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A performance study of Gerald Finzi’s song cycle “before and after summer”Lee, Chia-wei January 2003 (has links)
No description available.
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The Courtier, the Anchorite, the Devil and his Angel: Gerald of Wales and the Creation of a Useable Past in the De Rebus a se GestisBatchelder, William G., IV 14 December 2010 (has links)
No description available.
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Gaussean Equality: A Critical Evaluation of the Free and Equal Ideal in Public Reason LiberalismIverson, Noel S. 10 1900 (has links)
<p>A fundamental problem in political philosophy is how the freedom and equality of persons can be reconciled with the authority of social morality or law. The Kantian solution is to hold that the exercise of authority can be legitimate if and only if it is freely endorsed by the subjects of its exercise; thereby allowing persons to act as both subject and legislator. However, the fact of reasonable pluralism makes this approach problematic. A recent attempt to solve this conflict between authority and the free and equal idea, while also accounting for the fact of reasonable pluralism, is the theory of public reason liberalism developed by Gerald Gaus. The aim of this thesis is to give a critical evaluation of how successful Gaus is in solving this fundamental problem, while also situating public reason liberalism within the larger debate. The first chapter gives an overview of Gaus's theory and introduces some preliminary worries about the possibility of successfully converging on a workable set of socio-moral rules under public reason liberalism. Chapter two goes further, developing an internal critique of Gaussean public reason liberalism, and showing how this critique could play out using real-world examples. Chapter three explores alternative approaches to realizing the free and equal ideal in an attempt to situate Gaus's theory within the larger debate; finally concluding that Gaussean public reason liberalism is deeply problematic, both on a theoretical and a practical level, yet still offers important insights into the relationship between social-morality and the freedom and equality of persons.</p> / Master of Philosophy (MA)
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La clasificación de los conceptos de libertad : una revisión y crítica sobre "dos conceptos de libertad"Sola Aylwin, Javier Ignacio January 2018 (has links)
Memoria (licenciado en ciencias jurídicas y sociales) / Autor no autoriza el acceso a texto completo de su documento / En el presente ensayo se realiza una exposición crítica de cinco aportes relacionados al
concepto de libertad. Como texto base de la discusión moderna tal concepto, se analiza “Two
Concepts of Liberty” de Isaiah Berlin. Se argumenta que la definición de libertad negativa de
Berlin no atiende exclusivamente a la ausencia de interferencias, sino más bien a la existencia
de un área de alternativas, y que la definición positiva, relacionada a la idea de “ser dueño de
sí”, sólo cae en las consecuencias totalitarias que Berlin le atribuye producto de una diferencia
en el nivel de análisis, mas no por la estructura propia del concepto. A continuación se revisan
cuatro críticas a este texto. (1) “Negative and Positive Freedom”, de Gerald MacCallum,
donde se presenta la tesis de un concepto unitario de libertad. Se argumentará que tal concepto
sólo constituye una versión ampliada del concepto negativo de Berlin, no logrando incorporar
el concepto positivo. (2) “A Third Concept of Liberty”, de Quentin Skinner, quien agrega a la
discusión el concepto republicano de libertad. Se argumentará que para introducir tal concepto
Skinner redujo el sentido del concepto positivo, no incorporando por tanto un concepto ajeno a
los introducidos por Berlin. (3) “What’s Wrong with Negative Liberty”, de Charles Taylor,
quien critica la libertad negativa Hobbesiano como un concepto insuficiente (crudo). Se
argumenta que para llegar a las conclusiones que Taylor sostiene, no se requiere la
introducción de la noción de autorrealización dentro del concepto negativo. (4) “Freedom as
an Ideal”, de Raymond Geuss, quien junto con evidenciar la existencia de más conceptos de
libertad, realiza la distinción de la libertad en sentidos interno y externo. En las conclusiones,
esta distinción es tomada para sostener una clasificación de la libertad en seis variables
(positiva, negativa; interna, externa; individual, colectiva). / 27/12/2019
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The songs of Gerald Finzi (1901-1956) to poems by Thomas HardyVan der Watt, Gerhardus Daniël 11 1900 (has links)
This study consists of two volumes. Volume II contains the analysis of fifty-one songs by Gerald
Finzi (1901-1956) to poems by Thomas Hardy (1840-1928). The analysis is based on a preconceived
model which focuses on a critical examination of the texts and considers the basic elements of music
in each song. Certain stylistic features are apparent from this study and are reflected in Volume I.
After a biographical sketch of each artist and a discussion of the texts, a sample of the analysis is
presented. The basic elements of music are then discussed: timbre, duration, pitch organization,
dynamics, texture, structure, mood and atmosphere. Volume I concludes with a general statement
on the stylistic features of the composer and considers the artists' genius in the light of the study.
Finzi's setting of such a comparatively large number of Hardy poems is a result of the former's intense
interest in English literature and sympathy with much of Hardy's personal philosophies such as the
uselessness of suffering which fills an indifferent world. Finzi's settings are firmly embedded in tonal
traditions but he explores a great variety of subtle atmospheres within the confines of tonality. The
declamation of the texts is of superior quality and the composer achieves an individual language of
expression unparalleled in the song-writing of the first half of the twentieth century in England / Hierdie studie beslaan twee volumes. Volume II behels die analise van een-en-vyftig liedere van
Gerald Finzi ( 1901-1956) na tekste van Thomas Hardy ( 1840-1928). Die analises is gebaseer op 'n
vooraf ontwrepte model op grond waarvan die tekste krities geevalueer, en die basiese musikale
elemente bestudeer is. Sekere stilistiese tendense wat uit hierdie studie blyk, word in Volume I
weergegee.
Na 'n kort biografiese skets van beide kunstenaars en 'n bespreking van die tekste, word 'n uittreksel
van die analise aangebied. Hiema volg 'n ondersoek na die basiese elemente van musiek: toonkleur,
toonduur, toonhoogte, toonstrekte, tekstuur, struktuur en die skep van atmosfeer. Volume I sluit af
met 'n samevatting van die stylkenmerke en 'n slotbeskouing van beide kunstenaars se geniale bydrae.
Finzi se toonsetting van 'n relatief groot aantal gedigte van Hardy spruit uit sy intense belangstelling
in die Engelse letterkunde en sy vereenselwiging met die persoonlike filosofee van Hardy - veral die
gedagte van onnodige lyding in 'n apatiese wereld. Finzi toonset hoofsaaklik in 'n tonale styl, maar
ondersoek 'n groot verskeidenheid delikate atmosfeerskeppinge binne die tonale raamwerk. Sy
deklamering van tekste is van hoogstaande gehalte en die komponis bring 'n pesoonlike
uitdrukkingsvorm, ongeewenaar in die liederkuns van die eerste helfte van die twintigste eeu in
Engeland, tot stand / D.Mus. (Musicology)
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Conflicting conventions: space as a medium in the works of Gerhard Richter and Serge NitegekaWepener, Daneille January 2017 (has links)
A dissertation submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in partial fulfilment of the degree of Masters of Arts in Fine Arts (MAFA) Johannesburg, 2017 / This dissertation aims to examine Gerhard Richter and Serge Nitegeka’s artistic practices, in order to understand and identify how artists can potentially use space as a medium and contextualise my own practice within this realm. I position the conventions and principles of space through reference to French theorists’ Henri Lefebvre, Michel de Certeau and Michel Foucault. The thesis begins with a brief overview of the window as a painterly motif and spatially familiar everyday device in the introduction. In the first chapter, I explore the surface and reflection of the medium of glass, the colour gray, the monochrome, as well as the pictorial, in Gerhard Richter’s Eight Gray (2002). The second chapter examines the role of the frame or line in Serge Nitegeka’s Black Lines (2012), as an environment of experience that relies on painted diagrams and the illusion of perspectival space. The third chapter observes a shift in the manner in which Richter and Nitegeka experiment and extend their practices through an engagement with the mirror and the door, respectively, as ways of exploring the threshold. Finally, I discuss my own practice and reflect on the exhibition Through the Extent (2015), which was submitted as the practical component of this research. / XL2018
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Wicca : beskrivning av en religionLagerstedt, Rebecca January 2008 (has links)
<p>My essay is a description about the religion Wicca; laws, ethics, history, rites, inauguration and how they relate to the gods and the different seasons.It’s also about the wiccan history and how wicca have created their own history by taking old mythic stories and making them their legacy.</p>
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Wicca : beskrivning av en religionLagerstedt, Rebecca January 2008 (has links)
My essay is a description about the religion Wicca; laws, ethics, history, rites, inauguration and how they relate to the gods and the different seasons.It’s also about the wiccan history and how wicca have created their own history by taking old mythic stories and making them their legacy.
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The Holy Land in transit : colonialism and the quest for Canaan /Salaita, Steven, January 2003 (has links)
Thesis (Ph. D.)--University of Oklahoma, 2003. / Includes bibliographical references. Also available on the Internet.
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The songs of Gerald Finzi (1901-1956) to poems by Thomas HardyVan der Watt, Gerhardus Daniël 11 1900 (has links)
This study consists of two volumes. Volume II contains the analysis of fifty-one songs by Gerald
Finzi (1901-1956) to poems by Thomas Hardy (1840-1928). The analysis is based on a preconceived
model which focuses on a critical examination of the texts and considers the basic elements of music
in each song. Certain stylistic features are apparent from this study and are reflected in Volume I.
After a biographical sketch of each artist and a discussion of the texts, a sample of the analysis is
presented. The basic elements of music are then discussed: timbre, duration, pitch organization,
dynamics, texture, structure, mood and atmosphere. Volume I concludes with a general statement
on the stylistic features of the composer and considers the artists' genius in the light of the study.
Finzi's setting of such a comparatively large number of Hardy poems is a result of the former's intense
interest in English literature and sympathy with much of Hardy's personal philosophies such as the
uselessness of suffering which fills an indifferent world. Finzi's settings are firmly embedded in tonal
traditions but he explores a great variety of subtle atmospheres within the confines of tonality. The
declamation of the texts is of superior quality and the composer achieves an individual language of
expression unparalleled in the song-writing of the first half of the twentieth century in England / Hierdie studie beslaan twee volumes. Volume II behels die analise van een-en-vyftig liedere van
Gerald Finzi ( 1901-1956) na tekste van Thomas Hardy ( 1840-1928). Die analises is gebaseer op 'n
vooraf ontwrepte model op grond waarvan die tekste krities geevalueer, en die basiese musikale
elemente bestudeer is. Sekere stilistiese tendense wat uit hierdie studie blyk, word in Volume I
weergegee.
Na 'n kort biografiese skets van beide kunstenaars en 'n bespreking van die tekste, word 'n uittreksel
van die analise aangebied. Hiema volg 'n ondersoek na die basiese elemente van musiek: toonkleur,
toonduur, toonhoogte, toonstrekte, tekstuur, struktuur en die skep van atmosfeer. Volume I sluit af
met 'n samevatting van die stylkenmerke en 'n slotbeskouing van beide kunstenaars se geniale bydrae.
Finzi se toonsetting van 'n relatief groot aantal gedigte van Hardy spruit uit sy intense belangstelling
in die Engelse letterkunde en sy vereenselwiging met die persoonlike filosofee van Hardy - veral die
gedagte van onnodige lyding in 'n apatiese wereld. Finzi toonset hoofsaaklik in 'n tonale styl, maar
ondersoek 'n groot verskeidenheid delikate atmosfeerskeppinge binne die tonale raamwerk. Sy
deklamering van tekste is van hoogstaande gehalte en die komponis bring 'n pesoonlike
uitdrukkingsvorm, ongeewenaar in die liederkuns van die eerste helfte van die twintigste eeu in
Engeland, tot stand / D.Mus. (Musicology)
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