This thesis explores the relationship between the plurality of polyphonic and independent voices and consciousnesses, a Mikhail Bakhtin's concept, in two plays by Lope de Vega. El maestro de Danzar y El bobo del colegio are two of his least known and studied. Both plays present protagonists, simple citizens, which pretend to court two noble ladies. Under these circumstances, they are forced to avoid social rejection, issue guaranteed by their humble lineage. In order to complete their undertaking, they disguise as a dance teacher and a university fool. This process shields them from, the above mentioned, traditional disapproval they are subject to. It also entitles them to become, symbolically and virtually, the main dialogic executors in the play. Bakhtin depicts the process of embracing an alternate identity, different from their own, as a vital part of carnival. It compels the leading characters, El maestro and El bobo being no exception, to undergo two changes. First, they become a new individual, recognizable only to those who are aware of their masks. Second, their voices attract attention to the point of influencing the preeminent nobles of the comedy to follow their lead. Further, their ideas come to matter more than those of any other voice in the comedy. In the beginning they follow an ideal, and are subdued by social hierarchy. At the conclusion, they finish leading and controlling the polyphonic relationship between the independent voices and consciousnesses of the other characters in the play. And rather than a conflict, both comedies depict a harmonic social interaction of all their characters. Although scholarship exists analyzing individual plays, a comprehensive study of the effective association between language and disguise favoring a villano over high-class citizens has never been undertaken. This is Lope's strategy to plainly contrast the traditional social differentiation of classes.

The purpose of this paper will be to compare the Hindemith theory of harmonic tension as set forth in his book, Craft of Musical Composition, with his actual use of harmonic tension in compositional practice. The compositions used for this study are Hindemith's Sonaten für Klavier, published in 1936, consisting of three sonatas*. Although these pieces were published one year before the theory book, it seems reasonable to assume that Hindemith was at least formulating the ideas that would go into his book, and quite possibly was already writing it. The copyright date of the book is 1937. Therefore, any conclusions derived from the following analysis will not be affected to any degree by the time lapse between the writing of the two works in question. Analysis of the Sonaten für Klavier by Paul Hindemith reveals the fact that each of the sonatas is very different from the other two; hence, conclusions which apply to all three works are not generally possible.

Der Beitrag diskutiert zunächst den Generalbasses als Notationsform oder ‚Aufschreibesystem‘ im musikgelehrten Diskurs in der Mitte des 18. Jahrhunderts. Dann wird seine Rolle in der Akkordbildungs- und Satzlehre in Joseph Riepels Anfangsgründen zur musicalischen Setzkunst untersucht. Riepel benutzt ihn als kombinatorisches Programm zur Bildung von Akkorden (in der Gründlichen Erklärung der Tonordnung insbesondere, 1757), nutzt sein Potential aber auch in Form von Sequenzmodellen bei seiner Überarbeitung von älteren Kontrapunktübungen nach Johann Joseph Fux und Meinrad Spieß. Generalbass dient ihm mithin als Medium theoretischer Reflexion wie auch einer modernisierenden Transformation des musikalischen Satzes. Für Riepel ist es typisch, dass mit kleinen versatilen Theoriesegmenten, ausgehend von Beispielen, arbeitet. Eine reduktive Theorie, die den Anspruch einer allgemeinen Gültigkeit haben soll, liegt ihm fern. Insofern spiegelt seine Art der Theoriebildung die Aufspaltung des Stilbegriffs nach 1750 in eine Vielzahl lokaler Praktiken. / The paper first discusses the thorough bass as a form of notation or operational writing technique (F. Kittler) in musicological discourse in the mid-18th century. Then, its role in chord formation and movement theory is examined in Joseph Riepel's Anfangsgründe zur musicalischen Setzkunst. Riepel uses it as a combinatorial program for the formation of chords (in the Gründliche Erklärung der Tonordnung insbesondere, 1757), but also exploits its potential in the form of sequence models in his revision of older counterpoint exercises after Johann Joseph Fux and Meinrad Spieß. Thorough bass thus serves him as a medium of theoretical reflection as well as a modernizing transformation of the musical movement. For Riepel it is typical to work with small versatile theory segments, starting from examples. A reductive theory, which should have the claim of a general validity, is far from him. In this respect, his way of theorizing reflects the splitting of the concept of style after 1750 into a multitude of local practices.

Der Beitrag verfolgt die Entwicklung der Skrjabin’schen Harmonik von dessen Früh- bis zu dessen Spätwerk. Ausgehend vom der Struktur des Einzelklangs (›Chopin-Akkord‹, ›Skrjabin-Akkord‹) werden die Tendenzen aufgezeigt, die folgerichtig ein neues Klangfortschreitungssystem nach sich ziehen. Der äquidistante Quintenzirkel wird durch andere, ebenfalls äquidistante Zirkel ersetzt. Es entstehen symmetrische Tonsysteme, an die später u.a. Olivier Messiaen anknüpft. Als entscheidend gilt dem Autor die Idee der ›Verdichtung‹ – ein Begriff, den Sigmund Freud in seiner Theorie der Traumdeutung ausgearbeitet hat. In dessen Sinne wird die Klangsprache Skrjabins als Verdichtungsarbeit interpretiert. / This article traces the development of Scriabin’s harmonic practice from his early work to his late work. Proceeding from the structure of individual chords (e.g., the “Chopin chord,” the “Scriabin chord”), tendencies will be shown that consequently lead to a new system of harmonic progression: the equidistant circle of fifths is replaced by other circles that are also equidistant. The result is symmetrical tone-systems that later influence Olivier Messiaen, among others. The author places special emphasis on the idea of “condensation” (Verdichtung), a term developed by Sigmund Freund in his theorizing of the interpretation of dreams. In this sense Scriabin’s harmonic language is thus interpreted as a process of condensation.

No description available.

This qualitative study sought to explore the Hong Kong Chinese patient's perceptions of an Intensive Care experience and their views on the introduction of feng shui principles focussing on sleep orientations, dietary management and exercise regimes. The study explored the background of feng shui as an authentic traditional Chinese belief. It also explores if incorporating these feng shui principles into the health care setting would provide a positive effect for open-heart patients in an Intensive Care Unit at the Hong Kong Adventist Hospital in Hong Kong. The major inference drawn from this study is that Chinese patients seek culturally related experiences from the health care setting. The Chinese informants showed strong belief patterns in traditional practices of feng shui, however, practiced these within the confines of their homes as these experiences were denied to them in the hospital setting. / Health Studies / M.A. (Nursing Science)

This study examines the basis of contractual liability in indigenous law. It concludes that contractual liability arises only from real contracts where one party has performed fully or partially in terms of an agreement. Attention is given to both the nature and concept of indigenous contracts to ascertain the function of contracts in indigenous societies in order to bring a holistic perspective to the topic. It is demonstrated that the settlement of disputes arising out of indigenous contracts is primarily focused on the reconciliation of people and the consequent maintenance of harmony within the community. The foremost concern in indigenous law of contract is with human justice rather than with strict legal justice, and expression is thereby given to prevailing community values. / Indigenous Law / LL.M.

This study was undertaken to establish whether rights of personality are known in indigenous law. Since indigenous law differs not only between tribes but is also affected by the degree of exposure to Western values, a micro-study has been done in a semi-rural environment in the Kingdom of Swaziland to establish to what extent own value systems have been influenced or altered when Western legal concepts are utilised. The information, obtained by interviewing a panel of experts, was compared with the available literature. During the process of gathering information, the aims of the research were not only to describe how the legal principles function, but also to take note of those socio-cultural processes which function outside of the law. Rights of personality were studied against a background of the culture and way of life of the peoples concerned. The importance of culture has been acknowledged in the Constitution of the Republic of South Africa, wherein the recognition and application of indigenous law generally rests on a constitutionally protected right to culture. Whilst the identifiable rights of personality may generally be classified according to specialised legal systems, the separation of rights to good name and to dignity may be inappropriate in the indigenous sphere. Dignity in indigenous legal systems is to be viewed as a comprehensive right of personality, into which should be subsumed the right to good name and reputation in the community. It is such dignity, embracing the ubuntu quality of humanness that is protected as a comprehensive indigenous right of personality. Although the indigenous law of personality is showing some signs of adapting to new developments, there is also proof that the established legal principles and human values are being retained. However, these changes are unique and are neither typically traditional nor Western. The indigenous law of personality, operating in a changing social environment, has to retain its flexibility and adaptability in order to remain ”living” law for the peoples concerned. / Jurisprudence / LL.D.

Este trabalho tem seu foco na monitoração dos processos de usinagem das máquinas ferramentas sem a utilização de sensores dedicados à medição direta das grandezas mecânicas envolvidas no processo de usinagem em si. Assim sendo, optou-se por um método de medição indireta utilizando um estimador de potência e torque baseado nas grandezas elétricas na entrada de energia do motor de indução da máquina ferramenta. O núcleo central do trabalho consiste na medição de processos de usinagem utilizando um dinamômetro de alta precisão próprio para máquina ferramenta para obter os valores médios e os modos de vibração do processo máquina ferramenta-usinagem e fazer a confrontação com os mesmos dados obtidos pelo estimador de torque. A pesquisa realizada utilizou ferramentas clássicas de processamento de sinais, como é o caso da FFT, assim como duas poderosas ferramentas atuais, a transformada de wavelet (WT) e a transformada de Hilbert-Huang (HHT). Em adição foi utilizado um processo de otimização para a determinação dos parâmetros do motor de indução on-line baseado em uma metaheurística denominada busca de harmonia (Harmony Search HS) / This work focuses on monitoring the machining processes in machine tools without the use of dedicated transducers to directly measure mechanicals quantities of the machining process. The approached method used the option of measuring the power and torque through a estimator based in the electrical quantities in the input of the induction motor used by machine tool. The core of the work consists in the measuring the mechanical processes of machining using a high precision dynamometer specified to machine tool to get the average values of mechanical quantities and the vibration modes of the set machine tool-machining process, the objective is to compare the same data group got from dynamometer and estimator. The research data was based on classical analysis tool such as Fourier transform (FFT) and on modern powerful tools such as wavelet transforms (WT) and Hilbert-Huang transform (HHT). To refine the measuring process of average values of torque and power using the induction motor a method to estimates the motor parameters was added based on an optimization method named harmony search (HS).

Made available in DSpace on 2016-04-28T14:16:30Z (GMT). No. of bitstreams: 1 Renato Casemiro.pdf: 775370 bytes, checksum: 99f913ff4cc21605f5b50d04a2c907bb (MD5) Previous issue date: 2007-10-24 / Fundo de Apoio à Pesquisa do Estado de São Paulo / One of the meanings of the word consonant is harmony. Harmony, in a mathematical context, refers to proportion, order and symmetry. In a musical context, harmony indicates a logical succession of the sounds. In a spiritual context, it denotes an approach to the divine, peace. Johannes Kepler´s work Harmonices mundi (1619) presents a harmonious composition of these three contexts set in the astronomical scene of the seventeenth century. In this book Kepler shows the existing mathematical relation between the planets periods of revolution and their respective distances from the Sun or as we know at the present time, the third law of the planetary motion, harmonic law, or Kepler s third law. Based on his own previous conclusions, essentially the ones published in Mysterium Cosmographicum (1596), and on the hypothesis of a relationship between the musical note frequency and the velocities of the planets in its orbits, Kepler made use of a theoretical structure typical of his period, which includes the Pythagoras mystics, the Platonic philosophy, the Euclidian geometry, the Ptolemaic music theory, and the Copernican heliocentricism. The aim of this dissertation is to examine the theoretical and epistemological basis used by Kepler on the development of the harmonic law , and to discuss its significance in the keplerian cosmology and for the astronomy of the period / Um dos significados da palavra consonância é harmonia. Harmonia, no contexto matemático, remete-se a proporção, ordem e simetria. No contexto musical, harmonia indica uma sucessão lógica dos sons. No contexto espiritual, denota aproximação com o divino, paz. A obra de Johannes Kepler (1571 1630), Harmonices mundi (1619), é uma composição harmoniosa destes três contextos aplicados ao cenário astronômico do século XVII. É neste livro que Kepler apresenta a relação matemática existente entre os períodos de revolução dos planetas e suas respectivas distâncias em relação ao Sol ou como conhecemos nos dias atuais, terceira lei do movimento planetário, lei harmônica ou terceira lei de Kepler. Baseando-se em suas conclusões anteriores, principalmente as que foram publicadas no Mysterium Cosmographicum (1596), e na hipótese de uma ligação entre as freqüências das notas musicais e as velocidades assumidas pelos planetas ao longo de suas trajetórias, Kepler utilizou-se de um arcabouço teórico característicos de sua época: a mística pitagórica, a filosofia platônica, a geometria euclidiana, a teoria musical de Ptolomeu e o heliocentrismo de Copérnico. O objetivo desta dissertação é examinar a fundamentação teórica e epistemológica empregada por Kepler na elaboração da lei harmônica , bem como discutir sua relevância na cosmologia kepleriana e para a astronomia da época