The purpose of this research is to examine John La Montaine's only two song cycles for soprano and orchestra, Songs of the Rose of Sharon, opus 6 (1947) and Fragments from the Song of Songs, opus 29 (1959). In this investigation-the first ever specific to these works-I examine the works and cultural context in which they were created. I then evaluate the reasonable possibility that La Montaine used his public platform as a composer and performer to subtly celebrate taboo themes of feminism, sexuality, and blackness while shining a light on human injustice. Through close examination of social and historical context, I argue two points. Firstly, Rose of Sharon and Fragments are landmark American works. They are anomalies in classical music history in that a white male heralds texts about a black woman in an unlikely time in American history, thus arguably becoming an unlikely part of the evolution of African-American women in artistic endeavors. Secondly, in the performance guide, I advocate that these works would readily adapt to a staged performance. I discuss how La Montaine's musical settings illustrate the inherent drama of the text, provide a context for interpreting the protagonist in Rose of Sharon and Fragments, and present an interpretation of how these works could be staged. The ultimate goal of this research is to bring these intricately crafted masterpieces to the attention of singers and voice teachers so that they may assume their rightful place in the repertoire.

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A nivel legislativo, la Directiva 2000/60/EC del Parlamento Europeo y el Consejo de Europa establece un marco comunitario de acción en el ámbito de la política del agua, y en cuanto a depuración de agua se refiere, la Directiva 91/271/EC establece los límites de vertido de contaminantes procedentes de las estaciones de depuración de agua residual (EDAR), e introduce el concepto de zonas sensibles, en el que se establece la importancia de eliminar nutrientes, especialmente nitrógeno y fósforo, de las aguas residuales, en vista de su impacto negativo sobre los ecosistemas acuáticos. Diversos estudios han puesto de manifiesto la posibilidad de optimizar el funcionamiento de las EDAR mediante el empleo de procesos que permitan eliminar el nitrógeno amoniacal vía nitrito de corrientes de agua residual con elevada concentración de amonio. El objetivo principal de este trabajo de tesis doctoral ha sido el estudio a escala de laboratorio del proceso de eliminación de nitrógeno vía nitrito, para eliminar el amonio de la corriente del sobrenadante procedente de la deshidratación de fangos estabilizados mediante digestión anaerobia. Inicialmente, se estudiaron diversas estrategias para la puesta en marcha del proceso SHARON operado para la nitritación parcial. Tras alcanzar un funcionamiento estable del proceso se estudió el efecto de diversos factores ambientales y de operación sobre los organismos amonioxidantes (AOB) y la calidad del efluente, respectivamente. Por otro lado, a partir del análisis de la información aportada por los sensores de pH, potencial redox y oxígeno disuelto instalados en el reactor, y su relación con las concentraciones de los compuestos nitrogenados, determinados durante las etapas de puesta en marcha y seguimiento del proceso biológico de nitrificación y desnitrificación vía nitrito, se desarrolló una estrategia de monitorización, en donde se establecieron los criterios de funcionamiento óptimo del proceso. Esta información fue empleada para d / Claros Bedoya, JA. (2012). ESTUDIO DEL PROCESO DE NITRIFICACIÓN Y DESNITRIFICACIÓN VÍA NITRITO PARA EL TRATAMIENTO BIOLÓGICO DE CORRIENTES DE AGUA RESIDUAL CON ALTA CARGA DE NITRÓGENO AMONIACAL [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/17653

This study investigates the work of the performer, composer, educator, music therapist and activist Sharon Katz. Beginning in 1992, Katz made history in apartheid South Africa when she formed a 500-member choir that showcased both multi-cultural and multi- lingual songs in their staged the production, When Voices Meet, which incorporated music, songs and dance, intended to assist in promoting a peaceful transition to democracy in South Africa. The success of the concerts of When Voices Meet led to Katz securing sponsorships to hire a train, “The Peace Train”, which transported 130 performers from city to city with media crews in tow. The performers’ mission on this journey was to create an environment of trust, of joy, and of sharing through music, across the artificially-imposed barriers of a racially segregated society. This investigation includes several areas of inquiry: The South African Peace Train; the efforts of the non-profit Friends of the Peace Train; Katz’s work with Pennsylvania prisoners and boys at an American Reform School; the documentary When Voices Meet, and the American Peace Train Tour of July 2016, bringing the message of peace and harmony through song to racially and socio-economically divided Americans on a route that started in New York and culminated with a concert at UNESCO’s Mandela Day celebrations in Washington D. C. These endeavours are examined within the framework of musical activism. The multi-faceted nature of Katz’s activism lends itself to an in-depth multiple case study. Qualitative case study methodology will be used to understand and theorise musical activism through detailed contextual analyses of five significant sets of related events. These include Katz’s work as a music therapist with prisoners in Pennsylvania and a Boys’ Reform School; as activist with The South African Peace Train of 1993; as humanitarian with Friends of the Peace Train; in making the documentary, When Voices Meet, and as activist with the American Peace Train Tour of 2016. In documenting the grass-roots musical activism of Sharon Katz, I hope to contribute towards a gap in South African musicological history that would add to a more comprehensive understanding of musical activism and its role in social change. / Art History, Visual Arts and Musicology / D. Litt. et Phil. (Musicology)

Al Qaeda killings, posttraumatic stress, and the Gothic together triangulate a sizable space in recent American fiction that is still largely uncharted by critics. This thesis maps that shared territory in four novels written between 2005 and 2007 by writers who were born in America, and whose protagonists are the survivors in New York City after the World Trade Center falls. Published in the city of their tragedy and reviewed in its media, the novels surveyed here include Don DeLillo’s _Falling Man_ (2007), Jonathan Safran Foer’s _Extremely Loud and Incredibly Close_ (2005), Lynne Sharon Schwartz’s _The Writing on the Wall_ (2005), and Jess Walter’s _The Zero_ (2006). The thesis issues a challenge to the large number of negative and dismissive reviews of the novels under consideration, making a case that under different criteria, shaped by trauma theory and psychoanalysis, the novels succeed after all in making readers feel what it was to be alive in September 2001, enduring the posttraumatic stress for months and years later. The thesis asserts that 9/11 fiction is too commonly presented in popular journals and scholarly studies as an undifferentiated mass. In the same critical piece a journalist or an academic may evaluate narratives in which unfold a terrorist's point of view, a surviving or a dying New York City victim's perspective, and an outsider's reaction set thousands of miles away from Ground Zero. What this thesis argues for is a separation in study of the fictive strands that meditate on the burning towers, treating the New York City survivor story as a discrete body. Despite their being set in one of the most known cities of the Western world, and the terrorist attack that they depict being the most- watched catastrophe ever experienced in real-time before, these fictions have not yet been critically ordered. Charting the salient reappearing conflicts, unsettling descriptions, protagonist decay, and potent techniques for registering horror that resurface in this New York City 9/11 fiction, this thesis proposes and demonstrates how the peculiar and affecting Gothic tensions in the works can be further understood by trauma theory, a term coined by Cathy Caruth in Unclaimed Experience (1996: 72). Though the thesis concentrates on developments in trauma theory from the mid 1990s to 2015, it also addresses its theoretical antecedents: from the earliest voices in the late nineteenth and early twentieth centuries that linked mental illness to a trauma (Charcot, Janet, Breuer, Freud), to researchers from mid-twentieth century (Adler, Lindemann) who studied how catastrophe affects civilian minds not previously trained to either fight war or withstand cataclysm. Always keeping at the fore the ancient Greek double-meaning of trauma as both unhealing “wound” and “defeat,” the thesis surveys tenets of the trauma theorists from the very first of those who studied the effects on civilian survivors of disaster (of what is still the largest nightclub fire in U.S. history, which replaced front page coverage of World War II for a few days: the Cocoanut Grove blaze in Boston, 1942) up to those theorists writing in 2015. The concepts evolving behind trauma theory, this thesis demonstrates, provide a useful mechanism to discuss the surprising yearnings hiding behind the appearance of doppelgängers, possession ghosts, terrorists as monsters, empty coffins, and visitants that appear to feed on characters’ sorrow, guilt, and loneliness within the novels under discussion. This thesis reappraises the dominant idea in trauma studies of the mid-1990s, namely that trauma victims often cannot fully remember and articulate their physical and psychic wounds. The argument here is that, true to the theories of the Caruthian school, the victims in these novels may not remember and express their trauma completely and in a linear fashion. However, the victims figured in these novels do relate the horrors of their memory to a degree by letting their narration erupt with the unexpectedly Gothic images, tropes, visions, language, and typical contradictions, aporias, lacunae, and paradoxes. The Gothic, one might say, becomes the language in which trauma speaks and articulates itself, albeit not always in the most cogent of signs. One might easily dismiss these fleeting Gothic presences that characters conjure in the fictions under consideration as anomalous apparitions signalling nothing. However, this thesis interrogates these ghostly traces of Gothicism to find what secrets they hold. Working from the insights of psychoanalysis and its post-Freudian re-inventers and challengers, it aims to puzzle out the dimensions of characters’ mourning in its “traumagothic” reading of the texts. Characters’ use of the Gothic becomes their way of remembering, a coded language to the curious. This thesis holds that unexpressed grief and guilt are the large constant in this grouping of novels. Characters’ grief articulation and guilt release, or the desire for symbolic amnesia, take paths that the figures often were suspicious of before 9/11: a return to organized religion, a belief in spirits, a call for vengeance, psychotherapy, substance abuse, splitting with a partner, rampant sex with nearby strangers, torture of suspects, and killing. All the earnest attempts through the above means by the characters to express grief, vent rage, and alleviate survivor guilt do so without noticeable success. True closure towards their trauma is largely a myth. No reliable evidence surfaces from the close reading of the texts that those affected by trauma ever fully recover. However, as this thesis demonstrates, other forms of recompense come from these searches for elusive peace and the nostalgic longing for the America that has been lost to them.

La question moyenne-orientale est dans l'actualité depuis 1948. C'est en cette année que se crée l'Etat d'Israël sur les décombres du mandat britannique en Palestine. Dès le commencement, la guerre va commencer à fixer les frontières entre Israël et ses voisins arabes. Cependant, après 1967, une nouvelle question va apparaître, celle des relations avec les Territoires occupés. En conséquence, l'Etat d'Israël aura deux questions frontalières à gérer : la question interétatique classique et la question interne avec les Palestiniens. Cette recherche tente de démontrer les voies employées par les différents acteurs régionaux et internationaux pour trouver une solution à cette question juridique qui cause l'instabilité régionale. On s'appuiera sur le droit, l'Histoire, la science politique (en particulier, l'étude des idéologies sioniste et arabiste) et les relations internationales pour trouver une cohérence aux réussites et aux échecs qui ont émaillé l'histoire du Moyen-Orient depuis 1948 et le fait qu'Israël n'ait encore que deux frontières internationalement reconnues, une avec l'Egypte et l'autre avec le royaume de Jordanie.