Crux Fidelis is a musical and theatrical setting of the Roman Catholic Good Friday service. The work consists of three movements during which seven themes are developed in cyclic fashion thus making the overall form of the piece one of thematic variations. Variable tempos and moods are used throughout the work and are determined by the text. Linear construction, used primarily throughout the work, results in occasional vertical sonorities. A further synopsis of the elements of the work is included in the discussion and analysis.

The purpose of this project is to investigate the historical and theological origins of the doctrine of Original Grace and test its viability within Stone-Campbell soteriology. Chapter 1 seeks to provide an exhaustive literature review of those works of the proponents of Original Grace in which they discuss the doctrine in order to demonstrate the place of Original Grace within each tradition, and to make specific connections from the ideas of each writer to their respective theological, philosophical, and historical influences. Chapter 2 explores the exegetical basis for the doctrine of Original Grace. The bulk of attention is given to Romans 5:12-21, as the principal passage cited in discussions of the subject, and to the exegesis of Jack Cottrell, who displays the most current and developed version of the doctrine of Original Grace. I seek, primarily, to delve deeply into the text to gain a deeper understanding of the ways in which the doctrine of Original Grace has been extracted from this text, explore the most detailed textual justification that has been provided for the doctrine, and ultimately determine what is at stake in the unique reading of the text that brings out Original Grace. Secondarily, I seek to assess whether the Original Grace interpretation of the passage is successful on its own terms. Chapter 3 aims to make a significant contribution to Stone-Campbell Movement theology, and also contribute to wider contemporary theological conversations from within the Stone-Campbell Movement. Specifically, I seek to discover how the doctrine of Original Grace fares in conversation with other accounts of grace and salvation, both as a potential contribution, and by running the gauntlet of critique within that conversation. The chapter makes this contribution by discussing the theological and practical implications of Original Grace, identifying and analyzing both the doctrine’s theological strengths and weaknesses, describing and evaluating the theological contribution of the doctrine of Original Grace in regard to the three most critical exegetical issues, and assessing the viability of Original Grace as part of the traditional and contemporary Stone-Campbell soteriological system.

The purpose of this play is to dramatize the change of government in ancient Greece from a matriarchy to a patriarchy and from rule by the Ionian to rule by the Dorian Greeks through the last years of Helen of Troy. Faced with a challenge by her husband, Menelaus, who wants his sons to rule, Helen manages through intrigue to arrange for her daughter to gain the throne. Helen herself becomes a "goddess."

[pt] Esta tese se insere no âmbito dos estudos descritivos da tradução e investiga a autotradução a partir do caso do escritor brasileiro João Ubaldo Ribeiro. Com base em uma nova concepção do autor-modelo (Eco, 1979a; 1979b; 1994), este estudo investiga se o exercício da autotradução pode ser visto, no caso do escritor brasileiro, como uma possibilidade de continuação, por assim dizer, do processo de escrita original. Para tal investigação, utiliza-se um corpus constituído por: (i) o artigo Suffering in translation, de autoria de João Ubaldo; (ii) entrevistas (publicadas ou não) e declarações diversas concedidas pelo escritor; (iii) os textos - original e tradução - produzidos por ele; (iv) resenhas escritas por críticos norteamericanos e publicadas nos Estados Unidos; e (v) livros escritos por críticos brasileiros sobre a obra do autor. Utiliza-se ainda instrumentos de pesquisa distintos: (i) a comparação entre original e tradução, freqüentemente feita por estudiosos da tradução; (ii) o modelo para análise de traduções de Lambert e van Gorp (1985); e (iii) a entrevista por e-mail (Mann & Stewart, 2000). Além da análise do corpus em si, este estudo apresenta um histórico da autotradução e relatos dos casos dos autotradutores Vladimir Nabokov, Samuel Beckett, Milan Kundera, escritores catalães e poetas escoceses. Esta apresentação tem por objetivo proporcionar o diálogo entre as diversas práticas autotradutórias. / [en] The present work presents a study of self-translation based on the case of the Brazilian writer João Ubaldo Ribeiro. Using in the revisited concept of model author, this thesis seeks to analyse whether the practice of self-translation can be seen, in the case of the Brazilian writer, as the continuation of the process of original writing. The elaboration of the answer to this question is based on the analysis of the corpus, which consists of: (i) the article Suffering in translation, by João Ubaldo Ribeiro; (ii) published and unpublished interviews given by the author; (iii) original and self-translated texts produced by João Ubaldo; (iv) reviews written by North American critics and published in the USA; and (v) books written by professional readers about João Ubaldo´s works. Also, the investigation uses different research instruments: (i) the comparative analysis between original and self-translated texts; (ii) Lambert and van Gorp´s model for the analysis of translated literature; and (iii) e-mail interview. Besides the analysis of the corpus, this study presents a brief historical account of self-translation and general critical reports of self-translators´ - Vladimir Nabokov, Samuel Beckett, Milan Kundera, Catalan writers and Scottish poets - works. Rather than provide readers with a detailed critical analysis of these writers´ texts, these reports seek to make the dialogue between distinct self-translation practices possible.

O estilo de época Sturm und Drang, o primeiro movimento literário genuinamente alemão, surgido na segunda metade do século XVIII, possibilitou a emancipação literária da Alemanha e introduziu naquele país o conceito de gênio original. A partir da descoberta da obra do gênio inglês Shakespeare (possibilitada pelas traduções de Christoph Martin Wieland), os alemães se depararam com o modelo de revolução literária que necessitavam para instituir as bases da originalidade literária alemã. Pautando-se na estrutura dramática shakespeariana, Johann Wolfgang von Goethe e Friedrich Schiller elaboraram seus dramas de estreia, obras foco da presente pesquisa: Götz von Berlichingen e Os bandoleiros, respectivamente. O presente estudo propõe-se, por conseguinte, a analisar as obras supracitadas à luz da temática do gênio original. Mas, primeiramente, são observados os fatores (como a ascenção do romance inglês) e escritores (como Gothold Ephraim Lessing, Johann Jakob Bodmer, Johann Jakob Breitinger, Friedrich Gottlieb Klopstock, Johann Joachim Winckelmann, Wieland e Johann Gottfried von Herder) que colaboraram para a instituição da era genial na Alemanha / The Sturm und Drang period, the first literary style genuinely German, emerged in the second half of the 18th century, turned the literary emancipation of Germany possible and introduced in that country the concept of original genius. As from the discovery of the English genius Shakespeares works (enabled by Christoph Martin Wielands translations), the Germans came across the model of literary revolution they needed to establish the basis of Germans literary originality. Basing themselves on Shakespearean dramatic structure, Johann Wolfgang von Goethe and Friedrich Schiller worked out their first plays (works that are the focus of the present research): Götz von Berlichingen and The robbers respectively. The present thesis intends therefore to analyse the above-mentioned works, considering the concept of original genius. But foremost the factors (as much as the rise of the English novel) and writers (as Gothold Ephraim Lessing, Johann Jakob Bodmer, Johann Jakob Breitinger, Friedrich Gottlieb Klopstock, Johann Joachim Winckelmann, Wieland and Johann Gottfried von Herder) that cooperated for the establishment of the ingenious era in Germany are examined

O estilo de época Sturm und Drang, o primeiro movimento literário genuinamente alemão, surgido na segunda metade do século XVIII, possibilitou a emancipação literária da Alemanha e introduziu naquele país o conceito de gênio original. A partir da descoberta da obra do gênio inglês Shakespeare (possibilitada pelas traduções de Christoph Martin Wieland), os alemães se depararam com o modelo de revolução literária que necessitavam para instituir as bases da originalidade literária alemã. Pautando-se na estrutura dramática shakespeariana, Johann Wolfgang von Goethe e Friedrich Schiller elaboraram seus dramas de estreia, obras foco da presente pesquisa: Götz von Berlichingen e Os bandoleiros, respectivamente. O presente estudo propõe-se, por conseguinte, a analisar as obras supracitadas à luz da temática do gênio original. Mas, primeiramente, são observados os fatores (como a ascenção do romance inglês) e escritores (como Gothold Ephraim Lessing, Johann Jakob Bodmer, Johann Jakob Breitinger, Friedrich Gottlieb Klopstock, Johann Joachim Winckelmann, Wieland e Johann Gottfried von Herder) que colaboraram para a instituição da era genial na Alemanha / The Sturm und Drang period, the first literary style genuinely German, emerged in the second half of the 18th century, turned the literary emancipation of Germany possible and introduced in that country the concept of original genius. As from the discovery of the English genius Shakespeares works (enabled by Christoph Martin Wielands translations), the Germans came across the model of literary revolution they needed to establish the basis of Germans literary originality. Basing themselves on Shakespearean dramatic structure, Johann Wolfgang von Goethe and Friedrich Schiller worked out their first plays (works that are the focus of the present research): Götz von Berlichingen and The robbers respectively. The present thesis intends therefore to analyse the above-mentioned works, considering the concept of original genius. But foremost the factors (as much as the rise of the English novel) and writers (as Gothold Ephraim Lessing, Johann Jakob Bodmer, Johann Jakob Breitinger, Friedrich Gottlieb Klopstock, Johann Joachim Winckelmann, Wieland and Johann Gottfried von Herder) that cooperated for the establishment of the ingenious era in Germany are examined

Uppsatsen redogör för hur resonemanget i Svenska kyrkan förs kring arvsyndsläran under perioden 2000–2015, samt hur utvalda texter ur Svenska kyrkans bekännelseskrifter beskriver arvsynden. Utifrån denna redogörelse görs därefter en hermeneutisk jämförelse av de olika beskrivningarna, för att se vilka resonemang som gjort sig gällande, och hur de ställer sig till arvsyndsläran i jämförelse med de äldre, men för Svenska kyrkan, ännu gällande bekännelserna. Undersökningen vill försöka svara på frågorna.  - Hur förs resonemanget i Svenska kyrkan kring arvsyndsläran under perioden 2000– 2015?  - Vilka likheter och skillnader framträder i en jämförelse med det material om arvsynden som återfinns i Svenska kyrkans bekännelseskrifter?  Det första som kan konstateras är att arvsynden och arvsyndsläran inte har varit det mest aktuella samtalsämnet under den gällande undersökningsperioden.  Det verkar dock finnas en önskan, och ett behov av diskussion i ämnet. Resultatet av mötet mellan de nya och de äldre texterna visar att det skett en förskjutning på vart man lägger fokus. Det är andra aspekter och frågor som betonas, och det går att spåra tre olika linjer, i de resonemang som förts mellan 2000–2015: 1. En helt i enlighet med den lutherska bekännelsen – där man anser att den lutherska bekännelsen håller, och bör stå oemotsagd. 2. En förändringsstävande – där man i extremaste fall vill förända inte bara arvsynden uttrycksmässigt, utan även själva innehållet i arvsyndsläran. 3. En lite mittemellan – där man söker andra uttrycksformer, men står fast vid läran. Denna linje tenderar att vara något undvikande i sin framställning. Trots detta blir slutsatsen att texterna ändå försöker att förmedla samma budskap under ytan, om än på väldigt skilda sätt, och med olika formuleringar och ton, vilket mest tycks beror på andra förutsättningar och en annan kontext.

This collection consists of a critical preface and five short stories. The preface analyzes what it terms 'fringe fiction,' or stories dealing with elements that are improbable or unusual, though not impossible, as it distinguishes this category from magical realism and offers guidelines for writing this kind of fiction. The short stories explore themes of attachment, loss, guilt, and hope. Collection includes the stories "Portrait," "Dress Up," "Change," "Drawn Onward, We Few, Drawn Onward," and "Broker."

This thesis consists of three original short stories: "August Morning," "Weekend Idyll," and "Free Ride." In addition, an appendix has been added which contains "Hamilton House Roundabout," the original version of "Weekend Idyll." It is included to illustrate the dramatic changes that can occur in the writing process. "August Morning" focuses on a young man's struggle to gain his freedom from his family, particularly his overbearing father. Whether or not he succeeds is ultimately up to the reader. "Weekend Idyll" follows a young woman as she tries to live a dream she has long believed in. Ultimately, her vision is shattered. The final story, "Free Ride," centers on a hapless teenager who finds happiness only in the exhiliaration of racing. Ultimately, it kills him. I wrote stories rather than an analysis primarily for practical reasons. As a teacher I found an exercise in writing more readily transferrable to my classroom.

This single movement work is written for 2 flutes, 2 oboes, 3 clarinets in Bb, bass clarinet in Bb, 2 bassoons, alto saxophone in Eb, 2 horns in F, 2 trumpets in Bb, trombone, euphonium, tuba, contra bass, and 3 percussion. The approximate length is eight minutes. Both traditional and proportional systems of notation are employed. The entire piece is freely chromatic with some implications of whole tone and other nondiatonic scales. The harmonies are tertian yet have no functional tonal basis. Changing meters with asymmetrical divisions are used in all sections except C and E, which have time indications (in seconds) for each measure with subdivisions to aid the conductor. There are seven major formal divisions: A B transition C retransition A' D E.