Dissertations / Theses on the topic 'Euphony'

My harmonic approach is founded on two premises, pertaining especially to chordal spacing. First, that for each of the 4,096 possible sets of pitch-classes within equal temperament, without exception, certain spacing principles and techniques, if consistently applied, will generate clear, or relatively clear chordal roots. Typically, the resulting sonorities will possess more than one root – that is, be heard as polychords. Second, that one may control the level of inherent sensory dissonance of any given set of pitch-classes, presented as a chord, through register. These two factors combine to induce both harmonic coherence and euphony. For most listeners, rightly or wrongly, these are not qualities normally associated with music written using the 4,096 – that is, ostensibly ‘atonal', ‘non-tonal' or ‘post-tonal' music. Through my harmonic method, since chordal roots are consistently clarified, one may compose progressions of chordal roots – an asset on which the coherence of diatonic tonality also fundamentally depends. Within a non-diatonic context, the expressive and technical consequences are far-reaching. The following textual commentary demonstrates all of the above, supported by analyses of numerous musical extracts. These are drawn primarily from four of the compositions included in the portfolio – Madame de Meuron, The Art of Thinking Clearly, Velvet Revolution and Nevermore.

Dans l'œuvre poétique de Joan Maragall (1860-1911), poète barcelonais un des plus remarquables représentants de la renaissance littéraire catalane a la transition de deux siècles, entre le romantisme et le modernisme - soumise à l'examen phonémique, limite à l'expression versifiée, on y découvre, d'après les principes, appliques a la phonétique de la langue catalane, du "système euphonique et rythmique du vers français" du professeur Michel Gauthier, la présence de toutes sortes de figures euphoniques, oscillations (successions de deux timbres de la même chaine - vocalique ou consonantique - sur un ensemble d'au moins trois occurrences) et les séries (ensemble d'au moins deux groupes identiques ou semblables de phonèmes successifs de la même chaine). L’étude détaillée (concernant la stylistique, la syntaxe, la sémantique et l'euphonie) des cents vers de l'oda nova a Barcelona (nouvelle ode a Barcelona) fait apparaitre certains rapports entre le son et le sens, permet d'avancer des hypothèses sur la genèse de quelques vers et meta jour les équilibres euphoniques inhérents a l'expression poétique. Et de ce fait, le système euphonique devient théorie euphonique, i. E. , une nouvelle méthode d'approche et d'interprétation de la réalité poetique, dans son ensemble
In the poetical work of Joan Maragall (1860-1911), a Barcelona poetone of the most representative of the catalan literary revival, between romantism and modernism - all sorts of euphonic representations appear such as: oscillations (a succession of two tones of the same sequence -vowel or consonant - over a group of at least three), series (a unity of at least two identical groups of two phonems running in the same sequence). These phonic representations have been outlined in "the euphonic and rhythmic system of French verse" by professor Michel Gauthier, adapted to the Catalan language. A detailed study (about stylistics, syntax, semantics and euphonic) of the one hundred verses of the new ode to Barcelona discloses certain relationships between the sound and the meaning. There are several hypothesis concerning the origin of various verses which bring to light the inherent euphonic balances in the poetic expression. Therefore the euphonic system turns into a euphonic theory, i. E. , a new method of approaching and interpreting poetry as a whole

Le champ d'investigation porte sur les cinq premiers tomes de la série Harry Potter. Après qu'un constat du phénomène (éditorial, social, culturel, critique) ait été établi, l'écriture est abordée à travers différents axes déterminant ses qualités littéraires. Notre première phase d'étude concerne les liens étroits entre (en)quête initiatique et généalogique, « whydunit », décryptage stylistique, jeux du langage et lecture spéculative. Le roman d'initiation se transforme rapidement en divertissement basé sur le mystère des mots : intertextualité, polysémie, néologismes, extraordinaire force sémantique des patronymes et des noms communs, découverte du « Potterspeak ». De la dimension ludique du texte à celle du spectacle, il n'y a qu'un pas. Nous le franchirons dans la partie suivante consacrée à l'impact dramatique de l'œuvre de J. K. Rowling : prépondérance du dialogue, utilisation des dialectes et accents, mais aussi dimension véritablement musicale et euphonique. L'écriture kinétique occupe une place de choix. Elle met littéralement en scène sentiments et personnages, sur un mode parfois tragique, souvent comique. C'est précisément ce dernier aspect qui constituera la phase conclusive de notre recherche : comique verbal, registres de langue variés, gestuelle, parodie, galerie de portraits, la série est avant tout une comédie. Un grand éclat de rire la parcourt, confinant à l'insolite et au « nonsense »
The subject of our enquiry will cover the first five volumes of Harry Potter. After a thorough account of the phenomenon (edition, society, culture and criticism), several aspects of the writing will be studied, determining its literary qualities. The first part of our work deals with the close interaction between « Bildungsroman », genealogical characteristics of the plot, « whydunit » properties, stylistic deciphering, puns, and inquisitive reading. The novel of self-development soon turns into enjoyment based on the sheer mystery of words : intertextuality, polysemy, neologisms, amazing semantic power of family names and common nouns, discovery of « Potterspeak ». There is only one step from play reading to dramatic writing. We will thus consider the theatrical impact of J. K. Rowling's work : dialogues are dominating, the author makes use of dialects and accents, and succeeds in giving musical, euphonic expressiveness to the text. Kinetic writing is also overwhelming. People and feelings are literally staged, sometimes in tragic tones, but most often in a comic manner. The latter will precisely be tackled in the conclusive part of our research : language variations, body movements, parody, character depictions, the novel is first and foremost a comedy. It is resonating with laughter, on the verge of « nonsense » and brimming with the unusual

Cette nouvelle tentative de l'euphonie à pénétrer les structures profondes du langage poétique a poussé à donner une définition de ce langage comme tissu euphonique agissant sur l'esprit de l'auteur indépendamment du contenu sémantique ; le mot thème a pu faire l'objet soit d'un enchainement vocalique soit d'une exploitation consonantique, en d'autres termes il s'insère dans un monde vocalique ou dans un monde consonantique. Cette recherche sur les mots-thèmes aboutit à la constatation suivante : vu le retour sous formes permanentes de groupes lies par leur parente consonantique ou vocalique ou consonantique et vocalique soit dans la même phrase, soit dans des phrases extraites de textes différents, leur présence est donc liée a des mots privilégies; ici, les animaux. Nous avons confirmé que les mots-thèmes sont à la base de noyaux de consonnes et de voyelles euphoniques, de séries spontanées qui accompagnent l'allitération ou l'assurance, en dehors de l'expressivité des sons. On peut donc considérer Colette parmi les grands poètes du XXème siècle, qui ont préfère à la versification régulière une forme poétique que l'on peut appeler prose musicale
This new attempt at penetrating deep into the structures of the poietic language has led us to work out a definition of this language as a web of sounds acting on the author's mind, regardless of the semantic content of the words used the there-word has therefore been the object of either vocalic or consonantal sequences, and in other words has proved to be part and parcel of a vocalic or consonantal world. Such a research on theme-words has led us to make the following statement: considering the ever-recurring groups of sounds linked together by a consonantal and or vocalic kinship, either in the same sentence or in sentences taken from various passages, the existence of such permanent forms is therefore related to privileged words, which happen to be animals here. In has thus confirmed that these theme-words lie at the origin of euphonic cores of consonant and vowels, of free sequences coming along with alliterations and assonances, regardless of the expressiveness of the sounds used. Colette may therefore be considered as one of the greeted poets of the twentieth century, one who preferred to classical, regular versification a poetic form which we may call "muscial prose"

Le but de notre présent travail relève principalement d'une préoccupation poïétique et phonostylistique. Il vise d'abord, dans le cadre d'une analyse euphonique, l'observation d'un certain nombre de phénomènes, particulièrement inconscients, et le mode de leur émergence dans le langage du poète recherche. Intervient ensuite leur confrontation à d'autres valeurs entre autres sémantiques. Plus précisément, il s'agit de savoir d'abord si corneille, tout en rédigeant les stances du cid, se laisse guider inconsciemment par un souci d'équilibre, ou tenter de le rétablir à travers les substitutions diverses; il est question de vérifier ensuite, si le développement de l'euphonie ou son mouvement pouvait paraitre significatif par rapport au sens des textes étudiés, structuralement, nous répondons a ces deux questions: y-a-t-il interactivité sensible entre l'euphonie et la rythmique d'une part, et l'euphonie et la métrique de l'autre ? y-a-t-il compatibilité tangible entre un enjambement poétique et un autre euphonique ? Parmi nos 3 parties essentielles dans l'étude, seule, la première est consacrée a une approche théorique, corrélative; dans les deux autres, approfondies, il est question d'aborder la structure de l'euphonie selon ses deux axes aussi bien horizontal que vertical
In the present research, there is a talk of study, mainly, some phenomenon "poietic" and "phonostylistic" in this play theatrical. Intervenes afterwards their confrontation with other values, among other things, semantic. In other words, we wish to answer the following questions: can we find a specific equilibrium structural in each one of the elaborated texts, those of Rodrigue and Chimene; then, there is a talk of verify if the development of the euphony or his movement can be significant in comparison with the meaning of the different lyrical monologues in question; is there a sensitive compatibility between a poetic relation and another, euphonic ? Is there a tangible interactivity between the euphony and the rhythmic on the one hand, and the euphony and the metric on the other hand ?

Considérant la stylistique comme l'étude consacrée au style, marque de l'individualité de l'écrivain dans le travail et la création poétique ou la notion de choix prend son importance, ayant choisi l'euphonie comme outil d'analyse d'un mécanisme créateur sans doute inconscient et "subliminal", nous définissons la poïétique (dans son sens général : le "faire" du grec "poïein" et particulier : génération des sons et des sens) comme la conjonction de la stylistique et de l'euphonie, de ce qui donc conscient et inconscient. Elle vise à dévoiler le fonctionnement phono-sémantique du texte poétique (l'engendrement par exemple d'un mot par un autre, le jaillissement d'une figure née du choc de deux monèmes rimiques, etc. ) la méthode s'appuie, sans nier la part de subjectivité dans l'acte de création comme celui de la lecture, moins sur l'intuition que sur une analyse linguistique d'un corpus choisi dans l'œuvre poétique de Victor Hugo. Elle nécessite la présence permanente et simultanée des couples oppositifs : objectivité subjectivité - description interprétation conscient inconscient - travail génie qui se convertit en couples conjoints. Elle peut s'appliquer à des œuvres écrites en langue française ou étrangère. Son but est d'enrichir l'analyse linguistique et poétique d'un texte
If we consider stylistics as a study devoted to style, a sign of the writer's individuality in his work and his poetic creation where the notion of choice gain in importance, and if we have chosen euphony as a tool of analysis of a creating mechanism undoubtly unconscious and a "subliminal" according to the Jakobson terminology, poiesis can be defined ( in its general meaning : the "make" (le "faire") a Greek’s "poeiein" and in its specific meaning : generation of sounds & meanings) as a conjonction of stylistics and euphony of what's conscious and unconscious. It aims at revealing the phono-semantic functioning of a poetic text ("engendrement", for example, of a word by another, "jaillissement" of a figure born out of an impact of two rhymed monemes ect. ) the method leans on, without denying subjectivity part in the act of creation as well as that of reading, less on intuition than on linguistic of a chosen corpus in the poetic work of Victor Hugo. This method implies the continuous and simultaneous presence of contrasting couples : objectivity subjectivity - description interpretation - conscious unconscious - work genius

La lecture d'un poème, signe patent du vécu du poète, peut procurer au lecteur une satisfaction essentiellemnt euphonique. L'analyse des plaisirs de l'écriture et de la lecture, indispensable à la compréhension plus générale du phénomène poétique, est entreprise dans les Romances sans paroles de Paul Verlaine à l'aide des "Equations poétiques" de Michel Gauthier. Celles-ci permettent de dégager les "règles" de composition de Verlaine et la mesure quantitative de l'auto-implication du poète dans son oeuvre. Après une réflexion théorique visant à légitimer la place de l'euphonie au sein de la linguistique et à élaborer une méthodologie poétique originale, l'analyse approfondie de chacun des vers (euphonie horizontale) et de chacun des poèmes (euphonie verticale) des quatre parties des romances sans paroles montre comment la dynamique euphonique aide à la compréhension sémantique. Une étude comparative des subdivisions du recueil fait ressortir ensuite une "totalité sonore", l'art poétique de Verlaine fortement auto-impliqué dans son recueil, comme le montre une approche (appuyée sur la philosophie du langage) de la force performative de celui-ci. Suivent, via le calcul statistique lexical, l'établissement de la liste des mots-thèmes et des mots-clés du recueil et la recherche d'éventuelles corrélations. La statistique des fréquences d'apparition des phonèmes et des diphonèmes permet de dégager l'importance du travail sur la langue qu'exige une production poétique d'une beauté "musicale" exceptionnelle. Après avoir lancé quelques pistes pour la poursuite de cette recherche, l'auteur termine son ouvrage par une bibliographie sélective sur la linguistique euphonique en général et sur l'euphonie verlainienne et dans les Romances sans paroles en particulier. Un tome annexe contient les analyses graphiques de tous les vers et de tous les poèmes du recueil analysé, toutes les notes et tous les documents utiles
Reading a poem, the obvious reflection of a poet's experience of life, can give the reader an essentially euphonic satisfaction. An analysis of the pleasures and satisfaction in writing and reading, which is essential to grasp the poetic phenomenon more widely, is being undertaken in "Romances sans paroles" (by Paul Verlaine) via Michel Gauthier's work "Equations poétiques". The latter enables us to bring out Verlaine's composing "rules" and to measure the extent of the poet's self-implication into his work. After a theoretical approach aiming at justifying the importance of euphony in linguistics as well as at working out an original poetic methodology, a more thorough analysis of each verse (horizontal euphony) and of each poem (vertical euphony) in each of the four parts of "Romances sans paroles" largely assists the semantic comprehension. Next, a comparative study of the subdivisions of the compilation brings out the "sound totality", Verlaine's poetic art being largely self-implicated into his compilation as demonstrated by a thorough study of the language philosophy of its performative force. Next, via the lexical and statistical calculation, comes a list of the theme-words and of the key-words as well as an investigation into possible correlations. The statistics concerning the frequency occurrence of the phonemes and the diphonemes enables us to emphasize the necessity of the poet's serious work on the language to achieve an exceptionaly musical and poetic production. After suggesting alternative directions allowing further investigations into this matter, the author ends his work with a critical bibliography of euphonic linguistics in general and of Verlaine's euphony in "Romances sans paroles" in particular. In an appendix you will find the graphical analysis of all the verses and of all the poems of the "target" compilation, all the notes and any further useful documents

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As epífitas são responsáveis por grande parte da diversidade vegetal das florestas neotropicais. São também importantes para a diversidade faunística dessas regiões, pois fornecem recursos alimentares (e.g., flores, frutos e sementes) e micro-ambientes propícios à sobrevivência de vários animais. Rhipsalis (Cactaceae) é um gênero de plantas holoepífitas cujos frutos são consumidos principalmente por um único gênero de aves, as Euphonia. Para verificar a hipótese de especialização na dispersão de sementes de Rhipsalis pelas Euphonia, inicialmente foi estudada a fenologia reprodutiva dessa epífita. Uma vez conhecido o período de disponibilidade de frutos maduros aos frugívoros, foram realizados registros eventuais de frugivoria e observações focais em indivíduos de Rhipsalis para definir a assembléia de frugívoros consumidores de seus frutos. Posteriormente, frutos de cinco espécies de Rhipsalis foram fornecidos a aves frugívoras mantidas em cativeiro. Testes de germinação foram realizados com as sementes que passaram pelo trato digestório dessas aves com o objetivo de verificar seu potencial como dispersoras efetivas das sementes de Rhipsalis. Os resultados obtidos demonstraram que o gênero Rhipsalis apresenta sincronia na produção das fenofases reprodutivas entre os indivíduos e atividade reprodutiva ao longo de todo o ano. A produção de frutos maduros teve duração longa entre os meses de junho e fevereiro. Todas as espécies apresentaram fenofases reprodutivas sazonais. As observações de frugivoria e os testes de germinação realizados confirmaram que as sementes de Rhipsalis podem ser dispersas por endozoocoria. O processamento dos frutos pelas aves frugívoras, especificamente a remoção da polpa que recobre as sementes, não apenas incrementou as taxas de germinação e germinabilidade das sementes, mas também se mostrou importante para...
Epiphytes are responsible for a great part of the plant diversity in Neotropical Forests. They are also important for animal diversity due to the production of food resources (e.g. flowers, fruits and leaves) and microhabitats used by a myriad of animal species. Rhipsalis (Cactaceae) is a holoepiphytic plant genus whose fruits are eaten mostly by a single bird genus, the Euphonia. To test the hypothesis that Rhipsalis presents a specialized seed dispersal system, firstly it was studied the reproductive phenology of this epiphyte. Once the availability of ripe fruits to birds was known, occasional frugivory records and focal observation on fruiting individuals of Rhipsalis were made to record the assemblage of animals that eat its fruits. Fruits of five species of Rhipsalis were offered to captive frugivorous birds to access their role as effective dispersers of Rhipsalis seeds. For this, germination tests were made with the seeds after they had passed through the birds’ digestive system. Results showed that Rhipsalis individuals have synchronized reproductive phenophases and the genus has reproductive activity along the year. Ripe fruit production lasted for a long period, between June and February. All species showed significant seasonality in the reproductive phenophases. Frugivory records and germination tests confirmed that the seeds of Rhipsalis may be dispersed by endozoochory. Additionally, the manipulation of the fruits by birds – specifically the removal of the pulp that recovers the seeds – provided higher germination rates and germinability to the seeds, suggesting that the passage though a bird’ gut is important to reactivate the metabolism of the seeds’ embryo. Although 31 animal species were recorded eating Rhipsalis fruits, Euphonia birds may be considered as the main consumer, being responsible for around 60% of feeding visits. Seed dispersal systems involving... (Complete abstract click electronic access below)

Ernst Krenek is noted and often criticized for the diversity of his overall output. However, one finds that his entire output is held together by a unique temperament regardless of stylistic changes. It is significant to compare the piano works to one another as the piano was the instrument he repeatedly turned to while testing new stylistic ideas. In writing about Krenek's music, Glenn Gould states eloquently and concisely that three qualities prevail in all of Krenek's mature output: the lyric, elegiac, and euphonic. These qualities are present in the early Toccata und Chaconne uber den Chorale, "Ja, ich glaub an Jesum Christum," Op. 13. It is lyrical in that melody is of utmost importance. One finds that melodic writing prevails in the other piano works as well regardless of when they were written. The elegiac also permeates the work. The Toccata and Chaconne shares with other later works this quality of seriousness, repose, and deep meaning. The Toccata and Chaconne is also euphonic. Krenek's overall style is one which does not shock or offend an audience. In a detailed comparison of the Toccata and Chaconne to later piano works, one may clearly see what Krenek specifically does musically to create this sense of the lyric, elegiac and euphonic in his overall output.

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The Synadenium grantii Hook f. species is a plant of the Euphorbiaceae family and is popularly known as cega-olho, leitosinha, janaúba, cola-nota among other names. Its latex has been used traditionally in the region of “Campos Gerais” as "garrafada", obtained from this dilution in water (18 drops into 1 liter). Its medicinal applications are widespread in Brazilian popular culture to cure various types of cancer, among other diseases, such as inflammation and ulcers. However, there are no scientific studies that prove these effects besides little is known about the chemical constitution of the species. The aims of this study was to conduct a phytochemical study of S. grantii latex; evaluate its antitumor activity in vitro against melanoma cell line (B16F10); analyze the changes in the distribution of tumor cells in cell cycle phases and also to evaluate the antitumor activity of latex in vivo and histological changes in animals treated with the popular way to use latex plant. The evaluation phytochemical latex was carried out by chromatographic procedures (column chromatography and thin layer chromatography) and spectroscopic procedures (1H NMR and 13C) from which was obtained the isolation and characterization of a triterpenoid and steroid identified as euphol respectively and citrostadienol. Evaluation of the cytotoxicity was determined by the reduction method of MTT ([3 - (4,5-dimethylthiazol-2-yl) -2,5-diphenyltetrazolium bromide) and by exclusion with Trypan Blue. For the tests in vitro, látex concentrations of 0.012 μg/well to 48.8 mg/well were tested and also two isolated compounds (Euphol and Citrostadienol) at concentrations of 2.5 mg/mL - 250μg/mL. To assess changes in the cell cycle, the cells were analyzed by flow cytometry and histological evaluation was performed by hematoxylin-eosin. The cytotoxic assays demonstrated that the S. grantii latex was able to reduce the growth and viability of the cell lines showing concentration and time dependent effect in both methodologies evaluated. In addition, induced cell cycle arrest in S- G2/M phase. Isolated substances only citrostadienol showed a reduced cytotoxic activity in vitro against B16F10 lineage. In vivo assays demonstrated a reduction of 40% in the size of tumours in mice treated with the popular way to use latex but the histological evaluation of organs analyzed (tumor, lung, liver and lymph nodes) was similar in the treated and untreated animals.
A espécie Synadenium grantii Hook. f. é uma planta pertencente a família Euphorbiaceae, sendo conhecida popularmente como cega-olho, leitosinha, janaúba, cola-nota e outros. Seu látex tem sido usado tradicionalmente na região dos Campos Gerais na forma de uma “garrafada”, obtida da diluição deste em água (18 gotas em 1 litro). Suas aplicações medicinais são muito difundidas na cultura popular brasileira para a cura de vários tipos de câncer, além de outras enfermidades, como inflamações e úlcera. No entanto, não existem estudos científicos que comprovem esses efeitos além de pouco se saber sobre a constituição química da espécie. Assim, os objetivos deste trabalho foram realizar um estudo fitoquímico do látex de S. grantii; avaliar sua atividade antitumoral in vitro frente a linhagem celular de melanoma (B16F10); analisar as modificações na distribuição das células tumorais nas fases do ciclo celular e ainda avaliar a atividade antitumoral do látex in vivo bem como as alterações histológicas dos animais tratados com a forma popular de uso do látex da planta. A avaliação fitoquímica do látex foi realizada através de procedimentos cromatográficos (cromatografia em coluna e cromatografia em camada delgada) e espectroscópicos (RMN de 1H e 13C) da qual se obteve o isolamento e caracterização de um triterpeno e um esteroide identificados como eufol e citrostadienol respectivamente. A avaliação da citotoxicidade foi determinada pelo método de redução do MTT (brometo de [3-(4,5-dimetiltiazol-2-il)-2,5-difeniltetrazólio) e pelo método de exclusão com Azul de Trypan. Para a realização dos ensaios in vitro, foram testadas concentrações do látex entre 1,7 μg/poço a 4,88 mg/poço e também as duas substâncias isoladas (Eufol e Citrostadienol) nas concentrações de 2,5 μg/mL - 250μg/mL. Para avaliação das modificações no ciclo celular, as células foram submetidas à análise por citometria de fluxo e a avaliação histológica foi realizada através da coloração hematoxilina-eosina. Os ensaios citotóxicos demonstraram que o látex de S. grantii foi capaz de diminuir o crescimento e a viabilidade das linhagens celulares em estudo apresentando efeito concentração e tempo dependentes nas duas metodologias avaliadas. Além disso, induziu parada do ciclo celular na fase S-G2/M. Das substâncias isoladas somente o citrostadienol apresentou uma reduzida atividade citotóxica in vitro frente a linhagem B16F10. Nos ensaios in vivo pode se observar uma diminuição em 40% no tamanho dos tumores dos camundongos tratados com a forma popular de uso do látex mas a avaliação histológica dos órgãos analisados (tumor, pulmão, fígado e linfonodos) foi semelhante no grupo tratado e não tratado.

This thesis analyzes the first two poetry collections by Vladimir Holan - Triumf smrti (1930, revision 1936, 1948) and Vanutí (1932). At first, it focuses on identifying their rhythmic structure, its constants and the successive transformations. Particular attention is given to reprocessing of collection Triumf smrti - in the analysis of its three variants to see, how did the Holan's conception of poetic rhythm developed and its relationship to semantics of poetic text and its transformations. Part of exploration is to determine the function of poetic rhythm constants in individual collections, accompanied by an attempt to demonstrate that the relationship of rhythm, euphony and instrumentation of verse and their interaction belongs to the basic components of Holan's lyricism in this period. Furthermore, the work deals with the semantics of these Holan's collections, especially analysis of the basic features of his metaphor and metonymy, their mutual relationship, changes of the metaphors into metonymy and overgrowth in the context of poetic text into symbols. The purpose of the work is to show that the essence of poetic semantics in these collections lies in the specificity and uniqueness of their poetics, from which it is inevitably born, grows and shapes.

This dissertation examines the relationship between phonetic sound and content in Latin poetry, with a focus on Books 1-3 of Horace's Odes. The central argument is that a relationship exists between sound and content in poetry, that this can be analysed and described more thoroughly and systematically than is usually the case, and that the appreciation of poetry can be enhanced by doing so. Part 1 presents a scheme for describing the sound-content relationship, and argues that this accurately reflects the perceptions of poetic audiences and is psychologically valid. The scheme begins with the concept of the 'sonance', defined as any set of sounds that renders a passage sonically noteworthy. Sonances that relate to content are classified either as 'harmonic sonances', which relate to content due to the properties of the relevant sounds, or 'repetitive sonances', which relate to content purely due to the repetition (including patterning or contrasting) of sounds, regardless of their properties. Harmonic sonances, it is argued, may relate to content through four 'harmonies', depending on whether acoustic or articulatory properties are involved and whether the relationship is one of similarity between property and content or a more distant 'metaphor'. Repetitive sonances may relate to content by several different means, or 'modes of repetition'. Part 2 presents a simple method of numerical analysis which may be applied to the text by computer to extract passages that are relatively likely to contain a sonance, and briefly discusses the process of assessing these results, identifying further sonances by more natural means, and relating each sonance to the relevant content. As an essential preliminary to such matters, Latin phonetics and phonology are also discussed in detail. Parts 3 and 4 present the results of applying these resources of assessment and description to the text, to demonstrate the type of poetic appreciation which may thus be gained. Part 3 consists of two catalogues of harmonic and repetitive sonances taken from the whole of Odes 1-3. Part 4 is a specific examination of two entire odes in much greater detail.
Thesis (Ph.D.)--Humanities, 2004.

This dissertation examines the relationship between phonetic sound and content in Latin poetry, with a focus on Books 1-3 of Horace's Odes. The central argument is that a relationship exists between sound and content in poetry, that this can be analysed and described more thoroughly and systematically than is usually the case, and that the appreciation of poetry can be enhanced by doing so. Part 1 presents a scheme for describing the sound-content relationship, and argues that this accurately reflects the perceptions of poetic audiences and is psychologically valid. The scheme begins with the concept of the 'sonance', defined as any set of sounds that renders a passage sonically noteworthy. Sonances that relate to content are classified either as 'harmonic sonances', which relate to content due to the properties of the relevant sounds, or 'repetitive sonances', which relate to content purely due to the repetition (including patterning or contrasting) of sounds, regardless of their properties. Harmonic sonances, it is argued, may relate to content through four 'harmonies', depending on whether acoustic or articulatory properties are involved and whether the relationship is one of similarity between property and content or a more distant 'metaphor'. Repetitive sonances may relate to content by several different means, or 'modes of repetition'. Part 2 presents a simple method of numerical analysis which may be applied to the text by computer to extract passages that are relatively likely to contain a sonance, and briefly discusses the process of assessing these results, identifying further sonances by more natural means, and relating each sonance to the relevant content. As an essential preliminary to such matters, Latin phonetics and phonology are also discussed in detail. Parts 3 and 4 present the results of applying these resources of assessment and description to the text, to demonstrate the type of poetic appreciation which may thus be gained. Part 3 consists of two catalogues of harmonic and repetitive sonances taken from the whole of Odes 1-3. Part 4 is a specific examination of two entire odes in much greater detail.
Thesis (Ph.D.)--Humanities, 2004.

碩士
高雄醫學大學
藥學研究所
101
Euphol is a water-insoluble triterpene compound which exhibits the inhibition activity for gastric cancer cell. The purpose of this study was to develop the optimal liposome formulation as a carrier to overcome the poor solubility as well as irritation, and improve the efficiency of euphol. The liposomal dosage form after formulation designing was screened by particle size, polydispersity index, zeta potential, encapsulation efficiency, the image of appearance using TEM and stability. Besides, the bioactivity of formulations was evaluated using MKN45 and CS12 cell viability. At the same time, we also discussed and found the pathway of euphol. The results were shown that the positive-charge liposome formulations containing Epikuron-200/cholesterol/stearylamine = 8/1/0.1 as lipid phase, 1% Tween 80 as water phase had clear appearance and good physicochemical stability. The particle size was about 75~85 nm and the encapsulation rate was almost 100%. Compare to the same concentration solution type and non-charge liposome formulations of euphol, it had the best inhibition activity to gastric cancer cell line. In addition, according to the extraction of gastric cancer cell membrane and affinity detection by the Biacore 3000 interaction analysis system, we inferred that euphol was a drug combining cell membrane easily.

This thesis analyzes the poetics of Holan's Triumf smrti (1930, revised in 1936, 1948, 1965), collections written in the period of neosymbolism - Vanutí (1932, ultimately revised in 1965), Oblouk (1934, ultimately revised in 1965) and Kameni, přicházíš… (1937, ultimately revised in 1965) as well as collections reacting to the Munich Agreement and following historical events - Odpověď Francii (written in 1938, first published as late as 1946 in the compilation Havraním brkem), Září 1938 (1938), Zpěv tříkrálový (written in 1938-1939, first published as late as 1946 in the compilation Havraním brkem), Sen (1939), Chór (1941). In the first place, the thesis focuses on identifying the rhythmic structure of the individual collections, their constants and gradual transition. Part of the exploration of poetics is the determination of the function of the rhythmic constants in the individual collections, accompanied by an attempt to demonstrate that the rhythmic building of verse together with its instrumentation belongs to the essential components of Holan's poetics of that period. Furthermore, the thesis deals with the semantics of Holan's poetics in the given collections of his, especially the analysis of the basic features of the poet's metaphor and metonymy, their mutual relationship and permeation....

碩士
國立臺灣大學
海洋研究所
92
Phosphorus (P) is an essential macronutrient required for all living organisms. Several evidences suggest that phosphorus may limit primary production rates in the oligotrophic marine habitats, which has stimulated great interests in P dynamics. In the ocean, total dissolved phosphorus (TDP) pool, according to the operational definition, is generally partitioned into dissolved inorganic P (DIP, mostly orthophosphate) and dissolved organic P (DOP, mostly phosphorus esters and phosphonates). In this study, a modified alkaline persulfate oxidation method together with standard molybdenum blue method, was examined and employed for quantitatively converting a range of organic phosphorus compounds to orthophosphate, and provided the direct measurements of total dissolved phosphorus in seawater samples. Field observations of the concentration changes in dissolved phosphorus pool in the South China Sea were made at Station KK1 (18.25°N, 115.67°E) several times from August 2003 to May 2004. Both TDP and DIP concentrations measured in the euphotic zone showed strong seasonal variations and covariant trends with higher concentrations found in summer and winter. The DOP concentrations in the upper 200 m ranged from 0 to 0.3 μM decreasing with depth showed distinct seasonal patterns, and subsurface maximum found in corresponding to that of Chlorophyll-a. As DOP/DIP ratios in the upper 60m showed strong seasonal variations and declined with increasing depth. These results suggest that relatively consistent DOP concentrations in surface water may sustain the nutrient recycling supplying for the growth of living organisms.

碩士
國立中山大學
生物科學系研究所
103
Gastric cancer is a high prevalent carcinoma and the leading cause of cancer-related mortality in Taiwan. Transforming growth factor-β is one of growth factors family, and involved in many biological processes leading to tumor formation, including cell proliferation, extracellular matrix secretion, cell adhesion, movement, differentiation and apoptosis. The TGF-β signaling its via two receptors complexes on the membrane, type I TGF-β receptor, TβRI and type II TGF-β receptor, TβRII, and activated downstream information by phosphorylation signaling mediator, protein Smad2/3, phosphorylated Smad2/3 was transferred to the nucleus to initiate transcription of downstream genes. Euphol is an euphane-type triterpene alcohol. It is isolated from the dichloromethane extract of Euphorbia, structurally similar to cholesterol which is a key component of lipid-raft microdomain on plasma membrane. It exhibits anti-viral and anti-inflammation activity, have higher cytotoxic in gastric cancer than normal cell, and will induce gastric cancer apoptosis pathway. However, the mechanisms and the potential of the anti-tumor properties of Euphol remain to be elucidated. The TGF-β receptor located in lipid-raft/caveolae microdomain stimulated by TGF-β will encounter lipid-raft/caveolae-mediated endocytosis, this endocytic pathway is a result of TGF-β receptors are transported to the lysosome for degradation. In contrast, TGF-β receptors which is located in non-lipid-raft region will be taken in the non-lipid-raft pathway. TGF-β receptors will transported into the early endosome, then going on signaling pathway. In this study, we found that TGF-β receptors were transferred from non-lipid raft to lipid-raft after Euphol treatment, this translocation increased degradation of TGF-β receptor and reduced the TGF-β signaling. Since the chemical structure of Euphol is similar to cholesterol. In our hypothesis, the cytotoxic of Euphol to gastric cancer may replace by cholesterol, then change the composed of protein and phospholipid, thereby influence the cell signaling of gastric cancer, then induce cancer cell death.

Ce mémoire portera sur un aspect négligé de la querelle analogie-anomalie, la position des soi-disant anomalistes. On s'appliquera en effet à confronter le portrait de l'anomaliste présenté par Varron dans son De Lingua Latina, qui passe souvent pour être Cratès de Mallos, à ce que nous connaissons du grammairien à travers les scholies homériques. En un premier temps seront résumés et analysés les livres 8 à 10 du De Lingua Latina, seul témoignage positif au sujet de la querelle. Au deuxième chapitre seront examinés puis rejetées les sources grecques que la critique moderne a jugées perninentes à la reconstruction de la querelle. Une attention particulière sera accordée à l'école empiriste, à laquelle on a voulu associer la supposée école anomaliste. L'attaque de la grammaire par Sextus Empiricus (Adversus Mathematicos I) sera aussi abordée en détail et ce traité antigrammatical sera mis en parallèle avec le livre 8 du De Lingua Latina. Au troisième chapitre la querelle sera enfin remise dans son contexte original, celui des éditions alexandrines et pergaméennes des auteurs classiques, en particulier Homère. Après une historique du développement de la diorthose (correction des manuscrits d'Homère) de Zénodote à Aristarque, un survol des leçons qui sont attribuées à Cratès montrera le désaccord entre les deux protagonistes de la querelle sur la pratique de l'analogie dans l'édition d'un nouveau texte de la poésie homérique. L'apparition d'anomalies grammaticales dans les leçons de Cratès s'explique par la théorie littéraire euphoniste dont il était partisan.
In this thesis a neglected aspect of the analogist-anomalist controversy will be addressed, that is, the position of the so-called anomalists. Namely, we will compare the anomalist sketched by Varro in his De Lingua Latina, who is often taken to be Crates of Mallos, to what we know of this grammarian through the Homeric scholia. First, books 8-10 of the De Lingua Latina, the only positive evidence about the quarrel, will be summarized and analyzed. In the second chapter we will examine and reject the Greek sources which some modern scholars have thought to be useful for the reconstruction of the controversy. Special attention will be paid to the empirical school, to which some have tried to associate the alleged anomalist school. Sextus Empiricus' attack on grammar (Adversus Mathematicos I) will also be addressed in detail. In the third chapter, the controversy will finally be contextualized in its original context, that of the Alexandrian and Pergamene editions of classical authors, especially Homer. After sketching the development of diorthosis (the «correction» of Homer's manuscripts) from Zenodotus to Aristarchus, a survey of the readings attributed to Crates will show the disagreement between the two opponents of the quarrel about the practice of analogy in the editing of a new text of the Iliad and the Odyssey. The appearance of grammatical anomalies in the readings of Crates will be explained by the literary theory of euphony, of which he was a proponent.