Orientador: Isabella Tardin Cardoso / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-22T01:01:04Z (GMT). No. of bitstreams: 1 DePietro_MatheusClemente_D.pdf: 3681860 bytes, checksum: 36814b62d25b775f7a20920f7440eee7 (MD5) Previous issue date: 2013 / Resumo: O presente estudo dá continuidade à pesquisa anterior acerca da noção estóica de "harmonia" ou "acordo" na prosa do filósofo romano Lúcio Aneu Sêneca (4 a.C. -65 d.C.). Conforme verificado em estudo de Mestrado, areferida noção-, central à escola estóica -, encontra-se expressa por Sêneca de diversos modos, e, além disso, tem suas diversas particularidades apresentadas e desenvolvidas em diferentes "faces" pelo filósofo. No presente estágio da pesquisa, concentramos nossa investigação na obra De uita beata ("Sobre a vida feliz"), e procuramos analisar a presença e função que diferentes noções de "harmonia" e "acordo" têm no texto. Para isso, apresentamos uma tradução completa da obra, acompanhada de notas explicativas e de estudo acerca da tradição manuscrita do texto. No que concerne à noção em apreço, propomo-nos a conduzir investigação extensiva sobre noções de "harmonia" na escola estóica, bem como dos fundamentos teóricos que as suportam, e apresentamos os resultados em forma de uma sistematização geral desse conceito. Após tais considerações, realizamos análise detalhada de dois trechos do De uita beata,nos quais a presença de referências à "harmonia" estóica se mostra de modo mais evidente. A análise revelou que, ao menos nessas passagens, é observável um discurso densamente filosófico, aparente apenas após atenção a certos elementos estilísticos nela empregados, bem como ao reconhecimento de alusões e referências que Sêneca faz a particularidades da noção estóica de "harmonia". De modo geral, ao longo de toda a pesquisa-,seja durante a tradução, a investigação teórica, ou a análise de passagens da obra -, procuramos atentar ao vínculo entre filosofia e retórica verificável em Sêneca / Abstract: This thesis gives continuity to previous research on the Stoic notions of "harmony" and "agreement" in the prose works of the Roman philosopher Lucius Annaeus Seneca (4 BCE -65 CE). As observed in my studies at Masters' level, the idea in question is employed by Seneca in different manners and, in addition, it has its peculiarities presented and developed in several facies by the philosopher. In the current research I have focused my investigation on De uita beata ("On the happy life"), and I have conducted an analysis on the presence and function that different notions of "harmony "and "agreement" have in the text. To that purpose I present a complete translation of the work, accompanied by explanatory footnotes and by an inquiry of the manuscript tradition of the text. Regarding the idea under scrutiny, I have attempted careful examination of the notions of "agreement" in the Stoic school, as well as of the theoretical premises they relate to, and I have presented the results thereof in the form of a broad systematization of that concept, especially in its relation to Seneca's De uita beata. After such considerations I have performed a detailed analysis of two passages of De uita beata, in which the presence of references and allusions to some sort of Stoic "harmony" is more evident. The analysis has concluded that, at least in these excerpts, one may observe densely philosophical discourse, something manifest after close attention to certain stylistic elements found in it, as well as the identification of allusions and references that Seneca makes to particularities of that Stoic notion. In general -be it in the translation, in the theoretical investigation, or in the analysis of selected passages -,I have attempted, during the entirety of the research, to highlight and attend to the link between philosophy and rhetoric observable in Seneca / Doutorado / Linguistica / Doutor em Linguística

In Darwinian evolution, a living population evolves when it is exposed to the selection pressures of a new biological medium. Analogously, in my chromatic evolution a chord "evolves" when it is exposed to a new chromatic medium, forcing it to adapt and harmonically modify its pitch content. This is a process by which a diatonic, consonant chord is progressively transformed into a chromatic substitute, over a span of several similar works, without losing or modifying the chord’s resolution tendencies, harmonic function, or formal location. From a Schenkerian perspective—and using Felix Mendelssohn’s Songs without Words as my corpus study—I will demonstrate how the pre-recapitulatory dominant (the root-position dominant that conventionally precedes the recapitulation) progressively evolves into a highly chromatic substitute: the dominant of the mediant.

The thesis speculates upon the source of Scriabin's pitch selection in several of his atonal works, concluding that Scriabin's "principle" stems from his own "mystic chord," its inversion at the major third, and the transposition of these two chords at the tritone. These four chords share the same invariant harmonic basis, Scriabin's characteristic French-sixth sonority. The quartet of chords combine to form two nine-note scales, each containing as a subset the octatonic scale. The thesis demonstrates how Scriabin composed his works in harmonic blocks, utilizing only the notes from these scales. The thesis traces Scriabin's atonal style back to his tonal period. His fascination with tritone adjacencies and relationships is discussed, and serves to support the theory. Other harmonic and linear theories are discussed. Also, the thesis shows how Scriabin used these scales structurally in his works.

Ce mémoire de maîtrise propose des outils d’analyse permettant de souligner la cohérence harmonique du langage de Franz Schubert, en particulier dans les œuvres tardives de sa production. L’analyse d’un corpus incluant principalement sa musique de chambre, ses sonates pour piano et une sélection de lieder, nous a permis d’observer des constantes dans le discours harmonique du compositeur. Confrontée à la fois à la richesse de l’écriture tonale de Schubert et aux limites d’un mémoire de maîtrise, nous avons été amenée à concentrer notre étude sur deux traits caractéristiques de son style harmonique, soit le majeur-mineur et sa pratique modulatoire. D’une part, la typologie des emplois du majeur-mineur développée dans ce travail permet de préciser la nature des différents phénomènes s’y rapportant, tout en soulignant l’importance structurelle qu’ils occupent au sein de la forme. Ainsi, nous avons identifié trois types d’emploi de l’interchangeabilité des modes majeur et mineur : l’ornementation à l’intérieur d’un accord (coloration), l’emprunt d’accords au mode opposé à l’intérieur d’une unité structurelle harmonique (mode mixte), et le changement de modes entre deux unités structurelles harmoniques successives (opposition de modes). D’autre part, les mécanismes modulatoires expliqués dans ce mémoire, soit l’emploi du majeur-mineur lors de l’accord pivot, l’altération de la fonction VII ainsi que l’utilisation de dominantes contrariées, entraînent un accroissement de la tension tonale en reliant des zones très éloignées entre elles et agissent comme marqueurs formels dans les œuvres du compositeur. Les mécanismes présentés dans ce mémoire permettent ainsi de préciser la logique harmonique qui sous-tend les œuvres de Schubert, en mettant en valeur l’interaction entre la microstructure et la macrostructure. / This master’s thesis provides analysis tools to highlight the internal consistency of Schubert’s harmonic language, especially in his late works. The analysis of a corpus including mainly his chamber music, his piano sonatas, and a selection of lieder, reveals some constants in the composer’s harmonic organization. Confronted with both the richness of Schubert’s tonal writing and the limits of a master’s thesis, I have chosen two characteristic features of his harmonic style for study : his use of major-minor harmonies and his modulatory practice. First, the typology of the major-minor usages developed in this thesis allows for the specification of the nature of different phenomena related to them, while emphasizing their structural importance in the form. Thus, three types of application of the interchangeability of major and minor modes are identified: ornamentation within a chord (colouration), borrowing of chords from the opposite mode inside a harmonic structural unit (modal mixture), and modal shift between two successive harmonic structural units (mode opposition). Furthermore, the modulatory mechanisms explained in this thesis including the use of major-minor at pivot chords, chromatically altered VII chords, as well as the use of what Serge Gut identifies as « dominantes contrariées » cause an increase in tonal tension by linking remote tonalities and act as formal markers in the works of Schubert. The mechanisms presented in this thesis advance our understanding of the harmonic logic that underlies Schubert’s works by drawing attention to the interaction between microstructure and macrostructure.

This present thesis has been prudently undertaken how to approach practically and theologically the ethical issues for the effective preaching with Confucian filial piety which has challenged Korean churches. Serious conflicts are arising among Korean families because of Confucianism teachings that filial piety is the highest virtue of all ethical teachings and that ancestor worship is the continuation of filial piety to the dead parents. This issue creates a rigorous religious controversy for Korean Christians and places obstacles in the path of evangelism in Korean society. Chapter one reveals the research orientation which gives general information on how to approach and develop this issue. I approach this issue historically, theologically, practically, and/or biblically. I adopt fundamental practical theology as the main research positioning, which was suggested by Don Browning. I also make use of seven movements proposed by J C Müller in order to present the literary research and six fundamental steps proposed by Lewis and Demarest only for the theological foundation in chapter three. Chapter two reveals the effect of Confucian ancestor worship has on Asian countries and Christians, specifically in China, Taiwan, Japan, and Korea, which are under the influence of Confucianism, and how Confucian ancestor worship hinders people from receiving and following Jesus Christ and a common barrier to evangelism in these Eastern Asian countries. Chapter three reveals the theological foundations of Confucianism and Christianity. Confucianism has its own specific theologies of worship form, temple, canon, afterlife, and gods like those of Christianity. A comparison with the theological foundations of Confucianism and Christianity is made for a better understanding of Confucian ancestor worship and filial piety. Chapter four reveals the differences between Confucian and biblical teachings on filial piety. Confucian filial piety was taught by Confucius who is a founder of Confucianism, while the origins of biblical filial piety are rooted in the Old and New Testaments. The Bible teaches that filial piety is directed toward living parents, but Confucianism teaches that filial piety is to both living and dead parents; filial piety to the dead parents is ancestor worship. Chapter five reveals the distinctions between Confucian and biblical teachings on ancestor worship. Confucians believe that dead ancestors are able to protect their own families, bring fortunes to their descendants, watch over their own families, and to reward the right and punish the wrong, but the Bible ascribes to ancestor worship as idolatry as taught in the second commandment. Chapter six reveals the ways of practical theological applications of filial piety and ancestor worship. I propose the ways of practical theological applications without compromise in the circumstance of the acceptance of ancestor worship as a custom. Further, I challenge preachers as central to reconciliation how to make an effort to aid the rooting of biblical filial piety into Korean society as a traditional Korean heritage. I hope that this thesis will help non-Christians to understand the Christian perspective of filial piety and ancestor worship and why Christians reject Confucian ancestor worship, and how Christianity emphasizes filial piety. Further, my intent is to help Christians confirm their beliefs, challenge non- Christians by showing what Christians believe, and give wisdom on how to create harmony with non-Christian family members. / Thesis (PhD)--University of Pretoria, 2013. / Practical Theology / unrestricted

Please read the abstract in the section 00front of this document / Thesis (DMus)--University of Pretoria, 2007. / Music / unrestricted

Au Maroc, la réforme du système d'imposition des entreprises est au cœur de la question de la maîtrise des Finances publiques. Ainsi, son approche ne peut se faire en se limitant à la seule dimension fiscale. C'est en rapport avec la politique de développement que se manifeste la question de l'imposition des entreprises. En effet, le système d'imposition fournit des recettes pérennes pour financer les objectifs de développement. De par les recettes qu'elle génère et les effets qu'elle induit, la fiscalité des entreprises occupe une place importante dans l'ensemble du système fiscal marocain. Pour cette raison, seule une analyse globale intégrant l'aspect de la rationalisation des dépenses, le ciblage des avantages fiscaux accordés et l'amélioration de la compétitivité de l'économie, permettra de répondre véritablement à la réduction de déficit budgétaire et au soutien de la compétitivité de l'entreprise. Le présent travail de recherche a porté sur une analyse du système d'imposition des entreprises et du système de contribution lui afférent, en se concentrant sur les relations complexes qui se tissent entre ces systèmes et leurs sous-systèmes. Il a aussi formulé des propositions de réforme fiscale tout en prenant en compte les changements et les mutations dans les systèmes fiscaux nationaux. Au-delà de la réforme du système de taxation des entreprises, son évaluation contribuera à l'atteinte de l'équilibre entre le système d'imposition et le système de contribution y afférent. De même, la régulation participe à assurer une harmonie entre la politique fiscale avec la structure entrepreneuriale et à garantir les conditions techniques et relationnelles de la réforme. / In Morocco, the reform of the corporate tax system is the heart of the question of the control of public finances. Thus, the approach can be limiting itself to the single tax dimension. This is related to policy development that occurs the issue of corporate tax. Indeed, the tax system provides sustainable income to finance development goals. By the revenue and effects it generates, instead of corporate taxation across the Moroccan tax system is far from negligible. For this reason, only a comprehensive analysis incorporating the aspect of rationalizing expenditure, the targeting of tax incentives and improving the competitiveness of the economy, will truly meet the budget deficit reduction and support competitiveness of the company. This research work has focused on an analysis of the corporate tax system and the system of contributions related to him, focusing on the complex relationships that develop between these systems and their subsystems. He also made proposals for tax reform taking into account the changes and mutations in the national tax systems. Beyond the reform of corporate taxation, the evaluation will contribute to achieving a balance between the tax system and the contribution thereto. Similarly, the regulation contributes to ensure harmony between fiscal policy with the business structure and ensure the technical and relational conditions of reform.

Communitarianism and harmony ideology have their proponents and critics, particularly as viewed through the lens of conciliation-based dispute resolution. Both features being prominent in the Tibetan Diaspora in India, I hypothesized that the strengths and weaknesses of these orientations could be assessed through the rationale behind the norms of social control operative in the community, and the efficiency and effectiveness of those norms in terms of voluntary compliance. I found that the informal Tibetan mechanisms for dispute resolution were effective and efficient in supporting Indian systems of law enforcement, while allowing a ritualistic affirmation of community. Contrary to proponents of legal centralism and court justice, I found that liberalist values underpinning litigative process were disruptive of social expectations, and had the potential to exacerbate rather than relieve social tensions. The harmony norms that predispose pro-social behavior within Tibetan settlements failed to protect the interests of community members, however, when the challenge came from local Indian groups operating on the basis of their own standards of particularistic allegiance. Legal ethnography best describes the methodology used for this research. Fieldwork drew on: 1) Interviews with twelve settlement officers whose mandate specifically includes mediation of disputes; 2) In-depth interviews with two disputants fighting cases before the Tibetan Supreme Justice Commission; and 3) Interviews with over 70 informants (including senior and mid-level exile government officials and settlement residents), together with archival material, to situate findings and verify interpretations. This research contributes a unique non-Western body of data in support of Law and Society scholars, such as Amitai Etzioni and Phillip Selznick, who have argued for devolution of law-like responsibilities to local levels where internalized norms are an everyday means of social control. It also argues against the pejorative interpretation of harmony ideology as depicted by legal centralists such as Laura Nader. By reframing harmony as a function of norm rationale, efficiency and effectiveness, the research offers new variables for assessing the costs and benefits of community. Finally, the Tibetan case studies provide an important comparative for cosmopolitan states that are debating how to accommodate diversity and legal pluralism. / Graduate and Postdoctoral Studies / Graduate

Na presente tese é resolvida a equação de difusão de nêutrons estacionária, bem como problemas de cinética, em geometria unidimensional cartesiana multi-região considerando o modelo de multigrupos de energia. Um dos objetivos e inovação neste trabalho é a obtenção de uma solução aproximada com estimativa de erro, controle de precisão e na forma de uma expressão analítica. Com esse tipo de solução não há a necessidade de recorrer a esquemas de interpolação, geralmente necessários em caso de discretizações do domínio. O fluxo de nêutrons é expandido em uma série de Taylor cujos coeficientes são encontrados utilizando a equação diferencial e as condições de contorno e interface. O domínio é dividido em várias células, cujo tamanho e o grau do polinômio são ajustáveis de acordo com a precisão requerida. Para resolver o problema de autovalor é utilizado o método da potência. A metodologia é aplicada em um benchmark que consiste na solução da equação de difusão como condição inicial e na solução de problemas de cinética para diferentes transientes. Os resultados são comparados com sucesso com resultados da literatura. A convergência da série é garantida pela aplicação de um raciocínio baseado no critério de Lipschitz para funções contínuas. Cabe ressaltar que a solução obtida, em conjunto com a análise da convergência, mostra a solidez e a precisão dessa metodologia. / In the present dissertation the one-dimensional neutron diffusion equation for stationary and kinetic problems in a multi-layer slab has been solved considering the multi-group energy model. One of the objectives and innovation in this work is to obtain an approximate solution with error estimation, accuracy control and in the form of an analytical expression. With this solution there is no need for interpolation schemes, which are usually needed in case of discretization of the domain. The neutron flux is expanded in a Taylor series whose coefficients are found using the differential equation and the boundary and interface conditions. The domain is divided into several layers, whose size and the polynomial order can be adjusted according to the required accuracy. To solve the eigenvalue problem the conventional power method has been used. The methodology is applied in a benchmark problem consisting of the solution of the diffusion equation as an initial condition and solving kinetic problems for different transients. The results are compared successfully with the ones in the literature. The convergence of the series is guaranteed by applying a criterion based on the Lipschitz criterion for continuous functions. Note that the solution obtained, together with the convergence analysis, shows the robustness and accuracy of this methodology.

Isang Yun's oratorio My Land My People is organized in four movements, and is scored for orchestra, solo voice and choir. Movements are titled as follows: Rjoksa (History), Hyon-Shil I (Presence I), Hyon-shil II (Presence II), and Mi-rae (Future). This document only covers from measures 1-38 of the first section of the first movement of this work. Even though this work is atonal, the composer emphasizes a harmonically moving, tonal sonority: interval class five includes perfect 4th and 5th, quintal-quartal harmony and authentic cadence moving dominant to tonic. Also, in this document, a comparison with Korean traditional music elements is included to support Isang Yun's musical features.