zu einer reproduzierbaren Formplanung der Fantasie und zeigt mit der Fantasie als Potpourri die Möglichkeit eines Potpourris für den Bildungsbürger. / Carl Czerny’s Anleitung zum Fantasieren (1829) represents an almost unique treatise on the theory of musical improvisation with annotated examples, introducing a system for the genres of salon fantasy and providing analytical tools for early nineteenth-century repertoire. However, the textbook requires a careful contextualization – first in contrast to the basic definition of free fantasy given by Carl Philipp Emanuel Bach (1762). In Chapter 6, Czerny describes the genre potpourri supported by an example which carries the title Fantasie als Potpourri; due to the selection of thematic material this example is partly inconsistent with the previous definition. After an etymological outline of free fantasy between C. Ph. E. Bach and Czerny’s time, this article offers a short comparison of Czerny’s systematics with Ferdinand Gotthelf Hand’s later concept of fantasy in the second volume of Ästhetik der Tonkunst (1841). Czerny’s general discussion of the potpourri and his commentary on the music example are supplemented by analytical observations, discussed on the basis of various historical sources, and considered in the context of modern source criticism. The study reveals a reversal in the aesthetic, compositional, and formal understanding of the free fantasy, complementing previous research results. Czerny’s system of fantasy genres generally proves to be consistent in terms of content and terminology. At the same time, the textbook describes only a moment in the fluctuating history of the fantasy. It documents the shift from a distinctive to a reproducible planning of musical form with the Fantasie als Potpourri offering the educated middle class a possibility of improvising a potpourri.

Syftet med denna studie är att bidra med en ökad kunskap om vilka kvalitetsaspekter på olika nivåer som kan påverka barns möjlighet till kreativ utveckling i förskolans ateljé. Studiens empiri samlades in genom semistrukturerade kvalitativa intervjuer. Analysen gjordes efter Wallins (2023) modell förskolans pedagogiska miljöer. I resultatet framkom att det finns kvalitetsaspekter i organisation, miljö, material, pedagogers kunskap samt i pedagogers förhållningssätt som påverkar barns möjlighet till kreativ utveckling i förskolans ateljé. Mitt forskningsbidrag är en utveckling av Wallins (2023) modell. / The purpose of this study is to contribute with an increased knowledge of which quality aspects at different levels can affect children's opportunity for creative development in the preschool studio. The study's empirical data was collected through semi-structured qualitative interviews. The analysis was done according to Wallin's (2023) model of preschool educational environments. The results showed that there are quality aspects in organization, environment, materials, pedagogues' knowledge and in pedagogues' approach that affect children's opportunity for creative development in the preschool's studio. My research contribution is a development of Wallin's (2023) model.

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[pt] Crítica da forma jurídica: método, debates e questões atuais. A crítica da forma jurídica é uma vertente que, com apoio na crítica marxiana da economia política, pretende avaliar o complexo jurídico a partir de sua forma e da relação desta com a forma mercadoria. Suas principais implicações críticas são a crítica ao sujeito de direito enquanto interpelação ideológica e a integração da crítica ao direito no complexo de problemas ligados à reificação, ao estranhamento e à ideologia. Este trabalho tem como objetivos renovar a crítica da forma jurídica em seus fundamentos metodológicos, e refletir sobre sua pertinência para a crítica ao direito no contexto brasileiro. Para tanto, conjuga a pesquisa bibliográfica de fundo teórico com aportes bibliográficos de fundo empírico, vindos da historiografia e da sociologia. A pesquisa conclui que o desenvolvimento desigual dos complexos sociais brasileiros, as permanências do escravismo na demarcação da massa marginal, a generalização lenta e heterogênea do regime assalariado de trabalho e o papel ideologicamente protagonista do Estado na dinamização da economia e do complexo jurídico determinam uma forma jurídica definida pela seletividade das interpelações jurídicas. Assim, convivem na sociedade brasileira a interpelação tipicamente burguesa definida na categoria do sujeito de direito e um conjunto variado de modos de interpelação que, em geral, rebaixam ainda mais a situação jurídica dos grupos marginalizados. Esta conclusão indica possibilidades de manejo da crítica da forma jurídica para o interior da luta ideológica que perpassa o direito, visando compreender e superar as contradições que expressam estes vários tipos de estranhamento no complexo jurídico brasileiro. / [en] Critique of the legal form: method, debates and current issues. Critique of the legal form is a branch that, based on Marxian critique of political economy, intends to evaluate the legal complex based on its form and its relation to the commodity form. Its main critical implications are the critique of the subject of law as an ideological interpellation and the integration of the critique of law in the complex of problems linked to reification, estrangement, and ideology. This dissertation aims to renew the critique of the legal form in its methodological foundations, and to reflect on its relevance for the critique of law in the Brazilian context. To this end, it combines bibliographical research on a theoretical basis with bibliographical contributions on an empirical basis from historiography and sociology. The research concludes that the uneven development of the Brazilian social complexes, the permanence of slavery in the demarcation of the marginal masses, the slow and heterogeneous generalization of the salaried labor regime, and the ideologically protagonist role of the State in dynamizing the economy and the legal complex determine a legal form defined by the selectivity of legal interpellations. Thus, the typically bourgeois interpellation defined in the category of the subject of law coexists in Brazilian society with a varied set of interpellation modes that, in general, further debase the legal situation of marginalized groups. This conclusion indicates possibilities of handling the critique of the legal form within the ideological struggle that permeates law, aiming at understanding and overcoming the contradictions that express these various types of estrangement in the Brazilian legal complex.

The main theme of this work is effectiveness and efficiency of Krylov subspace methods and Krylov subspace recycling. While solving long, slowly changing sequences of large linear systems, such as the ones that arise in engineering, there are many issues we need to consider if we want to make the process reliable (converging to a correct solution) and as fast as possible. This thesis is built on three main components. At first, we target bilinear and quadratic form estimation. Bilinear form $c^TA^{-1}b$ is often associated with long sequences of linear systems, especially in optimization problems. Thus, we devise algorithms that adapt cheap bilinear and quadratic form estimates for Krylov subspace recycling. In the second part, we develop a hybrid recycling method that is inspired by a complex CFD application. We aim to make the method robust and cheap at the same time. In the third part of the thesis, we optimize the implementation of Krylov subspace methods on Graphic Processing Units (GPUs). Since preconditioners based on incomplete matrix factorization (ILU, Cholesky) are very slow on the GPUs, we develop a preconditioner that is effective but well suited for GPU implementation. / Ph. D.

Call number: LD2668 .T4 1984 O34 / Master of Arts

Dosage forms have been developed over the years for various applications. The dosage form consists of the active drug in combination with pharmaceutical excipients. The pharmaceutical excipients solubilise, suspend, thicken, dilute, emulsify, stabilise, preserve, colour and flavour medicinal agents into efficacious and appealing dosage forms. The dosage form under investigation in this study is of the oral type. The Pheroid® is a unique drug delivery system which consists of an oil-in-water emulsion system. Emulsion based drug systems provide a suitable medium for the delivery of both hydrophobic and hydrophilic drugs which can be incorporated into its oil or water phase for delivery to the site of action. These advantages make them more efficient as dosage form. Emulgels are either emulsion of oil-in-water or water-in-oil type, which is gelled by mixing with gelling agents. Incorporation of emulsion into gel increases its stability and makes it a dual control release system. The presence of the gel phase makes it a non-greasy formulation which favours good patient compliance. A strategy followed to improve the stability of the emulgel system is the packaging of the formula into single dose sachets to protect the product against physical and chemical breakdown during patient usage. All factors such as selection of gelling agent, preservatives and formulation methods influencing the stability and efficacy of Pheroid® emulgel are discussed. In this study, three different emulsifiers were added to the formula and the analysis of visual appearance, pH measurements, rheological studies, light microscopy and confocol laser scanning microscopy (CLSM) will provide an insight to the potential usage of emulgel as drug delivery system. A range of para-hydroxybenzoate esters was tested in the Pheroid® emulgel and the most suitable candidate chosen for further accelerated stability testing. It was thus possible to prepare a single dose emulgel with Carbopol® 934P (0.2% w/v) as an emulsifier, with Nipastat® (0.175% w/v) and PG (10% v/v) as preservatives into a stable dosage form suitable for further product development. / PhD (Pharmaceutics), North-West University, Potchefstroom Campus, 2014